‘Little Women’ overtakes ‘Star Wars: The Rise Of Skywalker’ for second spot.
RankFilm (Distributor)Three-day gross (Jan 10-12)Total gross to date Week 1 1917 (eOne) £7.3m £7.4m 1 2 Little Women (Sony) £2m £13.2m 3 3 Star Wars: The Rise Of Skywalker (Disney) £1.9m £54.9m 4 4 The Gentlemen (Entertainment Film Distribution) £1.71m £6m 2 5 Jumanji: The Next Level (Sony) £1.68m £31m 5
Gbp to Usd conversation rate: 1.30
eOne
Sam Mendes’ First World War epic 1917 has stormed the UK box office, with a £7.3m opening weekend taking it to the top spot.
The feature took £7.4m including previews; it played in 684 locations, grossing £10,731 per location.
1917 won best motion picture...
RankFilm (Distributor)Three-day gross (Jan 10-12)Total gross to date Week 1 1917 (eOne) £7.3m £7.4m 1 2 Little Women (Sony) £2m £13.2m 3 3 Star Wars: The Rise Of Skywalker (Disney) £1.9m £54.9m 4 4 The Gentlemen (Entertainment Film Distribution) £1.71m £6m 2 5 Jumanji: The Next Level (Sony) £1.68m £31m 5
Gbp to Usd conversation rate: 1.30
eOne
Sam Mendes’ First World War epic 1917 has stormed the UK box office, with a £7.3m opening weekend taking it to the top spot.
The feature took £7.4m including previews; it played in 684 locations, grossing £10,731 per location.
1917 won best motion picture...
- 1/13/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Evidently shot in 2016, but premiering on the festival circuit after the filmmakers’ more recent “The Wall of Mexico” (which debuted at SXSW a month earlier), “When I’m a Moth” is a pretentious and off-putting enterprise one can well imagine sat on the shelf for a while. It does have an intriguing hook, yet that hook turns out to be the most awkward and mystifying element here, since co-directors Zachary Cotler and Magdalena Zyzak have decided to make an obscurantist, heavily symbolic drama set in the Alaskan wilderness … with young Hillary Clinton plopped in the middle of it.
That’s not a joke — but oh, if only it were. There is, in fact, some smidgen of a real-world basis to the premise here: Clinton (then Rodham) has noted that right after graduating from college in 1969, she journeyed to Alaska with some friends, intending to work the summer at a cannery in Valdez.
That’s not a joke — but oh, if only it were. There is, in fact, some smidgen of a real-world basis to the premise here: Clinton (then Rodham) has noted that right after graduating from college in 1969, she journeyed to Alaska with some friends, intending to work the summer at a cannery in Valdez.
- 4/27/2019
- by Dennis Harvey
- Variety Film + TV
Told in flashback over 30 years of guilt and grief, this tender melodrama based on three Alice Munro short stories is Pedro Almodóvar’s best film in a decade
Spanish auteur Pedro Almodóvar’s latest, his most moving and entrancing work since 2006’s Volver, is a sumptuous and heartbreaking study of the viral nature of guilt, the mystery of memory and the often unendurable power of love. At times, the emotional intrigue plays more like a Hitchcock thriller than a romantic melodrama, with Alberto Iglesias’s superb Herrmannesque score (the director cites Toru Takemitsu, Mahler and Alban Berg as influential) heightening the noir elements, darkening the bold splashes of red, blue and white. Three short stories from the Canadian author Alice Munro’s 2004 volume Runaway provide the source material, but the spirit of Patricia Highsmith looms large as strangers on a train fuel the circling narrative (one character even observes that...
Spanish auteur Pedro Almodóvar’s latest, his most moving and entrancing work since 2006’s Volver, is a sumptuous and heartbreaking study of the viral nature of guilt, the mystery of memory and the often unendurable power of love. At times, the emotional intrigue plays more like a Hitchcock thriller than a romantic melodrama, with Alberto Iglesias’s superb Herrmannesque score (the director cites Toru Takemitsu, Mahler and Alban Berg as influential) heightening the noir elements, darkening the bold splashes of red, blue and white. Three short stories from the Canadian author Alice Munro’s 2004 volume Runaway provide the source material, but the spirit of Patricia Highsmith looms large as strangers on a train fuel the circling narrative (one character even observes that...
