Philip Seymour Hoffman: 1967-2014

PSHI wasn’t planning on posting this. Actually I was planning my next blog to be another Best Picture review. Instead I post this because of how shocking it is. And of how much I admired him and his works.

Philip was born in Fairport, New York (just outside of Rochester) on July 23, 1967, one of four children to family court judge Marilyn O’Connor and Xerox executive Gordon Hoffman. His parents divorced when he was 9. Hoffman’s past-time in high school was wrestling but switched to acting after a neck injury caused him to quit. Talent was noticed at a young age as he was selected at 17 to attend the 1984 theatre school at the New York State Summer School Of The Arts in Saratoga Springs. He graduated from Fairport High School in 1985 and attended the Circle in the Square Theatre’s summer program. He would go on to attend New York University’s Tisch School Of The Arts and graduated with a BFA in 1989. Soon after he had a bout of alcohol and drug addiction which we would attend rehab for shortly after and eventually overcome.

He made his acting debut on television acting in a 1991 Law & Order episode. His first film role came in 1992’s Scent Of A Woman. Minor roles in film continued for Hoffman over the next few years. In 1995 he joined the LAbyrinth Theatre Company where he staged and performed in numerous productions. However his breakthrough came in 1997 when he had a scene-stealing supporting role as Scotty J. in Paul Thomas Anderson’s Boogie Nights. Hoffman would act in three more Paul Thomas Anderson movies: 1999’s Magnolia, 2002’s Punch Drunk Love and 2012’s The Master. Over the next few years, Hoffman’s reputation as an actor would grow with more excellent performances in independent films like The Big Lebowski, Happiness, The Talented Mr. Ripley, and  State And Main. He also showed he could act well in popcorn films like Patch Adams and Almost Famous. In theatre, he would earn a Tony Award nomination for Best Actor in 2000 for playing Lee in the readaptation of Sam Shepard’s True West.

Further excellent performances continued for him in films like Love Liza (which was written by his brother Gordy), Owning Mahowny and the TV miniseries Empire Falls. He also continued to do come off well in box office fare like Cold Mountain and Along Came Polly. Theatre accolades would continue with his second Tony nomination coming in 2003 for his supporting performance in Long Day’s Journey Into Night. However big critical acclaim in film. kept on alluding him until 2005’s Capote. There he was to play Truman Capote in a biopic directed by former Tisch classmate Bennett Miller. He was even said to act in character even after scene shooting ended.  It was there where Hoffman won the Academy Award for Best Actor for his performance. And Miller received his first and so far only Best Director nomination.

Things became better for Hoffman commercially as he would play villain Owen Davian in Mission Impossible 3 months later. In 2007 he received Golden Globe nominations for Best Actor in the independent comedy The Savages and Best Supporting Actor for playing Gust Avrakotos in Charlie Wilson’s War opposite Tom Hanks. It’s his role in Charlie Wilson’s War that would earn him his second Oscar nomination. Hoffman would return as an Oscar nominee the following year in the Supporting Actor category again as Fr. Brendan Flynn in the film adaptation of the Broadway play Doubt opposite Meryl Streep and Amy Adams.

Hoffman would continue acting in film, both independent and commercial. He would also continue acting and directing in theatre. He wouldn’t get too much notice or acclaim over the next two years but his work continued to be consistent. He would again steal scenes in 2011’s The Ides Of March and Moneyball as frumpy Coach Art Howe. 2012 was another big year for Hoffman as it would be acclaim in both his theatre and his film acting. On stage he blew Broadway crowds away during the summer with his performance of Willy Loman in Death Of A Salesman and played controlling yet charismatic religious leader Lancaster Dodd in The Master. 2013 would give him more exposure to the commercial movie crowd as he entered into the Hunger Games trilogy as Plutarch Heavensbee in 2013’s Catching Fire. He had already finished playing Plutarch in the first Mockingjay film and had just finished most of the shooting for the second as of February 1st.

Outside of acting, Hoffman shied away from the spotlight. In 1999, he statrted dating Mimi O’Donnell. It would prove to be a permanent union and both he and Mimi had three children. He was open about his past alcohol and drug abuse from which experienced upon graduating from Tisch. He said of his experiences: “I abused anything I could get my hands on and I liked it all.” He recovered successfully and would describe himself as a teetotaler from his past experience but a relapse would eventually happen. In May 2013, he openly confessed to abusing heroine and prescription pills and checked himself into a rehab clinic for ten days.

On Sunday February 2nd, Hoffman was found dead by playwright and friend David Bar Katz in the bathroom of his Manhattan office apartment. A hypodermic needle was found in his arm according to the police. Heroin was also found in the apartment. He was 46 years old.

I hate to bring up the topic of tabloid gossip at a time like this but that topic is unavoidable. Especially when a famous actor dies in such a way. There’s no question in the weeks and months after, there will be a lot of questions about this. There will be some journalists who will want to interview Mimi O’Donnell or close family relatives about this situation. Cast mates of past movies will also be questioned. Even the rehab clinic Hoffman has been attending since his relapse will face its fair share of journalists. I myself am shocked to hear of that. Years ago I read his IMDB profile and it said he does not drink alcohol because of his past experience with alcoholism. I was happy feeling that there was an actor that can be free from scandal. I never knew about his relapse. This is especially surprising since you normally hear about such deaths of actors hugely in the public eye. And Philip was the opposite. He was mostly private, rarely attended A-list events, had friends who were mostly in theatre rather than in the Hollywood business, had an unmarried relationship to the same woman since 1999 and raised his kids quietly. I guess we’ll only know the whole story in the future.

One thing to say is I don’t want to focus on the surroundings of his death. Even though I feel like asking ‘What happened,’ I’ll keep my mouth shut for now. One thing I will say is that I will always admire Philip Seymour Hoffman for the actor that he was. I’m able to separate myself from actors as actors and actors as people. Whenever I admire actors, I admire them for their acting jobs. They’d have to give me a good reason for me to admire their lifestyle. Anyways Philip Seymour Hoffman was an excellent actor. He really knew how to embrace the character both physically and emotionally. He was more than a top character actor, he knew how to make the roles multidimensional. I’ve seen many of his performances and he never let me down once. He always delivered.

