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Posts Tagged ‘For Colored Girls’

Monday December 6th, 2010

BOX OFFICE BREAKDOWN: “TANGLED” TOPS “POTTER” TO WIN SLOW WEEKEND

Brandon Gray of BoxOfficeMojo.com reports that “post-Thanksgiving doldrums were in full effect over the weekend,” as is always the case after a big holiday weekend — but this year’s was down 14 percent from last year’s. Last week’s #1 “Harry Potter and the Deathly Hallows: Part 1” and #2 “Tangled” swapped places, but receipts for both were off more than 50% from last weekend. “The Warrior’s Way” was the sole nationwide debut last weekend (“a weak one at that”), but “Black Swan” opened in limited release on just 18 screens and took in nearly $1.4 million (its $77,000 per screen average is the highest ever for a Fox Searchlight film and the second highest of 2010 after last weekend’s showing by “The King’s Speech”).

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Sunday November 28th, 2010

BOX OFFICE: “HARRY POTTER” BEATS “TANGLED,” “SPEECH” BIG IN LIMITED

Brandon Gray of BoxOfficeMojo.com reports that “families were out in force” this holiday weekend, propelling “Harry Potter and the Deathly Hallows: Part 1” (which also won last weekend), “Tangled” (which had the second biggest Thanksgiving opening ever after “Toy Story 2“) and “Megamind” (which came in a distant third) to the top of the box-office standings. Oscar hopeful “The King’s Speech,” meanwhile, opened in extremely limited release on Friday — it played in just two theaters in Los Angeles and two theaters in New York — and still brought in nearly $350,000, good for the highest per-theater take of any film this year. Overall business, however, was “slightly down” from this same weekend last year, when “The Twilight Saga: New Moon” and “The Blind Side” dominated the pack. The estimated receipts are…

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Monday November 22nd, 2010

YOUR DAILY FIX OF OSCAR: 11/22/10

  • 60 Minutes: Lara Logan profiles the actor/producer Mark Wahlberg, who she says “has made a career of reinventing himself like no one else in show business,” just a few weeks before the release of “The Fighter,” a film that he produced and stars in as his childhood hero. He takes her back to Boston and opens up about his “reckless youth,” including an assault that he committed at the age of 16 that left a man blind and resulted in him serving 45 days in jail. That harrowing experience, he says, gave him the drive to make something more of his life — first as a rapper, then as a model, and now as an Oscar-nominated actor and producer who is on the brink of unveiling his “proudest achievement” yet.
  • Gold Derby: Tom O’Neil claims that certain members of the Hollywood Foreign Press Association “absolutely love” the recent blockbuster thriller “Red” and says that we should “expect it to bag noms for best comedy/musical picture, actor (Bruce Willis) and maybe even supporting actor (John Malkovich as a conspiracy-minded LSD tripper) and supporting actress (Helen Mirren as a machine-gun-toting Rambo).”
  • New York Times: Brooks Barnes adds to the mounting expectations of “Tangled,” the 50th animated film from Disney, which reportedly cost $175 million to make and “will carry global marketing costs in excess of $100 million.” Disney’s chief creative officer John Lasseter, who has spent over three years working on the film since the 2006 Disney-Pixar merger left him in charge of the studio, tells Barnes: ““This film is as good as a Pixar film, but it’s classic Disney, and I love that: heart, humor, beauty, music, wonderment, the love story.”
  • The Big Picture: Patrick Goldstein highlights one of the most glaring omissions from the recently released list of films eligible for this year’s best documentary feature Oscar: Werner Herzog’s visually stunning 3-D doc “Cave of Forgotten Dreams.” He was previously snubbed five years ago for his critically-acclaimed doc “Grizzly Man” (2005), but was nominated three years ago for “Encounters at the End of the World” (2007).
  • Awards Tracker: Susan King reports that best actress hopeful Nicole Kidman (“Rabbit Hole”) will receive the Santa Barbara International Film Festival’s 2011 Vanguard Award following a career tribute on February 5. According to the festival, the award was created to annually recognize “an actor who has forged his/her own path, taking artistic risks and making a significant and unique contribution to film.” Previous recipients have included Ryan Gosling, Kristin Scott Thomas, and Christoph Waltz.
  • Imageworks: As part of the no-holds-barred Oscar campaign for “Alice in Wonderland,” the special effects firm Sony Pictures Imageworks has invited select journalists to have tea with the visual effects and animation team responsible for the film, as well as to have “an individual opportunity to sit at an Avid at Sony Pictures Imageworks with one of our editors and a member of the visual effects and animation production team” for a demonstration of some of the work that went into the production of the film’s “nearly 2500 visual effects and animation shots.”
  • Los Angeles Times: Mark Olsen profiles the 24-year-old writer/director/actress Lena Dunham, who has made a big impression with “Tiny Furniture,” her debut film, and is now being “courted by Hollywood.” As Dunham puts it, her story could be succinctly described as: “girl makes movie about being a loser and then gets un-loserly things to happen to her.”
  • Hollywood-Elsewhere: Jeff Wells confirms that director Steven Spielberg will indeed adapt a still-to-be-written Tony Kushner script about Abraham Lincoln into a feature film, and that the 16th president will be played not by the Irish actor Liam Neeson, who was the rumored frontrunner for the part, but rather by the British actor Daniel Day-Lewis. Cinephiles largely cheered the casting of the two time best actor Oscar winner (who traveled on Friday to Springfield, Illinois and received a tour of relevant historical sites from Lincoln historian Doris Kearns Goodwin.) The film is due out in 2012.
  • The Film Experience: Nathaniel Rogers chats with the 37-year-old actress Juliette Lewis, who was nominated for the best supporting actress Oscar nearly two decades ago for “Cape Fear” (1991) and is hoping to be nominated for it again for this year’s Tony Goldwyn’s “Conviction.” She has only two brief scenes in the film, but, as Rogers writes, audiences can’t take their eyes of her when she’s on screen, and it seems likely that they will lead to other, more substantial acting roles for her in the near future.