- 8/28/2016
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Andrzej Żuławski. Photo by Isabelle Vautier.How does one translate into film the books by Witold Gombrowicz, who ranks among the greatest modernists of the 20th century? Few have actually dared. Whereas Peter Lilienthal’s adaptation for television of Pornografia (Die Sonne angreifen, 1971) has been all but consigned to oblivion, the famed Polish director Jerzy Skolimowski went on a 17-year hiatus following his failed adaptation of Ferdydurke (30 Door Key, 1991). However, the opposite holds true for Andrzej Żuławski, who came out of a 15-year pause to adapt for the screen Gombrowicz’s fourth novel Cosmos (1965), also his last and most complex. Unfortunately, it became a farewell work for Żuławski as well. What kind of cosmos is it? First and foremost, it’s the bizarre microcosm of a boarding house where the young writer Witold (Jonathan Genet) arrives with his friend Fuchs (Johan Libéreau) in tow to finish his novel The Haunted.
- 3/13/2016
- by Boris Nelepo
- MUBI
It may seem unusual for a renowned film director to suddenly switch mediums and helm an opera, but such a thing has happened a number of times before: for example, Woody Allen has directed Puccini’s “Gianni Schicchi” for the Los Angeles Opera; legendary Iranian filmmaker Abbas Kiarostami has helmed Mozart’s “Cosi Fan Tutte” for the Aix-en-Provence Festival; Julie Taymor has directed Mozart's "The Magic Flute" for the Metropolitan Opera in New York, as well as the Broadway musical adaptations of "The Lion King" and "Spiderman: Turn Off The Dark"; Roman Polanski has helmed Verdi's “Rigoletto” for the Bavarian State Opera; William Friedkin has directed a version of Alban Berg’s “Wozzeck”; and Werner Herzog has helmed a number of Wagner productions including “Doktor Faust,” “The Flying Dutchman” and “Parsifal”. Read More: Terry Gilliam: My Life In Eight Movies Terry Gilliam is among this elite group,...
- 6/22/2015
- by Timothy Tau
- The Playlist
Theatrical hell-raisers and the art world's enfants terribles take centre stage in our roundup of the biggest risk-takers of 2014
Theatre
Oh! What a Lovely War
Theatre-maker Joan Littlewood was a visionary, an iconoclast and a subversive. Her 1963 "documentary collage" about the bitter ironies of the first world war was way ahead of its time, using popular period song and hard-hitting testimony. Lyn Gardner Theatre Royal Stratford East, London E15 (020-8534 0310), 1 February to 15 May.
Macbeth
Shakespeare's dark tale as you've never seen it before, taking place in a secret location from dawn to dusk. Party with Duncan, bed down in Macbeth's castle on the 27th floor of a tower block, glimpse the witches in an underground car park, and join the feast at which Banquo will be an uninvited guest. The spectres will be bloody – but the food will be vegetarian. LG Secret location, London, 4 April to 31 May.
Grit
This...
Theatre
Oh! What a Lovely War
Theatre-maker Joan Littlewood was a visionary, an iconoclast and a subversive. Her 1963 "documentary collage" about the bitter ironies of the first world war was way ahead of its time, using popular period song and hard-hitting testimony. Lyn Gardner Theatre Royal Stratford East, London E15 (020-8534 0310), 1 February to 15 May.
Macbeth
Shakespeare's dark tale as you've never seen it before, taking place in a secret location from dawn to dusk. Party with Duncan, bed down in Macbeth's castle on the 27th floor of a tower block, glimpse the witches in an underground car park, and join the feast at which Banquo will be an uninvited guest. The spectres will be bloody – but the food will be vegetarian. LG Secret location, London, 4 April to 31 May.
Grit
This...