I’ve always considered Philip to be one of the best actors of my generation. I also must confess I was secretly predicting and hoping that Philip would  be the next Tom Hanks. It just showed how naive I was to the present acting system. There was a time when an actor had the ability to be both a master of their craft and a top box office draw. That was common form the 30’s to the 60’s. Then there was a time in the 70’s when the big money-winning movies and the serious films had a gap between them that really widened in that decade. With that came a bigger gap between the on-screen craftmasters and the money-winning A-listers. That was especially noticeable in the 80’s. The reason why Tom Hanks was so beloved was that he was one of those rarities who was able to deliver in their craft and bring in top box office dollar.

I felt that Philip had the potential to do just that. I just wasn’t aware at the time of the types of actors that were able to win over the box office dollars. Turns out it’s back to being a looks thing again. Especially in the wake of the Twilight movies. I should know that 5′ 10″ and slightly pudgy won’t make you an A-lister. In fact one New York journalist summed up the physical appearance of Hoffman as: “a stocky, often sleepy-looking man with blond, generally uncombed hair who favored the rumpled clothes more associated with an out-of-work actor than a star.” That was just his nature. He was more interested in being an actor than a star.

Like I said Philip never let me down. Whether it was a role in a popular popcorn movie or if it was in a serious independent production, Philip always delivered. Even his co-stars would vouch for that. I believe that’s the legacy Philip will leave behind. Character acting performances that he didn’t just play but embodied and he knew how to grab your attention. I will always admire him for that.

Rest In Peace, Philip Seymour Hoffman. And thank you for captivating us over the years.

WORK CITED:

WIKIPEDIA: Philip Seymour Hoffman. Wikipedia.com. 2014. Wikimedia Foundation Inc. <http://en.wikipedia.org/wiki/Philip_Seymour_Hoffman>

No Real Controversies In Music Nowadays. Just Excuses.

I’ll admit these controversies happened months ago.  Nevertheless I feel it’s still worth pointing out since  both topics still stimulate excitement amongst the young and both songs are still in the US Top 40.

You may have remembered that over the past four or so months there was a load of controversy over two happenings in the music business. One was Robin Thicke’s “Blurred Lines” in terms of its lyrics. Another was the performance of Miley Cyrus at the MTV Video Music Awards. Both were good at causing controversy in its time. But both wouldn’t have raised an eyebrow say twenty or even ten years ago.

 THICKE AND THIN

Robin Thicke in the unrated video fir 'Blurred Lines.' Both the song and video raised eyebrows in 2013.
Robin Thicke in the video for ‘Blurred Lines’ featuring a model in a flesh-colored suit. Both the song and video raised eyebrows in 2013.

First up is some controversy actually caused by music. This was courtesy of Robin Thicke and his song ‘Blurred Lines.’ which featured rappers Pharrell and T.I. The biggest controversy came from the video. There were two videos shot: one with the three models topless (which were actually flesh-colored G-strings) and the other with them covered. The topless version was first banned from Youtube but then restored albeit flagged as inappropriate for minors. There were even lewd messages like: “Robin Thicke has a big dick.” in the unrated version. My own problem with the video was seeing all those annoying hashtags.

Robin later commented on the controversy of the video: “We tried to do everything that was taboo. Bestiality, drug injections, and everything that is completely derogatory towards women. Because all three of us are happily married with children, we were like, ‘We’re the perfect guys to make fun of this.'”  Once again, the sexist-or-satire debate came up. I’m sure all three wives, especially Paula Patton, would have their own things to say about it.

Then there were the lyrics of the song. One lyric–“I know you want it”– hinted to many of date rape, especially at many universities in the UK. The first shout came from the University Of Edinburgh and at least twelve other UK universities followed in the ban. Thicke would later defend the song, declaring the song was about his wife (actress Paula Patton), and that after 20 years together, he indeed knew she wanted it from him. Once again, the fact that the three of them were married came up in the debate.

This proved to be the most controversial song of the decade and the first in years to stir up debate. The song has hit #1 in eighteen countries including Canada, Germany, France and even the UK. In the United States, it spent twelve weeks at #1 on the Hot 100 and became the first song of the decade to do so. The song currently sits at #31 on the Hot 100.

Oh, the song has also sparked a lawsuit from Thicke after the surviving relatives accused the writers of copying the ‘sound’ and ‘feel’ of ‘Got To Give It Up.’ I find it funny because I thought it was trying to capture the ‘sound’ of ‘Stuck In The Middle With You.’

MILEY GONE VILEY

Miley Cyrus really took full advantage of the good-girl-gone-bad gimmick this year by first twerking with Robin Thicke at the VMAs...
Miley Cyrus really took full advantage of the good-girl-gone-bad gimmick this year by first twerking with Robin Thicke at the MTV VMAs…

Miley Cyrus has been a star in entertainment since 2006 when her Disney channel show Hannah Montana won over young girls nationwide and made Miley a star. The success of the show also helped start her music career. However it was later years when she tried getting records released as Miley Cyrus that she tried to disassociate herself from her former Hannah Montana label.

It wasn’t until this very year that she finally did away with her former Hannah Montana label. But in a way that made tons of news. Not surprisingly it was at the MTV Video Music Awards of this year. Surprisingly, it was along Robin Thicke with his performance of ‘Blurred Lines.’ But before Robin, Miley performed her song ‘We Can’t Stop’ in a teddy bear attire. Then once Robin performed ‘Blurred Lines,’ Miley stripped down to a skin-colored latex two-piece outfit, touched Thicke’s crotch with her foam finger and then twerked against his crotch. Twerking was already the sexually-charged dance fad of 2013 that was already getting a lot of talk but it’s there where it got it’s peak.

...and then by swinging naked on a wrecking ball in the video of 'Wrecking Ball.' It all paid off in giving her best record sales ever.
…and then by swinging naked on a wrecking ball in the video of ‘Wrecking Ball.’ It all paid off in giving her best record sales ever.

The reactions were angry and they came from all sides: viewers and musical guests. Many felt her actions were distasteful. The incident set a Twitter record as the ‘most Tweeted’ event in history with 360,000 tweets in a single minute. News and social media sites published articles to do about parental concern. The incident was even considered responsible for Australian actor Liam Hemsworth to break off his engagement to Miley. Even Gloria Steinem was questioned about it, asked if that incident is setting the women’s movement back. Miley responded to the flack: “They’re overthinking it. You’re thinking about it more than I thought about it when I did it.” My feelings were as I saw it: either sleaze-for-chart-topping’s-sake or cashing in on the good-girl-gone-bad image. Her response did little to quell the controversy. Cyrus even received a letter from Sinead O’Connor warning her about the music industry and what it could do to her. To which, Cyrus gave a bratty response where she even brought up O’Connor’s psychotherapy.