Photo: Mark Wahlberg in “The Fighter.” Credit: Paramount.

Monday November 22nd, 2010

BOX OFFICE BREAKDOWN: “HALLOWS” BIGGEST “HARRY POTTER” OPENING YET

Brandon Gray of BoxOfficeMojo.com reports that “Harry Potter and the Deathly Hallows: Part 1,” the seventh installment in the blockbuster franchise, took in $125 million over the weekend, outgrossing all of its predecessors and becoming the sixth highest opening of all-time. The film’s commercial success clearly validates Warner Brothers’ “unprecedented move of adapting the last book into two movies” (which Summit will try to replicate later this year with its “Twilight” franchise by splitting “Breaking Dawn” into two parts). “Megamind,” which won the box office each of the past two weekends, “slipped 45 percent to an estimated $16.2 million,” which was still good enough for second place, while “Unstoppable,” which trailed it last week, came in a distant third. The estimated receipts are…

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Sunday November 14th, 2010

BOX OFFICE BREAKDOWN: “MEGAMIND” STOPS “UNSTOPPABLE,” STAYS ON TOP

Brandon Gray of BoxOfficeMojo.com reports that the action-thriller “Unstoppable,” the fifth collaboration between director Tony Scott and actor Denzel Washington, “didn’t come on like a freight train,” which allowed “Megamind,” last weekend’s box-office winner,” to retain the top stop “by default.” Two other newcomers, the star-less sci-fi flick “Skyline” and the star-studded rom-com “Morning Glory,” each generated only “modest showings” in their debuts. Gray notes, “Overall business was off 11 percent from the same weekend last year when ‘2012’ arrived.” The estimated receipts are…

*This Wknd’s Dom Gross / This Wknd’s Theaters / Weeks In Release / Cume Dom Gross*

Box Office Leaders

1. “Megamind” (Paramount, 11/5, PG, trailer) — $30.1 / 3,949 / 2 / $89.8
2. “Unstoppable” (20th Century Fox, 11/12, PG-13, trailer) — $23.5 / 3,207 / 1 / $23.5
3. “Due Date” (Warner Brothers, 11/5, R, trailer) — $15.5 / 3,365 / 2 / $59.0
4. “Skyline” (Universal, 11/12, PG-13, trailer) — $11.7 / 2,880 / 1 / $11.7
5. “Morning Glory” (Paramount, 11/10, PG-13, trailer) — $9.6 / 2,518 / 1 / $9.6

