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ScreenCrave’s Top 20 Films of 2011

Mali Elfman — Thu, 22 Dec 2011 16:00:58 +0000

2011 was the year of the indie. The majority of adaptations and blockbusters all fell completely flat, and numerous big studio dramas were missing that something special. Normally I’m one to say that every year is a great year, but this is no There Will be Blood Vs. No Country for Old Men, or even Moon Vs. Inglourious Bastards. That being said, the end of this year has been packed with award-worthy films and Sundance seemed to produce a number of films that made it big throughout 2011.

20. Ides of March – Dir. George Clooney

This film had such potential to be a top 5 film, but sadly, just barely made the list. The film itself was good, but lacked in depth and complexity. That being said, there are some moments in this film, far superior to the others on this list, including one hell of a monologue-off between Ryan Gosling and George Clooney towards the end of the film. Luckily when these two guys go to steal the show, they do it well.

Read Ides of March Review

19. Trust – Dir. David Schwimmer

Who knew Schwimmer had it in him? This was one of those films that few people really wanted to go see, because of the subject matter, but it was actually extremely relevant, timely and interesting. It not only discussed rape, but also the effects that it has on an entire family, and the unexpected responses that it draws out of people. Truly a fascinating piece of filmmaking if you can stomach it, with many stunning performances.

18. Contagion – Dir. Steven Soderbergh

Don’t touch anything! Few films can’t illicit such a strong response from its audience as this one. It was hard not to run from the theater because of all the germs around you, while at the same time, they’re dying to see what’s next (hopefully not literally). This was Soderbergh playing fast and lose, and it was fun to go on the ride. Thankfully he had Matt Damon to anchor down the film, and really give it the heart that took it from thrill ride to a meaningful piece of filmmaking.

Read Contagion Review

17. Moneyball – Dir. Bennett Miller

This was the film that brought in the Fall and reminded us all that films aren’t only made to entertain us, sometimes there’s that little something more that warms our heart and possibly even teaches us a thing or two. This was one of the first meaningful films of the year, that was finely made and an easy pick for everyone.

16. Shame – Dir. Steve McQueen

Provocative, innovative and starsring Michael Fassbender, a man who has three films on this list. He must be a lucky charm of some sort. The film is by far the most scandalous on the list, mainly due to its subject matter, NC-17 rating, and a whole lot of nudity. That being said, the film is poignant, strong and undoubtedly has paved the way for other films to talk about “sex addiction.”

Read Shame Review

15. Bridesmaids – Dir. Paul Feig

Wait, women can be funny too? Let’s face it, there were a lot of bad comedies this year, especially within the studio released arena. Not only was this the best broad comedy of the year but it also helped remind us of comedic female power. And that there are more funny women out there than just Tina Fey!

Read Bridesmaids Review

14. X-Men: First Class – Dir. Matthew Vaughn

Out of the many half-assed blockbusters this summer, this was the only one that really stood out as a quality film, with fine acting, interweaving subplots and a story-line that actually added up to something. This was one of the only comic book adaptations that really felt like a film instead of just a wash of special effects.

Read X-Men: First Class Review

13. My Week with Marilyn – Dir. Simon Curtis

It’s hard not to just see this film as an Oscar device for Michelle Williams, but if it was, she played the game well. The film did what any good bio-pic does, it showed us the Monroe that we didn’t know, the one that made her reach for the stars and eventually perish too young. Williams was amazing, but even more amazing was the stellar supporting cast that really brought this film to life.

Read My Week With Marilyn Review

12. Beginners – Dir. Mike Mills

This was a small film, that seemed to get over-looked for the most part, but really deserved some attention. Visually and conceptually, the film took a number of creative risks and dealt with a number of heavy topics with a sense of meaningful levity. It was meaningful and yet not overtly dark. It definitely is a “small” but great film.

Read Beginners Review

11. Buck – Dir. Cindy Meehel

Another Sundance darling that was so popular at the festival that Buck himself had to give up his own seat. Buck’s dedicated his life to helping horses and healing people. This a film where you will not only be transported into a life that is likely not anything like your own, but much like Buck, it has a subtle and unpretentious way of teaching you a thing or two about your own life while watching it.

Read Buck Review

10. Tucker and Dale Vs. Evil

I saw this film at Sundance two years ago and was waiting for its release for years, only to see it never get the attention it fully deserved. This is the best comedy of the year, highly underrated, but well worth your time in theaters. It plays on stereotypes in a new way and will have you laughing the whole way through.