Whatever the situation, it did nothing to quell Cyrus’ record sales. “We Can’t Stop” hit #2 and her album Bangerz debuted at #1. Further Cyrus controversy came with the release of her second single ‘Wrecking Ball.’ The video consisted of images of her swinging naked on a wrecking ball and licking a sledge-hammer. Sure it was your typical sleaze-for-sales-sake–I dare anyone with half a brain in their head to describe how those images are ‘artistic qualities’– but it paid off as it became Miley’s first ever #1 hit in the US. Just when you thought sleaze-for-sales-sake eemed to be fading, we’re reminded that the good-girl-gone-bad image is still a hot chart-topper. For those that care, ‘Wrecking Ball’ is now at #20 on the Hot 100 with the follow up song ‘Adore You’ climbing up the charts and sitting at #30 right now.

MUCH ADO ABOUT LITTLE

As you can tell, the controversies have sparked a lot of news and a lot of talk. There’s just one problem. They both pale in comparison to musical controversies of the past. I know because I’ve seen decades of musical controversies come and go. In fact I even saw VH-1’s countdown of the 100 Most Shocking Moments In Rock ‘N Roll. Here’s a refresher of the Top 10 most shocking for those who forgot:

  1.  John Lennon Assassinated (1980)
  2. Michael Jackson Accused Of Child Molestation (1993)
  3. Altamont Concert Ends In Tragedy (1969)
  4. Kurt Cobain Commits Suicide (1994)
  5. Marvin Gaye Jr. Shot To Death By Father (1984)
  6. The Who’s Cincinnati Concert Marred By A Tragic Stampede (1979)
  7. Milli Vanilli: Girl You Know It’s Fake (1990)
  8. Woodstock 1999: Where There’s Smoke…There’s And End To Peace ‘N Love
  9. Sinead O’Connor Disses The Pope On SNL (1992)
  10. The Beatles: Bigger Than Jesus Boast (1966)

I don’t have the energy to list #11 to #100 but you would be able to see how legendary a lot of those shocking moments are. Even though the list was compiled back in 2001, you can be sure there are few controversies since that could be worthy of a spot on the list, should it be revamped. My best bets for replacements would be Metallica vs. Napster (2000-2002), Janet Jackson’s Super Bowl Exposure (2004), Lil Kim Big Liar (2004), Britney’s Divorce Outbursts (2007) and Phil Spector Guilty Of Murder. Outside of that, little else. Don’t forget the list came right after the 90’s when shocking moments were left, right and centre. We all remember how infamous acts from rappers like Snoop Dogg’s alleged gang-style murder participation that launched his stardom in 1993. Or Death Row manager Suge Knight’s menacing, even gang-style, methods of doing business. Or even the murders of Tupac Skakur and The Notorious B.I.G. that turned them from star rappers into rap legends. So it’s obvious that Miley’s incidents are not necessarily anything that will take shock to new levels nor are they anything too new. They’re just simply the shock of the moment that simply gets a lot of press. Nothing new or revolutionary. Just the stuff stealing the show and the headlines.

‘Blurred Lines’ isn’t much in terms of shock material as it happens. It’s not as controversial as say the lyrics on Enimem records back from 1999 to 2002: lyrics that causes censorship discussions and lawsuits from those people that felt slandered. Must I say they were lyrics that fueled Eminem’s superstardom and made him a hero to the young back then and a legend to his time.

Neither is ‘Blurred Lines’ as controversial as say the lyrics of rap group 2 Live Crew in their 1989 album ‘As Nasty As They Wanna Be.’ Those lyrics were nasty enough to be taken to a court in Broward County and judged obscene. The 2 Live Crew fought the obscene conviction and won. The court cases rewrote the book on record censorship and paved the way for more explicit and irresponsible lyrics from gangsta rap records to be released and sell like hotcakes for many years. If you want to dig deeper into lyrics controversy, ‘Blurred Lines’ doesn’t even contain the same shock elements as many disco records like the simulated orgasms heard in Donna Summer’s ‘Love To Love You Baby’ or Sylvester’s ‘You Make Me Feel Mighty Real.’ Nor does ‘Blurred Lines’ cause the same controversy as say the ‘Filthy Fifteen’: fifteen explicit songs labeled ‘filthy’ by the Tipper Gore-led ASPCA back in 1985 and would pave the way for warning stickers on records. It doesn’t even have the same shock value as say the psychedelic songs of the late-60’s, early 70’s that reference drugs and illicit sex. And those songs came just as the counterculture was starting to happen and the older generation were frustrated of what to make of it. Just to put it plainly if you released ‘Blurred Lines’ as little as say ten years ago or even during the disco days of the 70’s, you’d have young people labeling the song as boring because of its lack of shock value and its video not full enough of scantily clad women. Just like Miley’s twerking, ‘Blurred Lines’ was a case of a controversy pale in comparison to music controversies past but was able to own the spotlight at the right time.

It’s no secret that controversy has made many a music career. Miley’s and Robin’s controversies were pretty tame compared to music controversies of the past. Nevertheless they were the right controversies at the right time to steal the show and make their records top the charts. As for me, all it does is make me glad to be old.

2013 Box Office In Review: A Record-Breaker

Cinema

The success of 2013’s box office looked like a big question mark during the first half of the year. Things looked more optimistic during the summer but 2013 all ended on a positive note.

You may remember when I looked at the first six months of 2013, I didn’t think 2012’s record would be broken. The summer of 2013 however provided a big boost to the year with possibly the highest-grossing movie summer ever. Even with all the bad news that made headlines, it showed the good news that was being overlooked. Anyways here’s how the rest of 2013 fared off.

September began with The Butler and We’re The Millers still going strong and a big plus from the teen girls demograph with the One Direction concert movie. Then comes what’s known in the movie year as the September slump. The sizzle of wowing people to the cinemas starts cooling down now that everyone’s done their vacations and heading either back to work or back to school. This September did have attractions to the cinema but it wasn’t as attractive as last year.