Other Notables in Top 25

6. “For Colored Girls” (Lionsgate, 11/5, R, trailer) — $6.8 / 2,127 / 2 / $30.9
11. “Secretariat” (Disney, 10/8, PG, trailer) — $2.2 / 2,019 / 6 / $54.7
12. “The Social Network” — $1.7 / 1,088 / 7 / $87.7
13. “Hereafter” (Warner Brothers, 10/22, PG-13, trailer) — $1.3 / 1,691 / 5 / $31.4
15. “Fair Game” (Summit, 11/5, PG-13, trailer) — $1.1 / 175 / 2 / $2.0
16. “Conviction” (Fox Searchlight, 10/15, R, trailer) — $0.6 / 493 / 5 / $6.0
18. “Inside Job” (Sony Pictures Classics, 10/8, PG-13, trailer) — $0.5 / 250 / 6 / $1.6
19. “127 Hours” (Fox Searchlight, 11/5, R, trailer) — $0.5 / 22 / 2 / $0.8
20. “The Town” (Warner Brothers, 9/17, R, trailer) — $0.4 / 375 / 9 / $90.6
21. “Despicable Me” (Universal, 7/9, PG, trailer) — $0.3 / 273 / 19 / $248.8
22. “Waiting for ‘Superman’” (Paramount Vantage, 9/24, PG, trailer) — $0.2 / 204 / 8 / $5.9
23. “Toy Story 3” (Disney, 6/18, G, trailer) — $0.2 / 241 / 22 / $414.6

Photo: “Megamind. Credit: Paramount.

Friday November 12th, 2010

YOUR DAILY FIX OF OSCAR: 11/12/10

  • Ken Tucker’s TV: Ken Tucker posts footage of actress Gwyneth Paltrow singing “her brains out” at Wednesday evening’s Country Music Awards, where the actress debuted the title song of “Country Strong,” an upcoming film in which she portrays a country music singer. “Strumming an acoustic guitar, looking a little nervous but singing the movie’s title song in an expressive, surging tone, she didn’t really need the assistance of the wonderful Vince Gill, there to give a polite country-industry imprimatur to Paltrow’s efforts,” writes Tucker. The Oscar winning actress got a standing ovation from many in the audience (including fellow thespian Nicole Kidman, who is married to country singer Keith Urban).
  • The Wrap: Steve Pond previews tomorrow night’s second annual Academy Governors Awards, an untelevised dinner at which director Francis Ford Coppola will receive the Irving G. Thalberg Memorial Award and historian/preservationist Kevin Brownlow, director Jean-Luc Godard, and actor Eli Wallach will be presented with honorary Oscars for their contributions to film. Earlier this week, former Academy president Sid Ganis cheerfully told TheWrap, “Whatever those honorees are planning to say on Saturday, nobody’s going to be there counting down from 45!”
  • Variety: Pamela McClintock learns that yesterday, Columbia Pictures, which is distributing James L. Brooks’s rom-com “How Do You Know,” lost its appeal to the MPAA’s “Classification and Rating Appeals Board” to overturn the R-rating that it received for using the f-word three times in the film. (The MPAA insists that PG-13 films can only feature no more than one use of it.) Therefore, the studio has decided to recut the film “to eliminate certain language” and, in so doing, to make it accessible to a larger audience.
  • Vanity Fair: John Lopez praises Ed Harris’s performance “as a tough-as-nails American caught in the Gulag” in Peter Weir’s epic drama “The Way Back,” noting that the veteran actor “milked goats, chopped trees, and peeled bark” to prepare for the film’s 15-week shoot. Harris, whose breakthrough role was in “The Right Stuff” (1983), has previously been Oscar-nominated for his work in four films: “Apollo 13” (1995), “The Truman Show” (1998), “Pollock” (2000), and “The Hours” (2002).
  • Thompson on Hollywood: Anthony d’Alessandro explores the correlation between a film’s box office showing and its awards potential. This year, he notes, “A number of arthouse releases — ‘Let Me In’ ($12 million), ‘It’s Kind of a Funny Story’ ($6.2 million), ‘Conviction’ ($5.2 million), ‘Never Let Me Go’ ($2.3 million), and ‘Welcome to the Rileys‘ ($80,000) — have struggled at the multiplex, undermining their chances in a highly competitive awards season… At the other end of the spectrum, the successes of ‘The Town’ ($90 million) and ‘For Colored Girls’ ($23 million) have bolstered their award potential.”
  • The Race: Tim Appelo reports that the “Amazon.com Best of 2010 Movies and TV Editors’ Picks” list was emailed to Amazon customers this Monday. While it is largely “ignored by movie cognoscenti,” it does reach a “vast audience” and could conceivably impact the race. As Appelo acknowledges, it’s “unlikely to affect voters’ views of blockbusters, but might conceivably help worthy indies like Focus Features’ ‘The Kids Are All Right’ or Roadside Attractions’ great Oscar hope ‘Winter’s Bone.'”