Read Tucker and Dale Vs. Evil Review

9. Midnight in Paris – Dir. Woody Allen

Here is a filmmaker who loves making film and you can literally smell it on the screen. This is Woody Allen at his best, playing with a fun idea and really indulging in the art of cinema. From the music, to the settings, to the colors and the concept, this was a brilliantly made film all around.

Read Midnight in Paris Review

8. Red State – Dir. Kevin Smith

The indie film that pushed all the boundaries and said fuck you to the system. Not only was it a film worth remembering, but the film itself it a story worth following. With its mix of graphic violence and witty one-liners, this film gets both big laughs and big jolts. It walks that magical line of horror and comedy and does it well. Plus, Michael Parks gives probably one of the best performances of the year.

Read Red State Review

7. Senna

I hate car racing and sports, I just don’t get them, and yet I loved Senna. They were able to beautifully capture the heart-ache, stress and drama that goes into car racing in a way I never thought possible. They do a wonderful job at always keeping the story balanced and somehow managed to give a pulse to stock footage like I’ve never seen before — impressive.

6. Take Shelter – Dir. Jeff Nichols

This is one of the best examples of how to take a high concept and run with it. This is quite possibly, the most beautiful film of the year. The way they managed to not only capture the scenery in a beautifully informative way, but also visually portray the psyche of a man on the verge is nothing short of stunning. This is one of those films that seems near impossible to portray on the big screen, and yet with the right vision, it’s breathtaking.

Read Take Shelter Review

5. Win Win – Dir. Thomas McCarthy

Sweet. Simple. Truly wonderful filmmaking here. Extremely well written, acted and executed. This film sets the bar for all other comedic dramas out there. Win Win is simple but not dumbed down and smart without being preachy. The film perfectly walks the line of drama and comedy without ever losing momentum and most importantly doesn’t rely on any romantic undertones or cliches to help it! It’s a high class Rom-Com!

Read Win Win Review

4. The Guard

Some of the best dialogue of the year. You don’t need to go big to be remembered, sometimes you just need a simple story and to tell it well. This is a definite must-see film, packed with action, comedy, suspense, and proper macho charisma. Brendan Gleeson’s character completely absorbs you from beginning to end and leaves you wanting more. And it’s sure to leave you with numerous one-liners to quote for some time!

Read The Guard Review

3. The Girl with the Dragon Tattoo

Yes it’s a remake, but it’s also David Fincher, who is able to take just about any source material and put his own finger print on it. It’s edgy, risky, and at the end of it, you’ll know you just saw something worth remembering.

2. A Dangerous Method

Now this is a FILM in the true sense of the word with beautiful sets, an immersive story, and Viggo Mortenson at his absolute best. It’s one thing to talk about indie filmmaking, it’s a whole other thing to watch the masters at work. Though Keira Knightley pushes a bit much at the start, this is a great film, that leaves you knowing you just saw something worth remembering. And this marks Fassbender’s third time on the list.

Read A Dangerous Method Review

1. Martha Marcy May Marlene

The little indie for the win! Yes it has fine acting, filmmaking, the whole package, but the reason it’s my #1 pick, is because it sticks with you long after it’s over and leads you into so many interesting debates with others. It’s one of the must stressful watches of the year, that literally will have your stomach churning from start to finish, but it’s also one of the most intense and interesting films that’s come out.

Honorable Mentions: Project Nim, Submarine, Tree of Life, Anonymous, Hesher, Beautiful Boy, Born to be Wild, Source Code, Another Earth, We Need to Talk about Kevin
Haven’t Seen (but heard were amazing!): Young Adult, I Saw the Devil, The Skin I Live In, Hugo, Real Steel, Descendants, Certified Copy, Margaret

So that’s it for the year! Let us know which films you loved in the comments below!

The Artist, The Descendents and The Help Lead The Golden Globe Nominations for 2012

Damon Houx — Thu, 15 Dec 2011 17:59:06 +0000

The 69th annual Golden Globes nominees have been announced, and this year they’re big on definite articles. The Help, The Artist and The Descendents lead the pack of nominees. Which is interesting because – if the Globes have a weakness – it’s that they chase the famous names, and these noms aren’t that celeb-heavy. Then again, George Clooney has received three nominations directly (for actor, writing and directing) between The Ides of March and Descendents, and surely a fourth for producing March. Check out the full list…

If the Golden Globes’ status has fallen any in the last couple years, it’s only because Oscar prognostication has shown that the Globes have little effect on the big award of the season. Still, everyone knows it’s going to be more fun because it’s drunker, looser, and not taken as seriously. Ricky Gervais will be hosting, so it’s going to be worth watching for that at least.