- 1/1/2014
- by Lyn Gardner, Andrew Dickson, Jonathan Jones, Adrian Searle, Imogen Tilden, Andrew Clements, Tom Service, Mark Lawson, Tim Jonze, Brian Logan, Oliver Wainwright, Ben Beaumont-Thomas, Henry Barnes, Judith Mackrell
- The Guardian - Film News
Rome -- Bruno Bartoletti, an orchestra conductor who was associated with the Lyric Opera of Chicago for a half-century, and who championed modern opera as well as classic works, died on Sunday in his native Tuscany, a day before his 87th birthday.
The Maggio Musicale Fiorentino, where the maestro had served as artistic director from 1985 until 1991, said Bartoletti died in a Florence hospital after a long illness.
In a career that saw Bartoletti conduct well into his 80s – he directed Giacomo Puccini's `'Manon Lescaut"at Florence's Teatro Comunale in February 2011 – he served as the first music director of Chicago's Lyric Opera, starting as guest conductor there in 1956, when he was relatively unknown.
Bartoletti was 30 when the then 2-year-old Lyric Opera needed a replacement conductor for Giuseppe Verdi's `'Il Trovatore" in 1956. Baritone Tito Gobbi endorsed him, and Bartoletti made his American debut with the company. He conducted...
The Maggio Musicale Fiorentino, where the maestro had served as artistic director from 1985 until 1991, said Bartoletti died in a Florence hospital after a long illness.
In a career that saw Bartoletti conduct well into his 80s – he directed Giacomo Puccini's `'Manon Lescaut"at Florence's Teatro Comunale in February 2011 – he served as the first music director of Chicago's Lyric Opera, starting as guest conductor there in 1956, when he was relatively unknown.
Bartoletti was 30 when the then 2-year-old Lyric Opera needed a replacement conductor for Giuseppe Verdi's `'Il Trovatore" in 1956. Baritone Tito Gobbi endorsed him, and Bartoletti made his American debut with the company. He conducted...
- 6/9/2013
- by AP
- Huffington Post
1. The Philharmonia Orchestra’s Wozzeck Alban Berg’s compact shocker of an opera is about cruelty and despair, but the Philharmonia’s concert performance in Avery Fisher Hall on November 19 was a celebratory event. Rare as it is to experience the score in the flesh, it’s rarer still to hear it done with such a volatile mixture of vitriol and love. The libretto, which Berg adapted from Georg Büchner’s episodic and truncated 1837 play, crackles with disdain. “I saw you pissing in the street like a dog!” exclaims a doctor to Wozzeck, his human lab rat. “Haven’t I proved that the sphincter is subject to the exercise of the will?” The score can be ferocious, too, full of lurid chords and panicky rhythms, but in the right hands—the conductor Esa-Pekka Salonen’s, say—it’s also a thing of garish beauty. Salonen balanced the opera’s lush and bitter sides,...
- 12/3/2012
- by Justin Davidson
- Vulture
Wright's life of Congolese rebel leader Patrice Lumumba is among highlights of Young Vic's 2013 season in London
It is probably as far from Atonement, Anna Karenina and the new Brad Pitt advert for Chanel No 5 as it is possible to get. Joe Wright, director of all of those, admitted he was "terrified" as he talked about one of his next projects, the UK premiere of an epic play charting the rise and fall of the Congolese rebel leader Patrice Lumumba.
Wright will direct Chiwetel Ejiofor as Lumumba in A Season in the Congo at the Young Vic, it was announced last night, marking the actor's first return to the London stage after his award-winning performance as Othello, four years ago.
For Wright, best known for his film adaptations of books including Pride and Prejudice and Ian McEwan's Atonement, 2013 will be the year of his theatrical directorial debut, beginning with...
It is probably as far from Atonement, Anna Karenina and the new Brad Pitt advert for Chanel No 5 as it is possible to get. Joe Wright, director of all of those, admitted he was "terrified" as he talked about one of his next projects, the UK premiere of an epic play charting the rise and fall of the Congolese rebel leader Patrice Lumumba.
Wright will direct Chiwetel Ejiofor as Lumumba in A Season in the Congo at the Young Vic, it was announced last night, marking the actor's first return to the London stage after his award-winning performance as Othello, four years ago.
For Wright, best known for his film adaptations of books including Pride and Prejudice and Ian McEwan's Atonement, 2013 will be the year of his theatrical directorial debut, beginning with...