Photo: Gwyneth Paltrow in “Country Strong.” Credit: Screen Gems.

Wednesday November 10th, 2010

YOUR DAILY FIX OF OSCAR: 11/10/10

  • 24 Frames: Steven Zeitchik spreads the word about last night’s not-so-“secret Hollywood screening” of David O. Russell’s much-anticipated boxing drama “The Fighter,” a month before its theatrical release, at Grauman’s Chinese Theater as part of the ongoing AFI Fest. (The film will next be screened on tomorrow evening in New York for east coast critics/pundits, who will then be treated to a Q&A with Russell and Mark Wahlberg, the film’s best actor hopeful.)
  • Gold Derby: Tom O’Neil recounts the history of producer Scott Rudin (“The Social Network”) and studio chief Harvey Weinstein (“The King’s Speech”), who used to work together but had a falling out a few years ago. In 2008, the two bucked heads while gunning campaigning for Kate Winslet, who was eligible for both the Rudin-produced “Revolutionary Road” and the Weinstein-distributed “The Reader.” (The Academy ultimately nominated — and awarded — her the best actress Oscar for the latter.) This year, as Tom puts it, “not only are the superheroes of indie film production back in the same derby, but they’re [now] chief rivals for best picture.”
  • First Showing: Alex Billington posts the “seductive” new theatrical poster for “Blue Valentine,” the new film from The Weinstein Company that stars Ryan Gosling and Michelle Williams, and that has been getting a lot of attention ever since the MPAA rather inexplicably gave it an NC-17 rating about a month ago. Billington writes that the poster makes him believe that The Weinstein Company — which reportedly considered appealing the rating and/or re-cutting and then re-submitting the film with the hope of getting a lower rating — “just said ‘fuck it’ and went all-out as spicy as they could… and I like it.”
  • The Playlist: Simon Dang confirms that “Meek’s Cutoff,” a western directed by Kelly Reichart and starring Michelle Williams (which played at the Venice, Toronto, and New York film festivals before being acquired by Oscilloscope, the same studio that released the previous collaboration between the director and actress, “Wendy and Lucy“), will not be released in time to qualify for 2010 awards consideration, but rather on April 8, 2011. In related news, Williams, who is presently on the London set of “My Week with Marilyn,” tells a reporter: “After this movie, I’m taking some time off. I’m not working for another year.” (Check out Scott’s recent conversation with the actress.)
  • Cinematical: Jacob Hall passes along the news that legendary actor Robert De Niro will be honored at the Golden Globe Awards on January 16, 2011 with the Cecil B. DeMille Award for lifetime achievement, which he himself co-presented just last year to his longtime friend and collaborator Martin Scorsese. (In a related post, Tom O’Neil wonders why the Hollywood Foreign Press Association once again “snubbed” women and minorities for the honor. O’Neil writes that, upon hearing the decision, “Many of us award-watchers shrugged, thinking: ‘Great. Another old white guy!'” I beg to differ — I don’t think anyone would or should question the worthiness of De Niro for this sort of an honor.)
  • The Hollywood Reporter: Lindsay Powers reports that Hollywood’s reigning east coast power-couple, director Darren Aronofsky (whose “Black Swan” will be released later this month) and Oscar winning actress Rachel Weisz (whose “The Whistleblower” was recently acquired for distribution by Samuel Goldwyn Films), have split after nine years of domestic cohabitation. The duo, who were engaged, will reportedly share joint custody of their four-year-old son.
  • The Wrap: Steve Pond notes that the “Casino Jack” AFI Fest gala screening “was supposed to have been a festive occasion, given the fact that the screening would mark the Los Angeles premiere of a film in which director George Hickenlooper brought a comic, satiric touch to the tale of disgraced lobbyist Jack Abramoff, played with zest by Kevin Spacey,” but was instead a “more somber and emotional experience” because of Hickenlooper’s sudden death less than two weeks ago. Spacey, who was on hand at Grauman’s Chinese Theater to introduce the film, choked back tears as he said, “This one’s for you, George.”
  • Company Town: Claudia Eller reports that “increased movie marketing costs” caused Lions Gate Entertainment to post a net loss of $29.7 million for the second-quarter of the fiscal year, despite the release of such films as the blockbuster “The Expendables,” which grossed $102 million domestically. The studio is currently pushing “For Colored Girls,” “The Next Three Days,” and “Rabbit Hole” for awards consideration.