If this says anything about award season, it’s that The Artist and The Descendents are pretty much locks for best picture Oscar nominations. And probably also The Help. But for those looking to get a jump on their Oscar pools, always follow the SAG awards. Why? Because they have the largest voting block, and as goes the actors, so goes the majority of the awards. Of course their list came out yesterday and because they went early it’s possible many voters didn’t get a chance to see as much as they have now. But there are only so many contenders now.

MOTION PICTURE

Motion Picture, Drama
The Descendants
The Help
Hugo
The Ides of March
Moneyball
War Horse

Best Performance By An Actress In A Motion Picture – Drama
Glenn Close, Albert Nobbs
Viola Davis, The Help
Rooney Mara, The Girl With the Dragon Tattoo
Meryl Streep, The Iron Lady
Tilda Swinton, We Need To Talk About Kevin

Best Performance By An Actor In A Motion Picture – Drama
George Clooney, The Descendants
Leonardo DiCaprio, J. Edgar
Michael Fassbender, Shame
Ryan Gosling, The Ides of March
Brad Pitt, Moneyball

Best Motion Picture – Comedy Or Musical
50/50
The Artist
Bridesmaids
Midnight in Paris
My Week With Marilyn

Best Performance By An Actress in A Motion Picture – Comedy Or Musical
Jodie Foster, Carnage
Charlize Theron, Young Adult
Kristen Wiig, Bridesmaids
Michelle Williams, My Week With Marilyn
Kate Winselt, Carnage

Best Performance By An Actor In A Motion Picture – Comedy Or Musical
Jean DuJardin, The Artist
Brendan Gleeson, The Guard
Joseph Gordon-Levitt, 50/50
Ryan Gosling, Crazy, Stupid, Love.
Owen Wilson, Midnight in Paris

Best Animated Feature Film
The Adventures of Tintin
Arthur Christmas
Cars 2
Puss in Boots
Rango

Best Foreign Language Film
The Flowers of War (China)
In the Land of Blood and Honey (USA)
The Kid With A Bike (Belgium)
A Separation (Iran)
The Skin I Live In (Spain)

Best Performance By An Actress In A Supporting Role In A Motion Picture
Berenice Bejo, The Artist
Jessica Chastain, The Help
Janet McTeer, Albert Nobbs
Octavia Spencer, The Help
Shailene Woodley, The Descendants

Best Performance By An Actor In A Supporting Role In A Motion Picture
Kenneth Branagh, My Week With Marilyn
Albert Brooks, Drive
Jonah Hill, Moneyball
Viggo Mortensen, A Dangerous Method
Christopher Plummer, Beginners

Best Director – Motion Picture
Woody Allen, Midnight in Paris
George Clooney, The Ides of March
Michel Hazanvicius, The Artist
Alexander Payne, The Descendants
Martin Scorsese, Hugo

Best Screenplay – Motion Picture
Woody Allen, Midnight in Paris
George Clooney, Grant Heslov, Beau Willimon, The Ides of March
Michel Hazanavicius, The Artist
Alexander Payne, Nat Faxon, Jim Rash, The Descendants
Steven Zaillian, Aaron Sorkin, Moneyball

Best Original Score – Motion Picture
Ludovic Bource, The Artist
Abel Korzeniowski, W.E.
Trent Reznor, Atticus Ross, The Girl With the Dragon Tattoo
Howard Shore, Hugo
John Williams, War Horse

Best Original Song – Motion Picture
“Hello Hello” — Gnomeo & Juliet
Music by: Elton John
Lyrics by: Bernie Taupin
“The Keeper” — Machine Gun Preacher
Music & Lyrics by: Chris Cornell
“Lay Your Head Down” — Albert Nobbs
Music by: Brian Byrne
Lyrics by: Glenn Close
“The Living Proof” — The Help
Music by: Mary J. Blige, Thomas Newman, Harvey Mason, Jr.
Lyrics by: Mary J. Blige, Harvey Mason, Jr., Damon Thomas
“Masterpiece” — W.E.
Music & Lyrics by: Madonna, Julie Frost, Jimmy Harry

TELEVISION

Best Television Series – Drama
American Horror Story, FX
Boardwalk Empire, HBO
Boss, STARZ
Game of Thrones, HBO
Homeland, Showtime

Best Performance By An Actress In A Television Series – Drama
Claire Danes, Homeland
Mireille Enos, The Killing
Julianna Margulies, The Good Wife
Madeleine Stowe, Revenge
Callie Thorne, Necessary Roughness