The first post-Labor Day weekend in September began with Riddick on top. It was the only big debut that weekend. The following weekend got better with Insidious Chapter 2 opening at $40.3 million: the second-highest September opening weekend ever. The following weekend also had excitement, albeit comparatively tame, with Prisoners on top. The final weekend of September had Cloudy with A Chance Of Meatballs 2 on top with $34 million: the fourth-highest September opening weekend ever. At the end of the month, this September didn’t fare so hot. It’s total of $461.8 million was almost $100 million lower than last September and was the lowest-grossing September since 2004.

Despite September’s let-down, October was a huge pick-me-up. You can thank most of it to a certain movie called Gravity. Right in the first weekend, you knew Gravity would be a major hit as it opened at $55.8 million: the highest-grossing October opening weekend ever. Gravity reigned on top for three weeks despite the challenges of Captain Phillips and the remake of Carrie. It would take Jackass Presents Bad Grandpa to dethrone Gravity from the top spot in the last weekend October 2013. At the end, October 2013 outgrossed October 2012 by about $70 million. So things were getting back on track. This was not however the highest-grossing October ever. 2004 is by miles with $809 million.

November is normally when the box office picks up again and consists of openings and total grosses that can rival the summer. November actually began calmly with good but modest opening weekends for Ender’s Game, Last Vegas and Free Bird. Things got more exciting when Thor: The Dark world opened the following weekend with $85.7 million. It stayed on top for another weekend as the debut of The Best Man Holiday wasn’t enough to dethrone it from the top. However it would be the following weekend that would be buzzing as it would be the opening of The Hunger Games: Catching Fire. It opened with $158.1 million: the sixth-highest opening weekend ever and the highest-ever November opening weekend. Catching Fire continued strongly in the last weekend of November leading into December with a total gross of almost $280 million at the end of November. November 2013 ended with a total gross of $1.398 billion. It was more than $140 million less than November 2012 but it was still enough to be the second-highest November gross ever.

December began not with a strong opening on top but a strong steady growth by Frozen on top. Frozen was actually second to Catching Fire by almost $7 million at the November 30th/December 1st weekend. However a strong steady growth for Frozen that was able to capitalize on Catching Fire’s fade found itself stealing the top spot by $5.5 million. Weak debuts from other movies sure helped that week too. However it was the following weekend that promised excitement as the latest Hobbit movie, The Desolation Of Smaug, was going to debut. A strong debut it was with $73.6 million that weekend–the fourth-highest December opening weekend ever– but it was comparatively paltry to the debut of last year’s Hobbit movie: $11 million shy to be exact. Smaug’s buzz was strong enough even to conquer the buzz of the highly-anticipated opening of Anchorman 2 by $5.5 million. The Christmas weekend of the 27th to the 29th made for a low overall gross that weekend. Weather disasters and catastrophes nationwide had a lot to do with it. That weekend saw the Top 4 movies being previously released movies with only The Wolf Of Wall Street having the strongest opening weekend with a #5 debut. The surprise of it all is that December 2013 only failed to outgross December 2012 but just $4 million. The weather problems didn’t hurt the box office that bad.

The big surprise of the box office was for the whole year. In 2013, there were only four months where its total gross outgrossed the monthly totals of 2012. At the end of it all, the whole year of 2013 was a record-breaking year with a total gross of $10.92 billion. That breaks 2012’s record by almost $85 million, roughly 0.8%. It does seem like a small increase but it just goes to show it’s not completely about spectacular opening numbers. The annual box office is an endurance game too. The year’s record-breaking gross is an optimistic statistic since the box office was constantly feeling the pinch of sites like Netflix and the increasing video game industry. This also makes it the fifth straight year where the total annual gross was more than $10 billion dollars showing that despite its rivalries in the entertainment industry, box office movies still remain a strong and healthy business.

Leading into 2014, there are the questions of whether it will break 2013’s total record and even become the first movie year to gross over $11 billion. I don’t think we should worry about that too much especially knowing that 2001 was the first ever year to break past the $8 billion barrier. Instead let 2014 play itself out and hope that it delivers for everyone.

WORKS CITED:

“Yearly Box Office Chart” BoxOfficeMojo.com. 2013. Box Office Mojo. Owned by IMDB.com. http://www.boxofficemojo.com/yearly/

“Monthly Box Office Chart” BoxOfficeMojo.com. 2013. Box Office Mojo. Owned by IMDB.com. http://www.boxofficemojo.com/monthly/

“Weekend Box Office Chart” BoxOfficeMojo.com. 2013. Box Office Mojo. Owned by IMDB.com. http://www.boxofficemojo.com/weekend/

VIFF 2013: New Year, New Format

Cinema

Yes, it’s leading up to the Vancouver International Film Festival. It’s to start Thursday September 25th and runs until Friday October 11th. There are a lot of similar expectations from last year that carry over to this year, but there’s one big new expectation for this year.

As noted in my summary of last year’s VIFF, 2012 was the last year it was to be held at the Granville 7 Cinema. The Cinema would continue for another three weeks until it was too close for good and be built into a condominium strata. All the volunteers and supporters of VIFF received a summary email where we were told that there would be a new main facility decided by the spring. The months of waiting would keep us guessing and the changes in the Vancouver movie theatre scene would have many of us nervous. First was the closure of the Ridge Theatre at the beginning of February of this year. The second would happen later that month as Festival Cinemas–the independent cinema group that ran The Ridge, The Park and Fifth Avenue cinemas–ceased existence upon the president’s retirement and left the two remaining cinemas in the hands of bigwig Cineplex Odeon. The question of which main theatre would be in charge of the VIFF left followers further in the dark.

Eventually the news came. The Vancouver Film Festival will be shown on nine screens at seven different locations:

  • International Village Cinema (three screens)
  • Vancity Theatre
  • Cinematheque
  • Centre For Performing Arts
  • Vancouver Playhouse
  • Rio Theatre
  • SFU Woodwards Theatre

So there’s no one central location for this year’s VIFF. This will take some getting used to in its post-Granville 7 era. It’s a shame because the Granville 7 was very instrumental in its growth. In fact I was at the volunteer orientation yesterday and the volunteer leaders mentioned that even they are having to try to get used to the new theatres. So this year’s VIFF will be a challenge but it also promises to show a lot. The fact sheet states that 341 films are slated to be screened: over 200 are feature length and 92 are Canadian. Also those of you who attend the festival will notice the Cineplex logo on our volunteer shirts. That’s our new sponsor. So that’s a plus. Hey, having most of the showings at the International Village Cinema helps.

