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  • Hotel Chevalier Gets a Theatrical Run

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    chevalier.pngFox Searchlight has (wisely, I think) decided to tack Hotel Chevalier onto prints of The Darjeeling Limited when the feature expands into wide release this weekend. According to this story in the NY Times, Searchlight is hoping that the short, which “in contrast to the feature, received nearly universal praise when it was shown alongside the longer film at some festivals,” and which has been downloaded legally on iTunes over 500,000 times, will lure audiences who would otherwise wait on Darjeeling for the DVD.

    Surely, there will be some rib-cage fetishists who maintain that a big screen is mandatory in order to appreciate that single profile shot of Natalie Portman’s naked body in full, so it’s a gamble that might pay off. But it seems to me that the real crux of the story is the last sentence, in which Lia Miller reports that the studio “also is hoping the short is Oscar-worthy and plans to promote it as a contender in the best live-action short category.” This would be significant, because as far as I know, it would make Chevalier the first short film to garner Oscar attention after officially premiering on the Internet.

    But doesn’t AMPAS have rules about that? I know documentaries can’t qualify for Oscars if they’ve been distributed online before meeting their theatrical requirements. I consulted AMPAS’ Live Action Short rules, and found that a Chevalier campaign would be shady proposition at best. More after the jump.

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    Originally posted on:SpoutBlog's blog

  • Great World of Sound Tops Gotham Noms

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    Under discussion:

    The Namesake  (2006)

    I'm Not There  (2007)

    Into the Wild  (2007)

    Frownland  (2007)

    IFP has just announced the nominations for their Gotham Awards, which will be handed out in Brooklyn next month. I’m so happy to see that Craig Zobel’s fantastic Great World of Sound has been nominated in three categories–Best Feature, Breakthrough Director and Breakthrough Actor–the most nominations of any single film this year. Zobel’s feature, which Magnolia released with little fanfare last month, shares the Best Feature category with four, relatively “big” indie-arm titles: The Namesake, I’m Not There, Margot at the Wedding, and Into the Wild.

    I’ve privately bitched about the lack of publicity surrounding Sound (even the release date seemed misguided, as it fell right in the middle of the Toronto Film Festival and thus necessarily turned coverage of the movie by bloggers and other indie journalists of limited resources into an afterthought), so I’m hoping these nominations will give Magnolia the impetus to give the film a stronger push. According to the distributor’s website, they’re still planning a slow roll-out to smaller markets through December.

    Other Spout favorites to make the cut: Julia Loktev’s Day Night Day Night earned two nominations, for Breakthrough Director and Breakthrough Actor; and Ronnie Bronstein’s Frownland will compete in the Best Film Not Playing at a Theater Near You race.

    As of this writing, IFP hasn’t posted the list of nominees on their website, but you can check out an alphabetical list on nominees, ripped from the press release, after the jump.

    (more…)


    Originally posted on:SpoutBlog's blog

  • Wristcutters a Hit

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    wristcuttersfugit.pngRelative success comes to those who wait:  amassed almost $13,000 on each of its three New York screens this weekend, for the highest per-screen average of any film that opened on Friday. According to Box Office Mojo’s weekend estimate chart, of the top 53 films in release, only Blade Runner: The Final Cut scored a higher per-screen average, and Ridley Scott’s do-over is only on two screens. More from Lou Lumenick and The Reeler.


    Originally posted on:SpoutBlog's blog

  • Cruise Waffles: Trade Roughage 10/22/07

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    • Lions For Lambs is, according to Dade Hayes, a “remarkably strident political work that takes dead aim at the Bush White House and assails post-9/11 foreign policy.” It’s also the first project to see release from the Tom Cruise-controlled United Artists, and it wouldn’t be an exaggeration to say that Cruise’s comeback is riding on its success. And yet, it seems as though Cruise the producer hasn’t given Cruise the star (who plays a right-wing senator in Lambs) talking points on how to package his own political views in relation to the film.
    • Ryan Gosling gained 20 pounds and grew a beard for the job, and yet, a day before shooting was to begin, he was fired from Peter Jackson’s The Lovely Bones and replaced with Mark Wahlberg. Who wants to put money on what “creative differences” actually means in this case?
    • Graphic novel adaptation 30 Days of Night barely squeaked past Why Did I Get Married? at the box office this weekend, earning $16 million to Tyler Perry’s $12 million. Michael Clayton, which has already been written off as a failure by some Clooney haters, held on to the fourth place slot for the second week in a row. Star-studded Oscar bait continued to bomb pretty hard: Rendition opened wide in ninth place, and Reservation Road managed just $2,630 per screen in limited release.

    Originally posted on:SpoutBlog's blog

 


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