Best Performance By An Actor In A Television Series – Drama
Steve Buscemi, Boardwalk Empire
Bryan Cranston, Breaking Bad
Kelsey Grammer, Boss
Jeremy Irons, The Borgias
Damian Lewis, Homeland

Best Television Series – Comedy Or Musical
Enlightened, HBO
Episodes, Showtime
Glee, FOX
Modern Family, ABC
New Girl, FOX

Best Performance By An Actress In A Television Series – Comedy Or Musical

Laura Dern, Enlightened
Zooey Deschanel, New Girl
Tina Fey, 30 Rock
Laura Linney, The Big C
Amy Poehler, Parks and Recreation

Best Performance By An Actor In A Television Series – Comedy Or Musical
Alec Baldwin, 30 Rock
David Duchovny, Californication
Johnny Galecki, The Big Bang Theory
Thomas Jane, Hung
Matt LeBlanc, Episodes

Best Mini-Series Or Motion Picture Made For Television
Cinema Verite, HBO
Downton Abbey, PBS (Masterpiece)
The Hour, BBC America
Mildred Pierce, HBO
Too Big to Fail, HBO

Best Performance By An Actress In A Mini-Series Or Motion Picture Made For Television
Romola Garai, The Hour
Diane Lane, Cinema Verite
Elizabeth McGovern, Downton Abbey
Emily Watson, Appropriate Adult
Kate Winslet, Mildred Pierce

Best Performance By An Actor In A Mini-Series Or Motion Picture Made For Television
Hugh Bonneville, Downton Abbey
Idris Elba, Luther
William Hurt, To Big to Fail
Bill Nighy, Page Eight
Dominic West, The Hour

Best Performance By An Actress In A Supporting Role In A Series, Mini-Series, Or Motion Picture Made for Television
Jessica Lange, American Horror Story
Kelly Macdonald, Boardwalk Empire
Maggie Smith, Downton Abbey
Sofia Vergara, Modern Family
Evan Rachel Wood, Mildred Pierce

Best Performance By An Actor in A Supporting Role in A Series, Mini-Series Or Motion Picture Made For Television
Peter Dinklage, Game of Thrones
Paul Giamatti, Too Big to Fail
Guy Pearce, Mildred Pierce
Tim Robbins, Cinema Verite
Eric Stonestreet, Modern Family

Who do you want to win? Who do you think got snubbed?

Box Office Predictions: Leftovers Triumph over Dream House and 50/50

Damon Houx — Fri, 30 Sep 2011 18:44:50 +0000

When the most anticipated movie of the weekend wasn’t reviewed for critics as is barely expected to crack ten million, yeah, we’re in the dog days. Dream House – which wasn’t screened for critics – could lead the pack of new films, and The Lion King looks to end its two week run at the top of the charts, which means we may see Dolphin Tale climb to the top slot. Or perhaps Moneyball, or… forget it Jake, it’s September.

The big winner this weekend is going to be a film called Courageous. If you’ve never heard of it, it’s because it wasn’t marketed for anyone but it’s target audience, much like the Kirk Cameron film Fireproof. And it’s from the same creators. Subtly, we’ve seen more and more successful pictures that are pitched to religous audiences – much of Dolphin Tale‘s success and Soul Surfer‘s are due to a campaign that didn’t go for ad placement during sports shows or hit sitcoms. As a business model this is very exciting for the industry, but throughout the last forty years, we’ve sene numerous films do well by targeting an audience that was hungry to go to the movies, but didn’t respond to the big names. From Easy Rider and Superfly to Tyler Perry, there are numbers of films that have worked well by playing to a base. It doesn’t always work, but for a film like Courageous to do over five million is a big win for the film.

Dream House is being dumped by its studio and runs 92 minutes. It’s got names across the board – Daniel Craig, Rachel Weisz and Naomi Watts - and was directed by Jim Sheridan, who used to be an Oscar-friendly filmmaker. It runs 92 minutes and is coming out a little early for the Halloween season, which in film terms usually says it all. Still, it’s short enough and with enough famous people to do not terrible business.

I thought 50/50 was a solid piece of work that would have benefited only from an adjustment to a character that was a little too arch for the film, but I think it plays. It’s both funny and touching, but the question is if the people like who like the stars of the film (Seth Rogen and Joseph Gordon-Levitt) will turn out for an emotional roller coaster. I think the studio has been smart in telling audiences the results of the film, but this may be the worst or the best date-night movie ever. Films like this tend to work better when they have Oscar chances or are aimed at women. Perhaps if sports had somehow been involved. It may do the best out of the new releases, but only just.