- 10/18/2012
- by Mark Brown
- The Guardian - Film News
This remarkable creator – of orchestral pieces and chamber works as well as hybrids of film and performance art – draws on a plethora of influences, yet devises her own astonishing sound
All articles in this series
After Igor Stravinsky, it's a bit of a cliche to think of contemporary composition as making the most of the etymological truism that the roots of the verb "to compose" come from the Latin "componere" meaning "to put together" – ie that you're not creating anything new as a composer, merely creating new combinations of sounds, of things, of ideas, that already exist. But Austrian, er, composer Olga Neuwirth (whose recent viola concerto Remnants of Songs ... An Amphigory will have its first British performance at the Proms on 13 August) perhaps more than any other musician of her generation (she was born in 1968) really does take that principle as her starting point.
What does that mean for how her music sounds?...
All articles in this series
After Igor Stravinsky, it's a bit of a cliche to think of contemporary composition as making the most of the etymological truism that the roots of the verb "to compose" come from the Latin "componere" meaning "to put together" – ie that you're not creating anything new as a composer, merely creating new combinations of sounds, of things, of ideas, that already exist. But Austrian, er, composer Olga Neuwirth (whose recent viola concerto Remnants of Songs ... An Amphigory will have its first British performance at the Proms on 13 August) perhaps more than any other musician of her generation (she was born in 1968) really does take that principle as her starting point.
What does that mean for how her music sounds?...
- 8/7/2012
- by Tom Service
- The Guardian - Film News
To celebrate the 75th birthday of a leading founder of New German Cinema, the Film Museum in Munich released a collection of Alexander Kluge’s fourteen feature films and sixteen shorts from 1960 through 1986. Facets Multimedia is now bringing them out in North America, and In Danger and Deep Distress, the Middleway Spells Certain Death (1974) will be available this spring. Kluge is a master director of Autorenfilm as well as a great author and theorist who has produced several volumes of social theory, dozens of films, and thousands of short stories and television programs. Influenced by his friend and mentor Theodor Adorno and by his experience as Fritz Lang’s assistant on The Tiger of Eschnapur (1959), Kluge recognized “the necessity of a new politics for the cinema” early in his career. In response to the crisis of German cinema in the 1950s, he led twenty-six West German filmmakers to declare “Papas Kino ist tot!
- 2/20/2012
- MUBI
Virtuoso violinist heard on a string of classic Hollywood movie scores
The American violinist Israel Baker, who has died aged 92, was renowned among his fellow musicians but unknown to most of the millions who heard him play on the soundtracks of such movies as Alfred Hitchcock's 1960 shocker Psycho, where he led Bernard Herrmann's screaming violin effects accompanying the stabbing of Janet Leigh in the shower scene.
Baker belonged to a select group of musicians who could fit into any situation at a moment's notice and read any piece on sight. But while making a lavish living in the Hollywood film and recording studios, he also had a considerable concert career.
He was born in Chicago, the youngest of four children of Russian immigrants. At six he appeared on national radio, and from his late teens he played in orchestras. At 22 he was concertmaster of Leopold Stokowski's All-American...
The American violinist Israel Baker, who has died aged 92, was renowned among his fellow musicians but unknown to most of the millions who heard him play on the soundtracks of such movies as Alfred Hitchcock's 1960 shocker Psycho, where he led Bernard Herrmann's screaming violin effects accompanying the stabbing of Janet Leigh in the shower scene.
Baker belonged to a select group of musicians who could fit into any situation at a moment's notice and read any piece on sight. But while making a lavish living in the Hollywood film and recording studios, he also had a considerable concert career.
He was born in Chicago, the youngest of four children of Russian immigrants. At six he appeared on national radio, and from his late teens he played in orchestras. At 22 he was concertmaster of Leopold Stokowski's All-American...