I’m back to volunteering again this year. This makes it my sixth year in volunteering. I’m looking forward to it. I’m able to get four days off from work to be able to volunteer during the daytime. So I hope to have a good time. I also hope for this to be a record-breaking year. I know it may be too much to expect for a film festival getting used to a new theatre system. Nevertheless it’s possible. Remember that 2011 is the record-setting year.

Wow. Sixteen days over three-hundred films from over 75 countries! The Vancouver Film Festival is back. So get ready to VIFF again!

2013 Box Office: Summer More Sizzle Than Slump

Movie (640x306)

The news involving the Hollywood box office for the most part has been pretty negative especially in terms of the annual total gross or all the action movie flops this summer. One thing that has been overlooked is the overall success of the summer. It actually did better than most people noticed. Or most journalists took note of.

Continuing from where I last kept track, July was actually a bigger month than most people noticed. Yes, the big news of the action flops of that month like The Lone Ranger, Pacific Rim, Red 2 and R.I.P.D. What shouldn’t be overlooked were the big successes of the month like the minion power of Despicable Me 2, the goofball comedy of Grown Ups 2, suspense of The Conjuring and even the successful action-packed delivery of The Wolverine. Overlooked by most, 2013 produced the highest-grossing July ever with $1.291 billion: $20 million more than the previous July record set in 2008 and almost $220 million more than July 2012. Funny how the flops made bigger news than the successes.

August also continued the run of success for the summer of 2013. It opened with the success of 2 Guns, continued with the temporary success of Elysium, received surprise successes from We’re The Millers and Lee Daniels’ The Butler and ended on a bright note with the opening of One Direction: This Is Us. At the buzzer, August 2013 grossed $755.4 million: $16.4 million more than August 2012. 2013 is not the highest-grossing August ever as it’s been outgrossed by the Augusts of 2001 and 2007.

So if you want to give a rough estimate of comparing summers, by simply adding up the grosses from May to August of both 2013 and 2012, the summer months of 2013 grossed slightly more than $425 million more than the summer months of 2012. This is a welcome relief after the slumping of the first four months of the year. It doesn’t completely make up the deficit it had over the monthly pace of 2012’s total gross but it does help gain a lot back and reassure us that people still like to go to the movies despite how many forms of entertainment people have.

One thing is the successes and failures of 2013 can teach Hollywood a lot about shelling out movies for the public. I will admit that the news about the constant flopping of the big budget action movies did deserve to be made note of. In fact it continued with Elysium despite how good quality it was. One thing that should have also been taken note of was the low-budget successes that happened. Some of which had quite minimal expectations put on them. First example is the horror drama The Conjuring which made $136 million total all on a budget of $20 million. In fact it debuted at #1 in its opening weekend with a gross more than double its budget. Another example is the oddball comedy We’re The Millers. It never was #1 at the box office but it opened with a healthy opening weekend of $26.4 million and went onto a gross that currently stands at $132 million. This movie had to be the movie that had legs this summer. The most current example is Lee Daniels’ The Butler. That’s not your typical summer fare but it held the #1 spot during the last three weekends of the summer and just hit $100 million this weekend. Hollywood, take note.

It’s not to say that action moves were a complete dud this summer. It actually opened strong with Iron Man 3 and continued with Star Trek Into Darkness and World War Z. However the first sign that the crowd was about to tire of this genre was when Man Of Steel didn’t gross as much as hoped. Sure, $291 million is still impressive and has it as the 3rd-highest grossing movie of 2013, but more was expected. I believe that was the first sign that it would be all downhill from here for this summer’s action flicks.

What should be noted is that the biggest winners at the box office were not necessarily the action movies but the animated family movies. Iron Man 3 may have been the highest grossing movie of 2013 so far but Despicable Me 2 is the second-highest. Its Minion Power took it to a total gross of just over $359 million. Monsters University holds as the fourth-highest of 2013 with $265 million. A third animated movie, Epic, also received an impressive total gross of $107 million.

So that sums up the summer of 2013. Action-packed, animatedly-charming and surprises out of left field. For every box office dud, there were hits. The bad news of the summer action flick would lead to good news of this summer’s total gross. Hollywood should learn from this summer and prepare not simply for a better summer but a smarter-planned summer for 2014.

Has Pixar Lost Its Spark?

The release of Monsters University shows Pixar putting more emphasis on commercialism and less in remarkable writing.
The release of Monsters University shows Pixar putting more emphasis on commercialism and less in remarkable writing.

Remember how for many years Pixar animated movies would be some of the best made of the year? Monsters University showed signs of Pixar heading in a more commercial direction with more emphasis on profit than on script quality. The question is will Pixar return to the greatness it had for many years?

Pixar started off as a small animation studio that made computer animated shorts. Actually shorts was as far computer animation got as far back as 20 years ago. That all changed when they received a phone call from Disney. There they teamed up to make the first ever animated feature. The end result, Toy Story, was history in the making. Released in the fall of 1995, it won over the critics and was a big hit at the box office. Director John Lasseter even received a special honorary Oscar for his achievement.

Eventually over the years the success of Toy Story would pave the way for successes of other 3D animated features over the years. Much of which was done by Pixar itself with the successes and critical renown of A Bug’s Life in 1998 and Toy Story 2 in 1999. In fact in teaming up with Disney/Buena Vista, it became clear that 3D would be the next big thing in animation as it would even fare better with the critics and outgross 2D animated movies from Disney like Mulan in 1998 and Tarzan in 1999.

However it would soon be clear that Pixar would soon get some rivalry in terms of 3D pictures. DreamWorks animation would release Antz just weeks before A Bug’s Life. Then they’d release Shrek in 2001 which did even better critically and financially than Pixar’s Monster’s Inc. that year. The rivalry would eventually lead to the eventual domination of 3D animation in shelling out animated features.

Pixar teamed up with Disney would have continued success and critical renown with other pictures like Finding Nemo in 2003 and The Incredibles in 2004. The movies were not your typical Disney movies in terms of marketing characters in toys but they did continue to score well with the public with both grossing over $250 million and score excellently with the critics. However 2006 gave a sign that Pixar was leaning into commercial directions with Cars. The movie scored 74% on Rotten Tomatoes—the lowest for a Pixar feature at the time—but the movie succeeded in toy merchandise. Its gross was also an impressive $244 million.