What’s Your Number is another off season effort. Anna Farris has shown she can carry a Hollywood comedy, and Chris Evans is coming off his biggest solo hit with Captain America, and yet… late September. Off season is sometimes good for a rom-com, but they tend to go with near-Valentine’s day releases for more synergy. Basically, now is the best time for studios to release products they’re unsure of because with less competition, it makes sense to hope that people just want to go to a movie. If a film is set to be counter-programming during the busy months, it will often die that much faster – which is sometimes the goal (studios often hate the films they make). To release a film now suggests that either you’re going for a word of mouth appeal (like 50/50) or you can’t punch your weight.

So let’s top five it:

Dolphin Tale – $14 Million
Moneyball – $13.5 Million
The Lion King – $11.7 Million
50/50 – $10.2 Million
Dream House - $9.5 Million

Nothing’s really charting heavy, so it’s possible either Courageous or What’s Your Number could jump into the top five, and it’s also possible that Dream House dies a quick death even with the talent involved. It’s hard to know if this will hurt Daniel Craig any more than Cowboys and Aliens did. Next week brings Real Steel. That’s going to be fascinating.

Weekend Box Office: The Lion King Reigns For A Second Week

Laura Aguirre — Mon, 26 Sep 2011 19:40:03 +0000

Four new films hit theaters last Friday but none were able to dethrone The Lion King. The Disney classic stayed king with $22.1 million, bringing its total gross to $61.6 million. Brad Pitt‘s new critically acclaimed movie Moneyball followed The Lion King with an estimated $20.6 million. Although thrillers like Abduction and Killer Elite hit theaters, it was the kid-friendly Dolphin Tale that proved to be Moneyball’s biggest competition. The film came in third with $20.2 million. Taylor Lautner was the big attraction for Abduction, and even though the film came in fourth, it made much less – $11.2 million. And finally, there was Killer Elite, which came in fifth with $9.5 million.

The Lion King (in 3D) | Last Week #1 | Buena Vista | Weekend Gross $22,130,000 | Average Per Theater $9,498 | Total Gross $61, 676,000 | Film’s Budget – N/A | Week 2
Moneyball | NEW | Sony | Weekend Gross $20,600,000 | Average Per Theater $6,883 | Total Gross $20,600,000 | Film’s Budget – $50 | Week 1
Dolphin Tale | NEW | Warner Brothers | Weekend Gross $20,260,000 | Average Per Theater $5,777 | Total Gross $20,260,000 | Film’s Budget – $37 | Week 1
Abduction | NEW | Lionsgate | Weekend Gross $11,200,000 | Average Per Theater $3,592 | Total Gross $11,200,000 | Film’s Budget – $35 | Week 1
Killer Elite | NEW | Open Road Films | Weekend Gross $9,500,000 | Average Per Theater $3,182 | Total Gross $9,500,000 | Film’s Budget – $70 | Week 1
Contagion | Last Week #2 | Warner Brothers | Weekend Gross $9,500,000 | Average Per Theater $2,731 | Total Gross $57,122,000 | Film’s Budget – $60 | Week 3
Drive | Last Week #3 | FilmDistrict | Weekend Gross $5,771,000 | Average Per Theater $1,987 | Total Gross $21,425,000 | Film’s Budget – $15 | Week 2
The Help | Last Week #4 | Buena Vista | Weekend Gross $4,400,000 | Average Per Theater $1,987 | Total Gross $154,444,000 | Film’s Budget – $25 | Week 7
Straw Dogs | Last Week #5 | Screen Gems | Weekend Gross $2,100,000 | Average Per Theater $872 | Total Gross $8,884,000 | Film’s Budget – $25 | Week 2
I Don’t Know How She Does It | Last Week #6 | Weinstein | Weekend Gross $2,053,000 | Average Per Theater $824 | Total Gross $8,019,000 | Film’s Budget – $24 | Week 2

Originally The Lion King was only suppose to be in theaters for two weeks to promote the Oct. 4 DVD/Blu-ray release, but that has reportedly changed due to the success of the movie. Aside from The Lion King, the box office top five was filled with new releases which pushed movies like Contagion, Drive and The Help down to the bottom half. The highly-successful film The Help passed the $150 million mark over the weekend. Even though the film is in the bottom top ten now, it’s still the big winner.

What did you watch this weekend?