Photo: Mark Wahlberg and Christian Bale in “The Fighter.” Credit: Paramount.

Tuesday November 9th, 2010

YOUR DAILY FIX OF OSCAR: 11/9/10

  • The Hollywood Reporter: Eriq Gardner reports that Sony Pictures Classics has been cleared to release its animated feature “The Illusionist” after a federal judge denied a restraining order request by Illusionist Distribution, LLC (the rights-holder of a 2006 live-action film of the same name that starred Edward Norton) that had sought to block the release of the new film because it “infringed on its trademark and would cause substantial consumer confusion.” Judge Dolly M. Gee called the claim “weak,” noting that “a wide variety of consumer products employ the term ‘illusionist,’ including another 1983 film, 14 books published since 1952, and thousands of magicians who perform under that description.”
  • Gold Derby: Tom O’Neil pens a letter to “The Kids Are All Right” star Julianne Moore, forcefully telling the four-time Oscar nominee that she should “immediately quit the best actress race and campaign in supporting” in order to boost the prospects of her co-star Annette Bening, who Tom would leave in lead, and of Moore, who only a few prospects (Dave Karger, Guy Lodge, and our own Scott Feinberg) believe can snag a nod if she remains where she is. Though Tom’s tone is a bit inappropriate, he does raise some interesting parallels (between the women from “The Kids” and from the 1950 film “All About Eve”) and offers a reminder that Moore has committed similar category “fraud” before (when she competed in the supporting category, rather than lead, in 2002 for “The Hours”).
  • The Hollywood Reporter: Philiana Ng reports that Jake Gyllenhaal had no idea that Jill Clayburgh — who portrays his character’s mother in “Love and Other Drugs,” and who died on Friday following a decades-long battle with leukemia — was ill when they shot the film together during the fall of 2009. He told reporters, “I think part of her sickness is what made her live her life, and really cherish the moments she had, and cherish the people she was with… and she did when she was with us, cherish those moments, and they made us all love her.”
  • Speakeasy: Michelle Kung notes that on the last night of the 25th Israel Film Festival in Los Angeles, attendees of a panel discussion about Shlomi Eldar’s acclaimed doc “Precious Life” — which revolves around “a series of intense discussions that highlight the many complex political and religious issues facing the modern Middle East” — were treated to a “pleasant surprise” when “the subjects of the film [were] video-conferenced in from Gaza” to participate in the talk and provide an update on their lives since Eldar stopped filming them.
  • In Contention: Guy Lodge believes “Brits can be forgiven for feeling quite bolshy” about this year’s Oscar race, naming at least three contenders that were shot — and are set — across the pond and will probably be in contention in several categories: the 1940s period piece “The King’s Speech,” the sixties-set crowd pleaser “Made in Dagenham,” and the stark present-day drama “Another Year.”
  • Awards Tracker: Nicole Sperling contemplates the Oscar prospects of Tyler Perry’s “For Colored Girls,” which opened last weekend to scathing reviews but big ticket sales, which “could end up helping its award chances.” Though the general public has flocked to the film, Sperling believes that “Lionsgate’s toughest act will be getting Academy members to see the bleak drama.”
  • In Contention: Kris Tapley believes that “I See the Light” — the Alan Menken-written theme song for Disney’s newest animated feature “Tangled” that is performed on the film’s soundtrack by pop singers Zachary Levi and Mandy Moore — represents the film’s “strongest play at a nomination.” He notes that “Disney always does well in the best original song category,” especially when the songs trace back to Menken, who has racked up 18 nods and 8 wins in the category over the years, and who Tapley believes will “get at least one nod, [or] maybe a couple” for his tunes in the film.