2007 to 2010 saw continued success and critical renown with Pixar’s features like Ratatouille in 2007, Wall-E in 2008 and Up in 2009. The big bang came in 2010 with the release of Toy Story 3, the finale to the Toy Story series. Like most of Pixar’s previous movies, it scored excellently with the critics. Its box office result was also excellent as it grossed $415 million: the most ever for a Pixar feature.

Vanity Fair saluted Pixar for its fifteen years of remarkable entertainment with this picture in its Oscar issue.
Vanity Fair saluted Pixar for its fifteen years of remarkable entertainment with this picture in its 2011 Oscar issue.

I still remember right after Toy Story 3 came there was countless mention of the success Pixar has made both financially and critically over the years. Entertainment webpages around that time made note of the successes they gave over the years. Rotten Tomatoes even pointed out that except for Cars, each Pixar movie up to then scored 90% or higher on its Tomatometer. Even Vanity Fair had a picture during the time of the Oscars of all the characters of Pixar movies. It was almost like around that Oscar time there was a big salute to Pixar for the 15 years of entertainment they gave. 15 years of excellent quality entertainment. 15 years of entertaining families and charming critics. A total of almost $3 billion gross. Forty-one Oscar nominations and eleven Oscar wins including seven wins in the Best Animated Feature category. In fact you could give credit for movies like Toy Story or Toy Story 2 for why the Best Animated Feature category was added by the Academy back in 2001.

Then it seems like right after Toy Story 3 and the glory that followed, things went downhill for Pixar. First came Cars 2 in 2011 with a lot of hype and merchandise. The film grossed a humble $191 million at the box office. However it was the Rotten Tomatoes result that was the big shocker. 39%: the first Pixar feature ever to be certified a Rotten Tomato. It even became the first Pixar feature to fail to receive a Best Animated Feature Oscar nomination ever since the category’s inception. As for the merchandise…

2012 gave a bit of hope that Pixar would be back into the swing of things with Brave. Brave was also a milestone as this would be the first Pixar feature with a female protagonist and would include two female co-writers and a female co-director. Unfortunately Brave received 78% at Rotten Tomatoes: falling short of Pixar’s finest efforts. The film did gross $237 million at the box office but still something was missing.

2013 seemed like another year where Pixar was aiming for quantity instead of quality. Monsters University, the prequel to Monsters Inc., was the only Pixar feature released in 2013. That hit a 78% on Rotten Tomatoes but still grossed an impressive $260 million. In terms of merchandise…

This weekend came Planes, a movie that was going along the same line as the Cars movies. It’s not necessarily a Pixar movie but it did have John Lasseter create the story for it. It scored only 24% on Rotten Tomatoes and opened the weekend with a paltry $22.2 million. That could be bad news about Lasseter’s creative juices.

It’s a question to what happened to Pixar as they always aimed for quality not just in terms of animation but also in the story and script. In fact seven of Pixar’s features have also been nominated in the screenplay categories and it’s those that have stood out as Pixar’s finest achievements. However as seen in the past, the desire to go more commercial does make the quality take a backseat. The animation is still top-of-the-line however the lack of inventiveness in its writing is making itself more evident.

It’s not to say that this is the end of Pixar’s legacy. 2014 will have The Good Dinosaur coming out. This was made from a concept of John Lasseter and will introduce a new scriptwriter to Pixar’s dream team. 2015 also shows Pixar keeping its creativity active with The Inside Out and also giving another commercial try with Finding Dory. How these movies will do both commercially and critically is something only time will tell.

Pixar has left a legacy of animated movies over the past twenty years. However it has been right after the release of Toy Story 3 that they appeared to be taking their legacy for granted. Their upcoming releases should send the message if they’ll return to it or not.

2013 Box Office And The Big Budget Flops

Movie (640x306)

Last week I wrote about the current situation at the box office in terms of the monthly totals. This time around I’ll be talking about another box office issue of this year, especially this summer. Big budget movies going up in smoke.

The box office has had big movies for years with special effects, dazzling action scenes, directed by reputed directors and starring A-list stars and they’ve paid off well more often than not. The summer is normally the best time to have such big movies loaded out in release.  This year it seems like the big budget movies are having their weakest year in a long time and it look like the hype of the summer movie season hasn’t done much to help boost it. How bad have they been doing? Here’s a list of the most notable big budget movies to fare poorly:

  • G.I. Joe: Retaliation – Stars: The Rock, Channing Tatum, Bruce Willis – Production Budget: $130 million – Box Office Total: $122.5 million
  • Oblivion – Stars: Tom Cruise, Morgan Freeman – Director: Joseph Kosinski – Budget: $120 million – Box Office Total: $89.1 million
  • After Earth – Stars: Will Smith, Jaden Smith – Director: M. Night Shyamalan – Budget: $130 million – Box Office Total: $59.7 million
  • White House Down – Stars: Channing Tatum, Jamie Foxx – Director: Roland Emmerich – Budget: $150 million – Current Box Office Total: $68.4 million
  • The Lone Ranger – Stars: Johnny Depp, Armie Hammer, Helena Bonham Carter – Director: Gore Verbinski – Budget: $215 million – Current Box Office Total: $81.3 million
  • Pacific Rim – Stars: Charlie Hunnam, Rinko Kikuchi – Director: Guillermo Del Toro – Budget: $190 million – Box Office Total: $68.3 million

Now that’s just for the big budget movies that are now out of the Top 10. This weekend was unique because of two big budget movies with dismal opening weekends:

  •  R.I.P.D. – Stars: Jeff Bridges, Ryan Reynolds, Kevin Bacon -Director: Robert Schwentke – Budget: $130 million – Opening Weekend Total: $12.7 million
  • Red 2 – Stars: Bruce Willis, John Malkovich – Director: Dean Parisot – Budget: $84 million – Opening Weekend Total: $18.1 million

To think last year they were cracking all those John Carter jokes. Looks like John Carter‘s got some company this year. This also puts into question a lot of other big budget movies still to be released this summer. Yet to be released is The Wolverine, 2 Guns, Elysium, Percy Jackson: Sea of Monsters, Mortal Instruments: City Of Bones, Paranoia and Getaway. The production budgets for those movies has not yet been released by Box Office Mojo but you can bet they will all face the pressure of making it all back, if not #1, at the box office.