Box Office Predictions: Moneyball Fends Off Lion (King)

Damon Houx — Fri, 23 Sep 2011 18:26:57 +0000

Last weekend The Lion King dominated the box office. Blame a sleepy September for a reissue throttling the marketplace, and parents who were happy to take their kids to see a film they grew up on (how’s that for a circle of life?) The question with reissues is always if it’s going to behave like a special event and evaporate quickly, or if it plays like a normal kids film Surely Moneyball - the long-in-development picture now starring Brad Pitt and Jonah Hill - would rather not have to take on such big numbers with their smaller film. The same goes for Dolphin Tale, Killer Elite or Abduction.

Moneyball has the presence and cast of an Oscar contender, but not the release date. Having screened at Toronto’s International Film Festival, the film’s coming out with a “good not great” reputation. Which is where the tomato-meter of Rotten Tomatoes can be very misleading. But solid should be enough for the film to perform modestly, if not memorably. Brad Pitt in star mode can launch a picture, and Jonah Hill is liked but not necessarily much of a draw – especially in a drama. But if this finds an audience, it could play long – sports pictures often do – but this has that academy appeal and may not speak to the people who love sports.

It may be challenged by the Twi-hards who might flock to Abduction. This is Taylor Lautner‘s big chance to prove he’s a star outside of the Twilight franchise, but the word on the picture is that it’s a career-ender. Seriously. It’s supposed to be miserable as a movie, laughably bad. How bad you say? The film is called Abduction, and I’ve heard it doesn’t actually feature any abducting. When Robert Pattinson tried to branch out with Remember Me the numbers weren’t that great, and Kristen Stewart has been working steadily and none of her pictures have received much of a Twilight bump. Since it took a while for Lautner to go out on his own, perhaps this may get a little boost from it being his first real solo effort, but even then….

Dolphin Tale reunites Morgan Freeman and Ashley Judd in a film that is not a thriller. Perhaps it helped financing, but as a kids film it would be in much better shape if The Lion King wasn’t the kids film of September. Look, money’s tight in America, and when people have to make a choice for their weekend’s entertainment, they’ll probably go with the thing they know better – a Disney classic. If word is good the film might save itself, but it should do Soul Surfer numbers if it finds a similar off-season audience.

David Poland once talked about the “geek eight”, what if there’s an “action eleven?” Poland’s theory was that a poorly marketed (or Comic-con marketed) film aimed squarely at geeks opens to around eight. Last weekend we saw Drive do around eleven, and The Mechanic – Jason Statham‘s other action film this year – opened to around eleven. We thought the picture was not that good, but the star power fo Statham, Clive Owen and Robert De Niro may be just enough to get this to that near-eleven number. Likely the film will do much more business internationally – or at least that’s the hope.

But The Lion King still has some draw, and could have legs. I don’t know if Disney was prepared for the film to do as well as it is, as it’s due on Blu-ray and DVD reissue in less than two weeks. With a thirty million dollar opening, it’s possible the film could do near a hundred domestic. I underestimated the appeal partly because of the upcoming home video reissue, but there is a draw for films like this in 3-D, and perhaps that’s a good sign for the upcoming 3-D releases of The Phantom Menace, Top Gun and Titanic. But the cultural legacy of The Lion King seems stronger because of the parent appeal. We shall see on that one.

So for the weekend, let’s guestimate:

Moneyball - $19.8 Million
The Lion King – $16.7 Million
Abduction - $13.9 Million
Dolphin Tale – $13.5 Million
Killer Elite – $11 Million

This is fairly spread out for fall releases, so it’s possible some of these numbers might be lower just because of sports, and a general sense that now’s not a great time to go to the theater. If Lion King trumps Moneyball I wouldn’t be surprised.

Parks and Recreations Chris Pratt Joins Moneyball

Krystal Clark — Tue, 13 Jul 2010 16:19:38 +0000

The team is starting to fill out for the little engine that could known as Moneyball. The Bennett Miller film, which went from a no-go to a full fledged production recently began shooting and features Brad Pitt in the lead role. According to THR, a few last minute castings have just taken place that include “Cold Case” alum Kathryn Morris and NBC’s “Parks and Recreation” star, Chris Pratt.

Morris has been cast as the wife of Pitt’s character Billy Beane, the general manager of the Oakland Athletics, who both share a serious passion for the game of baseball. Pratt will play one of the stars of the team “Scott Hatteberg, whose career as a catcher for the Boston Red Sox ended after he ruptured a nerve in his elbow and could no longer throw a ball post-surgery.”

Based on Michael Lewis’ nonfiction book, Moneyball centers on the 2002 Oakland Athletics, who were led by Beane to an excellent season despite having the lowest payroll in the Major Leagues. Philip Seymour Hoffman stars as Art Howe, the field manager of the Athletics and Robin Wright is set to play Beane’s ex-wife.