Photo: “Tangled.” Credit: Disney.

Monday November 8th, 2010

YOUR DAILY FIX OF OSCAR: 11/8/10

  • indieWIRE: Peter Knegt reports that Roman Polanski’s dramatic thriller “The Ghost Writer” garnered a field-leading seven nominations for the 2010 European Film Awards including one for best film. “The most notable aspect of the nominations,” he writes, “was the fairly remarkable batch of films absent from the awards’ top category,” including Mike Leigh’s “Another Year,” Luca Guadagnino’s “I Am Love,” Olivier Assayas’s “Carlos,” Abbas Kiarostami’s “Certified Copy,” and Sylvain Chomet’s “The Illusionist.” Knegt adds, though, that “some of those films picked up nominations in other categories.” Winners will be announced at a ceremony on December 4 in Tallinn, Estonia.
  • New York Times: A.O. Scott visits with his great uncle, the legendary character actor Eli Wallach, less than a week before the Academy presents the 94-year-old with an honorary Oscar at its second annual Governors Awards ceremony.
  • Virgin Media: An unattributed report features quotes from the actress Mila Kunis about her portrayal of Natalie Portman’s nemesis in the soon-to-be-released thriller “Black Swan.” Regarding her lesbian sex scene with Portman, Kunis acknowledged, “It is slightly uncomfortable to have to be intimate with a good friend. The scene’s important for the character, but we went in going, ‘This is going to be a little different,’ yeah.” Kunis added, “She’s the strangest character I’ve ever played.”
  • New York Times: Manohla Dargis dissects director Tyler Perry (“For Colored Girls”), a film industry phenomenon who “has been led out to critical slaughter so many times, it might seem a wonder that he continues to make movies,” but who has found “enormous commercial success with a mainly black audience.” As Dargis puts it, “Whether you like Mr. Perry’s work may depend on your color or sex or love of boiling melodrama, ribald comedy, abrupt tonal shifts, blunt social messages, unforced talk about God, and flourishes of camp, sometimes whipped together in one scene.”
  • indieWIRE: Peter Knegt breaks down the impressive box-office numbers generated this weekend by “127 Hours,” which played in just four theaters in New York and Los Angeles but raked in $265,925 revenue from — or, in other words, “a whopping $66,481 per-theater-average.” That number comes close to but does not surpass 2010’s record, which is held by “The Kids Are All Right,” which brought in $70,282-per-seven screens this past July, but it is “now the clear runner-up, beating out ‘The Ghost Writer‘ and ‘Cyrus,’ which each had debut averages around $45,000.”
  • The Observer: Sean O’Hagan chats about cinema’s “digital revolution” with Hussain Currimbhoy, curator of Britain’s Sheffield Doc/Fest. The duo specifically focus on the unprecedented access to “affordable high-end digital camera and laptop technology,” and Lucy Walker, the young director of two of this year’s top docs — “Countdown to Zero” and “Waste Land” — insists that this low-budget technologyis responsible for “a golden age of documentary filmmaking” that is now upon us.
  • 24 Frames: Amy Kaufman sits down with three of Hollywood’s hottest young stars — Jesse Eisenberg, 27, Andrew Garfield, 27, and Carey Mulligan, 25 — to discuss the ways in which they handle “the challenges of global stardom as twentysomethings,” as well the perks of the job (including private jets, which Eisenberg tells her he enjoys because they are bigger than his New York City apartment.) This year, Eisenberg and Garfield co-starred in “The Social Network” and Garfield and Mulligan co-starred in “Never Let Me Go.”
  • Vanity Fair: Kate Reardon profiles the up-and-coming French actress Clemence Poesy, who American audiences will soon come to know as the ex-girlfriend of Aron Ralston (James Franco) in Danny Boyle’s heart-pounding “127 Hours.” The 27-year-old, described as “polite, enthusiastic, and well educated,” will subsequently star in the title role of a new adaptation of the Joan of Arc story.
  • 24 Frames: Steven Zeitchik wonders what exactly propelled Bruce Beresford’s “Mao’s Last Dancer,” an Australian-produced film that “features no big-name stars, drew mediocre reviews, and traffics in the esoterica of Chinese ballet,” to become one of the most acclaimed art-house hits of the year. “Despite a tough climate for specialty films,” Zeitchik writes, “the largely English-language movie is nearing the $5 million mark in U.S. box office ($4.5 million coming into this weekend) — an impressive run that’s lasted nearly three months.”
  • New York Times: Margalit Fox mourns the passing of actress Jill Clayburgh, who died on Friday at the age of 66 following a 21-year battle with chronic leukemia. Clayburgh, who was best known for her strong feminist roles — especially those in “An Unmarried Woman” (1978) and “Starting Over” (1979), both of which brought her best actress Oscar nods — and whose final performance can be seen in the upcoming “Love and Other Drugs,” in which she portrays the mother of Jake Gyllenhaal’s character.
  • Movieline: Dixon Gaines reports that Oscar show producers Bruce Cohen and Don Mischer asked Hugh Jackman, who hosted the 81st Academy Awards in 2009, to host the 83rd Academy Awards on February 27, 2011, but were turned down by the actor. Gaines, therefore, offers a few “humble suggestions” for others to whom the producers could turn: among them, Neil Patrick Harris, Steve Martin, Ricky Gervais, Tina Fey, and Joan Rivers. (Other reports suggest that 88-year-old Betty White is being seriously considered for the job!)