It’s not to say all big budget movies have done poorly. Iron Man 3, Star Trek Into Darkness, Man Of Steel, The Fast and The Furious 6 and Man Of Steel have fared very well. Even animated movies with big budgets like The Croods, Epic, Monsters University and Despicable Me 2 have been successes if not box office-toppers. Even Turbo opening this weekend at $31 million shows strong signs it will make its $135 million back before its run is over.

I guess it’s not exactly about shelling out bloated overhyped movies during the summer but just a job about doing the right moves. I know that every year faces the pressure of outgrossing the year before and 2013 faces that same expectation the record-breaking big shoes of 2012 to fill. I guess it’s just another study Hollywood has to undertake in preparation for both the summers of 2014 and 2015.  Also Hollywood should be reminded that you don’t always need a big movie to top the box office In fact this weekend’s #1 movie was The Conjuring with $41.8 million: more than double its budget. Pay attention, Hollywood.

WORK CITED:

BoxOfficeMojo.com. 2013. Box Office Mojo. Owned by IMDB.com. <http://www.boxofficemojo.com>

Cory Monteith’s Death All Too Common

Cory Monteith hit the big time with the TV series Glee but his death last week at the age of 31 ended it all.
Cory Monteith hit the big time with the TV series Glee but his death last week at the age of 31 ended it all.

I’m sure all of you know the news by now, especially Glee fans. Star Cory Monteith was found dead in a Vancouver hotel Saturday night. He was 31. I know because I live in Vancouver so that news hit fast. Toxicology results came immediate: it was an overdose of alcohol and heroin. It was a shock to many. Problem is this tragedy is way too common in the history of entertainment.

The arts and showbiz are known for great lives being cut short due to substances or their own personal demons. They go far back to such greats like composers Mozart and Schubert who never made it to their 40th birthday. They include poets like Edgar Allen Poe, Sylvia Plath, Anne Sexton, Dylan Thomas…the list is lengthy. They include artists like Vincent Van Gogh, Jackson Pollock and Frida Kahlo. Actually it was right after the release of the 2002 film Frida that I made the comment: “A tortured soul makes an artist.” Young showbiz deaths include singers like Sam Cooke, Mario Lanza, Marvin Gaye and Amy Winehouse. They include rappers like Tupac Shakur and The Notorious B.I.G. They also include actors like John Gilbert, Marilyn Monroe and River Phoenix.

Also unique about celebrities and artists is that quite often their young death can add to their mystique as an artist. Many people feel know of Jackson Pollock’s struggle with alcoholism and that it led to him to paint his feelings out. Many people are awestruck by the personal troubles of Kurt Cobain who sang out his troubles: troubles that eventually led to his suicide. Marilyn Monroe’s mystique of being the Hollywood beauty whose fame and fortune couldn’t save her from her personal struggles has added to her legend since her suicide. James Dean epitomized the popular 50’s belief  ‘live fast, die young’ upon his death in a high-speed car crash. Even Tupac Shakur’s knowledge that he would die an early death because of his bad attitude but still went for it anyways also mesmerizes fans to this day. Sometimes an entertainer dying young of natural causes like Bob Marley from cancer can leave us in amazement about what they did in their short life. Early deaths linked to a particular profession create a mystique too. We know of the ’27 Club’ of rock musicians like Jimi Hendrix, Janis Joplin, Jim Morrison and Kurt Cobain who died at the age of 27. We also see how some of the greatest divas in history like Billie Holiday, Edith Piaf, Judy Garland and most recently Whitney Houston failed to reach their 50th birthday. Even early deaths of the biggest of the big like Elvis Presley at 42 and Michael Jackson at 50 capture our intrigue.

The most recent celebrity to be amongst entertainers and celebrities who died a young death was Cory Monteith. Cory was a young actor who had been in the business since he was 22. He was mostly cast in minor roles but received a big break in 2009 when he was cast in the lead role of Finn Hudson in the TV series Glee. The success of the musical TV series took off instantly with huge fanfare and hit records of song they performed on the show. There was even a Glee tour and a 3D concert movie. Things appeared to be going very well for Cory. He appeared to be handling fame well, was in a relationship with fellow cast member Lea Michele and appeared to have overcome a lightly-publicized substance problem within a month earlier this year.

Then the news hit in the evening of July 13, 2013. 31 year-old Cory Monteith was found dead in his room at the Fairmount Pacific Rim Hotel in Vancouver. An autopsy was completed in less than 48 hours. Cause of death was ruled to be a mix of heroin and alcohol. It was ruled to be an accident. Cory became yet another young celebrity who died an early death to drugs and alcohol.

The big question was did celebrity have to do with it? I’ll admit that on the day of his autopsy results released, I posted on my Facebook status:

On the subject of Cory Monteith’s toxicology results, you hear of celebrities past who died early deaths of drugs and various substances and you’d think the next generation will learn the lessons and avoid it, only to see them make the same dumb mistakes!

However if you read stories about him, you will hear that Cory had problems with alcohol and marijuana since he was 13. It should be too surprising knowing he was raised in Victoria when that happened. BC is known for its substance abuse problems. Since then he attended 16 different schools until dropping out at the age of 16. Cory continued to fuel his drug habit by stealing off of family and friends until his family staged an intervention when he was 19 and attended a rehab program that was successful in helping him recover. However his problems would come and go. One news source said his problem would actually disappear when he was in Hollywood but would recur when he was in BC. This may be true or not but one thing’s sure is that his death at the Vancouver Fairmont would make that statement look right.

I’ll admit I was erroneous in my Facebook update but it was nevertheless an easy assumption to make. When I was younger, it appeared that celebrities dying young deaths from drugs and alcohol would serve as a lesson to the younger stars that it’s not worth it. Boy was I naïve. The last ten years has shown us a lot of stories of young celebrities, especially the likes of Paris Hilton, Britney Spears and Lindsay Lohan, who kept on getting themselves into substance problems again and again. I even remember a quote from actress Barbara Eden just after Lindsay Lohan’s DUI arrest in 2007. I don’t remember the exact words but it went something like: “I feel sorry for those young girls in Hollywood. You just can’t simply do some coke. You have to do a whole lot.” It left me with the impression that stardom is still something people feel is worth putting your life at risk for. Even with all these gossip blogs of other celebrities dealing with their substance issues you’re left with that impression. It’s because of all that in which Cory’s death from that lethal mix of heroin and alcohol led me to think it was showbiz again doing its thing. However I’m willing to agree that it has more to do with Vancouver as I’m very familiar with its drug abuse problems. I see it almost every day.