Jonah Hill will appear as Paul DePodesta, an ex-football player and Harvard graduate who helps the A’s perfect their game from a mathematical perspective. While Stephen Bishop has been cast as David Justice.

What do you think of the line up for Moneyball so far?

Additional Source: Reuters

Stephen Bishop Cast as David Justice in Moneyball

Krystal Clark — Fri, 02 Jul 2010 01:58:24 +0000

After months of delays, the cast of Bennett Miller‘s upcoming film Moneyball is starting to fill out. So far Brad Pitt, Robin Wright, Philip Seymour Hoffman, and Jonah Hill have been confirmed and now another major role has been filled. According to THR, Stephen Bishop has been cast as David Justice, the baseball star who played the majority of his career with the Atlanta Braves but his last season (2002) with the A’s.

Based on Michael Lewis’ nonfiction book, Moneyball centers on the 2002 Oakland Athletics, who were led by general manager Billy Beane (Pitt) to an excellent season despite having the lowest payroll in the Major Leagues. Hoffman stars as Art Howe, the field manager of Billy Beane’s Oakland Athletics and Wright is set to play Beane’s ex-wife. Hill will appear as Paul DePodesta, an ex-football player and Harvard graduate who helps the A’s perfect their game from a mathematical perspective.

Bishop is mostly known for his television work with roles on “Lost“, “Grey’s Anatomy“, and “Brothers and Sisters.” Despite his big screen credits you can’t deny that he’s a spitting image of Justice. His physical appearance is definitely up to par with the actual player so hopefully his acting will be just as good!

What do you think of Bishop as Justice in Moneyball?

Philip Seymour Hoffman, Robin Wright Joining Moneyball?

Laura Aguirre — Fri, 14 May 2010 21:04:26 +0000

After multiple director changes and actor replacements, we’re shocked that Moneyball is still a developing production. Now that helmer Bennett Miller has taken over, the film’s future is looking a lot more promising. Variety reports that Miller is in talks with the extremely talented Philip Seymour Hoffman and Robin Wright to join the cast, which already includes Brad Pitt and Jonah Hill (yeah we know). Could it be? This sounds — and excuse the cliché — too good to be true.

Based on Michael Lewis’ nonfiction book, Moneyball centers on the 2002 Oakland Athletics, who were led by general manager Billy Beane (Pitt) to an excellent season despite having the lowest payroll in the Major Leagues. If Hoffman signs on, he would play Art Howe, the field manager of Billy Beane’s Oakland Athletics; and Wright would play Beane’s ex-wife.

It’s likely that this deal will go through because Miller and Hoffman have worked together in the past; remember Capote, that awesome film that earned Hoffman an Oscar for his performance as the title character? Yeah, that one. The film is scheduled to start shooting around July in Los Angeles, but with Moneyball’s rough history, who knows if that will actually happen.

Do you think the project will finally get made?

Jonah Hill Replaces Demetri Martin in Moneyball

Krystal Clark — Tue, 09 Mar 2010 00:56:35 +0000

At this point, is Moneyball nothing but a shadow of its former self? Last year we heard so much about the Steven Soderbergh-Brad Pitt collaboration before it hit the skids after the director jumped ship. Pitt supposedly stayed on board and Capote director Bennett Miller was brought in to direct. Aaron Sorkin was hired to polish the script and lo’ and behold we’ve got a new casting shakeup. According to The Playlist, Jonah Hill has just signed on to co-star in the film replacing Demetri Martin.

Demetri Martin had been attached to Moneyball since the early days of its inception, and after all the drama the film has gone through he’s being replaced. It sounds fishy to me, but Hill will take over his role as Paul DePodesta, an ex-football player and Harvard graduate who helps the A’s perfect their game from a mathematical perspective. When reading that description the one thing that popped out to me was “ex-football” player. Will Hill even elude to looking like a former athlete for this role?

What type of turn has this film taken? Seeing Hill and Pitt going toe to toe over some dialogue doesn’t appeal to me. At first it seemed like this movie had promise, but now I’m not so sure. Hill could surprise us and pull off an amazing and believable performance but it’s one of those things that you’ll have to see to believe.

What do you think of Jonah Hill co-starring in Moneyball with Brad Pitt? Do you think they should have cast someone else? Are you still interested in the film?

Marc Webb to Direct Moneyball?