- 1/11/2012
- by Tully Potter
- The Guardian - Film News
A late-Romantic composer who occasionally worked in a more modern style, Alexander Zemlinsky (October 14, 1871 – March 15, 1942) was something of a prodigy. Anton Bruckner was among his teachers. Brahms, impressed by the Symphony in D and a quartet, recommended Zemlinsky to Simrock, Brahms's publisher and arranged a stipend for the young composer. Zemlinsky was friends with the slightly younger Arnold Schoenberg and taught him counterpoint (in which Brahms had tutored Zemlinsky); Schoenberg later married Zemlinsky's sister.
The connection to Schoenberg (who studied music with no-one else) probably contributed to the revival of Zemlinsky's music, which was largely forgotten in the decades after the Nazis drove the Jewish composer first from Germany back to his native Vienna, and then to America, where he found none of the success Schoenberg achieved in exile.
A few choice volumes Decca's Entartete Musik series ("decadent music," the Nazis' phrase for music they found insufficiently Aryan or overly...
The connection to Schoenberg (who studied music with no-one else) probably contributed to the revival of Zemlinsky's music, which was largely forgotten in the decades after the Nazis drove the Jewish composer first from Germany back to his native Vienna, and then to America, where he found none of the success Schoenberg achieved in exile.
A few choice volumes Decca's Entartete Musik series ("decadent music," the Nazis' phrase for music they found insufficiently Aryan or overly...
- 10/14/2011
- by SteveHoltje
- www.culturecatch.com
From an illicit Pixies gig to a Mesopotamian ziggurat, Guardian critics recall their biggest moment of inspiration in their respective fields
How to enter this year's competition
Pop: Alexis Petridis
Can any gig you see as a critic ever match the ones you saw as a teenager? Bizarrely, going to a gig when I was 17 was harder work than writing reviews has ever been. It involved not merely getting to London, but lying to my parents about where I was going, lying to my friend's parents about where my parents thought I was going, bunking off school, and then convincing somebody who looked 18 to go to the bar on my behalf.
But none of that mattered the night I saw the Pixies supported by My Bloody Valentine, in September 1988. It's not every night you see arguably the two most important guitar bands of the era on the same stage at...
How to enter this year's competition
Pop: Alexis Petridis
Can any gig you see as a critic ever match the ones you saw as a teenager? Bizarrely, going to a gig when I was 17 was harder work than writing reviews has ever been. It involved not merely getting to London, but lying to my parents about where I was going, lying to my friend's parents about where my parents thought I was going, bunking off school, and then convincing somebody who looked 18 to go to the bar on my behalf.
But none of that mattered the night I saw the Pixies supported by My Bloody Valentine, in September 1988. It's not every night you see arguably the two most important guitar bands of the era on the same stage at...
- 6/20/2011
- by Alexis Petridis, Adrian Searle, Erica Jeal, Jonathan Glancey, Peter Bradshaw, Michael Billington, Judith Mackrell, Sam Wollaston
- The Guardian - Film News
Opera novice Mike Figgis is taking charge of Lucrezia Borgia at the Eno. Trouser parts and Renaissance porn were part of a steep learning curve
Mike Figgis is about to make his debut as an opera director at English National Opera. But his production of Donizetti's Lucrezia Borgia is hardly the fulfilment of a dream for the 62-year-old Oscar-nominated director. "I was never an opera-goer growing up. I was a jazz musician. I'd go and see Miles Davis. It would never cross my mind to go to the opera. My only preconceptions about opera were based on clips I had seen, to be honest." He smiles sheepishly beneath his mop of hair. "I only went to my first opera three or four years ago, when my girlfriend took me to the Met in New York."
Figgis is the latest in a long line of Eno's recruits from the worlds...
Mike Figgis is about to make his debut as an opera director at English National Opera. But his production of Donizetti's Lucrezia Borgia is hardly the fulfilment of a dream for the 62-year-old Oscar-nominated director. "I was never an opera-goer growing up. I was a jazz musician. I'd go and see Miles Davis. It would never cross my mind to go to the opera. My only preconceptions about opera were based on clips I had seen, to be honest." He smiles sheepishly beneath his mop of hair. "I only went to my first opera three or four years ago, when my girlfriend took me to the Met in New York."
Figgis is the latest in a long line of Eno's recruits from the worlds...
- 1/21/2011
- by Tom Service
- The Guardian - Film News
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