Photo: Ewan McGregor in “The Ghost Writer.” Credit: Summit.

Sunday November 7th, 2010

BOX OFFICE BREAKDOWN: BIGGEST HOLIDAY SEASON KICK-OFF EVER

BoxOfficeMojo.com reports that this was “the highest-grossing holiday season kick-off ever (if estimates hold),” noting that “overall business improved a whopping 30 percent over the same weekend last year when ‘A Christmas Carol’ (2009) led its debut.” The estimated receipts are…

*This Wknd’s Dom Gross / This Wknd’s Theaters / Weeks In Release / Cume Dom Gross*

Box Office Leaders

1. “Megamind” (Paramount, 11/5, PG, trailer) — $47.7 / 3,944 / 1 / $47.7
2. “Due Date” (Warner Brothers, 11/5, R, trailer) — $33.5 / 3,355 / 1 / $33.5
3. “For Colored Girls” (Lionsgate, 11/5, R, trailer) — $20.1 / 2,127 / 1 / $20.1
4. “Red” (Summit, 10/15, PG-13, trailer) — $8.9 / 3,229 / 4 / $71.9
5. “Saw 3D” (Lionsgate, 10/29, R, trailer) — $8.2 / 2,808 / 2 / $38.8

Other Notables in Top 25

8. “Hereafter” (Warner Brothers, 10/22, PG-13, trailer) — $4.0 / 2,365 / 4 / $28.7
9. “Secretariat” (Disney, 10/8, PG, trailer) — $4.0 / 2,614 / 5 / $51.0
10. “The Social Network” (Columbia, 10/1, PG-13, trailer) — $3.6 / 1,860 / 6 / $85.1
12. “Conviction” (Fox Searchlight, 10/15, R, trailer) — $1.6 / 672 / 4 / $4.7
13. “The Town” (Warner Brothers, 9/17, R, trailer) — $1.2 / 801 / 8 / $89.8
15. “Fair Game” (Summit, 11/5, PG-13, trailer) — $0.7 / 46 / 1 / $0.7
18. “Waiting for ‘Superman’” (Paramount Vantage, 9/24, PG, trailer) — $0.4 / 242 / 7/ $5.4
19. “Wall Street: Money Never Sleeps” (20th Century Fox, 9/24, PG-13, trailer) — $0.4 / 353 / 7 / $51.9
20. “Despicable Me” (Universal, 7/9, PG, trailer) — $0.3 / 307 / 18 / $248.3
21. “Inside Job” (Sony Pictures Classics, 10/8, PG-13, trailer) — $0.3 / 66 / 5 / $1.0
22. “127 Hours” (Fox Searchlight, 11/5, R, trailer) — $0.3 / 4 / 1 / $0.3
23. “Toy Story 3” (Disney, 6/18, G, trailer) –$0.3 / 264 / 21 / $414.3

Photo: “Megamind. Credit: Paramount.