Krystal Clark — Wed, 11 Nov 2009 16:22:26 +0000

The career of 500 Days of Summer director Marc Webb has been given a major boost since the release of the indie hit this past summer, and now there’s an even bigger film on the horizon. According to a report from THR, Webb may be in line to replace Steven Soderbergh on the developing drama, Moneyball.

According to the trade, several potential directors have met with Brad Pitt and the executive producers of the film. Two primary candidates have risen to the top of the pile and they’re directors Bennet Miller and Webb. Miller is the man behind the Oscar winning feature Capote, and for the most part since the breakout film he’s been laying low. He’s not overrun with projects at the moment, but is developing Foxcatcher, a real-life tale about a schizophrenic member of the DuPont family.

Webb on the other hand has decided to hit the ground running. He’s been approached with several projects including a remake of the rock-opera, Jesus Christ Superstar. These are two tonally different directors, who could each bring something unique to the story of an underdog baseball player.

It’s hard to say who should be given the greenlight on this project because there’s something to like about both of these guys. Visually, Webb is amazing, which may date back to his days as a music video director. His projects always have a certain look to them, a high quality gloss. On the other hand, the film might need a raw, dim silhouette to dominate the screen similar to Miller’s work in Capote. Who knows where the studio will go with this.

Who do you think should direct Moneyball?

Soderbergh Talks about Moneyball and Cleopatra

Mali Elfman — Wed, 02 Sep 2009 19:08:09 +0000

So what ever happened to Steven Soderbergh’s planned adaptation of the Michael Lewis book Moneyball which was supposed to be written by Aaron Sorkin and star Brad Pitt as Billy Beane, the Oakland A’s manager who used non-traditional statistical systems to build the cheapest winning baseball team alongside Demetri Martin? It got inexplicably canceled a couple of months ago, with no explanation. That is until just now.

So what’s the big secret behind why the movie didn’t get made Mr. Soderbergh?

There have been a couple of times in my career where I’ve been unceremoniously removed from projects. I don’t waste a lot of energy on it. It doesn’t get you anywhere. As soon as it became clear that there was no iteration of that movie that I was going to get to direct, I immediately started looking around for something else to do.

Sounds quite sensible and professional to me. One thing doesn’t work, so start another one! Happens all the time in Hollywood with some of the biggest and smallest names in “The Biz.”

So why not go a completely different direction with something new? Maybe something like a 3-D musical about Cleopatra?

I’m going to do it in 3D, because I think that’s a viable format. You’re going to see more people working in it. I want to see the first person take a shot at doing a straight drama in 3D. Maybe the way to do it would be to make a period drama in 3D where it really contributes to your sense of being in that world. Cleopatra’s world would be a natural for this.

To be Soderbergh does simple shots with interesting stories best. I can’t picture him using 3-D, but everything he does is interesting in one way or another so I’m interested to see what he comes up with!

Sources: orlandosentinel and /film

Aaron Sorkin Is The New Writer of Moneyball

Laura Aguirre — Fri, 10 Jul 2009 00:13:01 +0000

Columbia has replaced Steven Soderbergh with Aaron Sorkin to write Moneyball. Production was set to start in June with Soderbergh, but was later cancelled after Amy Pascal and other executives felt the script was different than what they signed on for, reports THR.

Brad Pitt is still set to star as Billy Beane, the Oakland A’s manager who used non-traditional statistical systems to build the cheapest winning baseball team.

Sorkin has experience writing tales set in the sports world, in 1998 he created the critically well-received Sports Night for ABC. The writer also recently finished The Social Network, a film based on Facebook, with Sony.

Moneyball is set to come out in 2011.

What do you think of Columbia’s change in director?

ScreenCrave.com » Moneyball

ScreenCrave’s Top 20 Films of 2011

20. Ides of March – Dir. George Clooney

19. Trust – Dir. David Schwimmer

18. Contagion – Dir. Steven Soderbergh

17. Moneyball – Dir. Bennett Miller

16. Shame – Dir. Steve McQueen

15. Bridesmaids – Dir. Paul Feig

14. X-Men: First Class – Dir. Matthew Vaughn

13. My Week with Marilyn – Dir. Simon Curtis

12. Beginners – Dir. Mike Mills

11. Buck – Dir. Cindy Meehel

10. Tucker and Dale Vs. Evil

9. Midnight in Paris – Dir. Woody Allen

8. Red State – Dir. Kevin Smith

7. Senna

6. Take Shelter – Dir. Jeff Nichols

5. Win Win – Dir. Thomas McCarthy

4. The Guard

3. The Girl with the Dragon Tattoo

2. A Dangerous Method

1. Martha Marcy May Marlene

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