Whatever the situation, or however it happened, Cory was nevertheless a life cut short. Apart from his celebrity, he left behind a mother, father and a brother having to deal with this. His father had an additional dealing as he was not invited to Cory’s viewing. Lea Michele has to deal with her boyfriend gone. The official Twitter accounts of top Glee stars like Lea, Chris Colfer and Kevin McHale have not had a tweet since July 13th: the day of Cory’s death. Lea however has had an official statement wishing for privacy at this time. The future of Glee also remains in question.

Cory Monteith may have shocked all with his death coming at a time of fame and fortune. However a young death is a young death. One can’t help but be left wondering what could’ve been, celebrity or not. I remember a quote from Stevie Nicks when she talked about her cocaine addiction and how she said part of her wanted to die but part of her made her think if she died young, people would say: “That was stupid of her,” and it made her recover. Did that ever cross Cory’s mind?

WORK CITED:

WIKIPEDIA: Cory Monteith. Wikipedia.com. 2013. Wikimedia Foundation Inc. <http://en.wikipedia.org/wiki/Cory_Monteith>

2013 Box Office: The Year In Question

Cinema
You may remember from my tracking of the box office last year that it was a record-setting year, right? 2013 was given a hard act to follow and so far it hasn’t followed well.
The month of January looked well with the box office topping with Hansel and Gretel, Mama and Zero Dark Thirty but it wasn’t enough to outgross January 2012. February had it tougher when successes from Identity Thief, Warm Bodies and A Good Day to Die Hard failed to even touch February 2012’s results. Actually none of the weekends in February 2013 succeeded in outgrossing the previous year’s weekend. In fact February 2013’s gross of $536 million made it the lowest-grossing February since 2006. March 2013 wasn’t as bad but it also didn’t outgross the previous year. Mind you there was no Hunger Games in March this year. This March’s box office-toppers–Jack The Giant Slayer, Oz: the Great And Powerful, The Croods and G.I. Joe: Retaliation–failed to top with a big bang. There was at least one March weekend this year that did outgross the previous year’s weekend and that was when Oz was on top. Nevertheless the first quarter of 2013 added up to a dismal grossing of $1.85 billion, down half a billion from $2.36 billion: a dip of over 20%.
April 2013 was also lower than the year before. Yeah, not having a movie with buzz like The Hunger Games does hinder. It wasn’t all dismal as the first two weekend’s weekend toppers like Evil Dead and 42 did outgross the weekends the year before. However the spark didn’t carry with weekend toppers like Oblivion and Pain and Gain. May 2013 however was a ray of hope in 2013’s box office year. This came thanks to Iron Man 3 opening the very first weekend. It opening weekend of $174 million was the second-highest opening weekend ever. Oh sure, it didn’t outgross that weekend the year before because opening that weekend last year was opening weekend record-holder: The Avengers. The following weekends kept the buzz rolling with strong showings from Star Trek Into Darkness and The Fast And The Furious 6. As May 2013 came to an end, May became the first month of 2013 to outgross 2012. Its total gross of $1.438 billion set a record as the highest-grossing May ever and outgrossed May 2012 by over $250 million. June however was back to showing the box office struggle of 2013. This June’s box office toppers–Purge, Man Of Steel and Monsters University— lacked the buzz of 2012. In the end June 2013’s gross of $1.1 billion was more than $200 million less than June 2012 and the lowest-grossing June since 2008. Despite the low showings the second quarter of 2013 did show a plus sign. Yes it failed to outgross the second quarter of 2012 but by a slim margin: only $56 million.
So with 2013 halfway done, the box office results are not too impressive right now. Already 2013 is more than half a million behind 2012’s pace and it’s safe to assume 2013 won’t outgross 2012’s record year. Neverhteless there will be attractions in the coming months. This weekend features two action movies–Red 2 and R.I.P.D.–opening this week and even Turbo that actually opened today. Next weekend plans the release of The Wolverine. The first weekend in August plans Two Guns and The Smurfs 2. The following weekend has the action movies Elysium and the Percy Jackson sequel. Other August releases with big buzz is Jobs, Paranoia, Kick Ass 2, The World’s End, The Butler and One Direction: This Is Us. September has Riddick, The Family, Prisoners, Rush and Baggage Claim to perk up what is normally the quietest movie month of the year. October has Gravity, Captain Phillips, Escape Plan and a remake of Carrie to attract crowds. The end of the year promises more attractions like Ender’s Game, Frozen, American Hustle, Saving Mr. Banks, The Secret Life of Walter Mitty and sequels to Thor, The Hobbit, Anchorman and of course The Hunger Games.
So even though 2013’s box office results look like this year won’t be a record-breaker, it doesn’t mean it won’t be a good year to draw people to the theatres. So go out and see a movie. Not for the sake of the box office but for your own enjoyment.

WORKS CITED:

“Monthly Box Office Chart” BoxOfficeMojo.com. 2013. Box Office Mojo. Owned by IMDB.com. http://www.boxofficemojo.com/monthly/

“Weekend Box Office Chart” BoxOfficeMojo.com. 2013. Box Office Mojo. Owned by IMDB.com. http://www.boxofficemojo.com/weekend/

“Quarterly Box Office Chart” BoxOfficeMojo.com. 2013. Box Office Mojo. Owned by IMDB.com. http://www.boxofficemojo.com/quarterly/

My Top 10 Movies Of 2012

If only I was a professional film critic, I’d be able to see all the movies and DVDs before year’s end to make my Top 10 list of the year. But I’m just an everyday schmuck like you who has to wait until the movies hit the theatre or come out on DVD to see them. Thus once again a delay this late in my Top 10 list. Maybe one year I’ll finally be an official film critic. You can always hope.

Anyways without further ado, many of you have already seen my lists of my Top 10’s from 2002 to 2010 and of 2011. Now I finally have my list out of the Top 10 of 2012 and five honorable mention picks:

MY TOP 10 MOVIES OF 2012

Zero Dark Thirty

  1. Zero Dark Thirty
  2. Silver Linings Playbook
  3. Beasts Of The Southern Wild
  4. Argo
  5. The Life of Pi
  6. Les Miserables
  7. Lincoln
  8. The Master
  9. Searching For Sugar Man
  10. Amour

Honorable Mention:

  • Django Unchained
  • Moonrise Kingdom
  • The Hunger Games
  • The Best Exotic Marigold Hotel
  • Wreck-It Ralph