Categories
Movies

It’s my hope to see BEAUTY & THE BEAST and THE FATE OF THE FURIOUS this week. We’ll see if that happens.

Box office report: Fate of the Furious finishes at No. 1, shatters worldwide opening record

The fate of the storied Furious franchise is to break a few box office records.

The eighth film in Universal’s car-based action series speeds its way to the largest worldwide debut weekend of all time with an estimated $532.5 million, breaking the record previously held by Star Wars: The Force Awakens ($529 million).

But this isn’t the only notable number the ensemble flick (which stars Vin Diesel, Dwayne “The Rock” Johnson, Ludacris, and Charlize Theron, among others) has racked up this weekend. Not only has F8 pulled in an estimated $100.2 million domestically — becoming 2017’s ninth picture to do so — but it’s also earned an estimated $432.3 million internationally, beating the record set by Jurassic World ($316.7 million) among top foreign openers.

While the debut was a large one, it marks a significant decrease from the gross of its forerunner, Furious 7, which made $147 million in 2015 after opening in 4,004 theaters in North America, compared to F8‘s 4,310-screen domestic release.

This weekend also sees Boss Baby slip down to No. 2 after two straight weekends at the top. However, the Alec Baldwin-starring animated feature continues to perform well, crossing the $100 million mark domestically with an estimated weekend earning of $15.5 million.

Meanwhile, Beauty and the Beast‘s long legs continue carrying the film past the $1 billion mark at the global box office. The live-action adaptation of the 1991 animated fantasy came in third on the North American chart this weekend, adding an estimated $13.6 million to its $454 million U.S. and Canadian total while making it the 12th highest grossing film of all time (unadjusted for inflation) domestically.

Elsewhere, Smurfs: The Lost Village earned an estimated $6.5 million domestically this weekend. The animated blue creature feature — which earned an A on CinemaScore — continues to post fair numbers overseas, having earned $70 million to date. Premiere dates are still on deck for traditionally lucrative territories, including China and South Korea.

Rounding out the top five is Going In Style, which continues to be a steady performer among its older audience base. The Zach Braff-directed comedic caper film — starring Morgan Freeman, Michael Caine, and Alan Arkin as a trio planning a heist — earned an estimated $6.3 million, which in turn makes for an estimated $23 million domestic gross for the film. The film seems to be following the trajectory of similarly aimed The Second Best Exotic Marigold Hotel, which also earned a B+ on CinemaScore and eventually pulled in a domestic total gross of $33 million.

Outside the top 10, James Gray’s newly released The Lost City of Z pulled in an estimated $112,633. The film, which tells the story of a real-life explorer who went missing on an expedition with his son and features an all-star cast of Charlie Hunnam, Tom Holland, Robert Pattinson, Sienna Miller, and Angus Macfadyen, earned the highest per-screen average of the week ($28,158).

On the other end of the scale, the animated Spark managed to bring in an estimated $112,352 in its first opening weekend, however despite boasting a 365-theater release and an impressive voice cast that featured Hilary Swank, Susan Sarandon, Patrick Stewart, and Jessica Biel, the monkey-focused flick earned an estimated per-screen average of $308.

Per comScore, overall box office is up roughly 6.1 percent from the same frame last year. Check out the April 14-16 estimates below.

1 – The Fate of the Furious – $100.2 million
2 – The Boss Baby – $ 15.5 million
3 – Beauty and the Beast – $13.6 million
4 – Smurfs: The Lost Village – $6.5 million
5 – Going In Style – $6.3 million
6 – Gifted – $3 million
7 – Get Out – $2.9 million
8 – Power Rangers – $2.8 million
9 – The Case For Christ – $ 2.7 million
10 – Kong: Skull Island – $2.6 million

Categories
Movies

Hurry up, Summer Movie Season! My friends and I miss going to the movies!!

Box office report: Audiences rehire The Boss Baby, Colossal has monster debut

The Boss Baby is putting in the work.

Across a relatively tame weekend, Fox’s animated comedy extends its winning streak over a weak crop of newcomers, pulling in a decent $26.3 million between Friday and Sunday. With $89.4 million already under its belt, The Boss Baby should cross the $100 million mark in the days ahead, in the process becoming 2017’s eighth picture to do so.

For the second week in a row, Disney’s live-action adaption of Beauty and the Beast again trails The Boss Baby by a small margin as it posts around $25 million after its fourth go-round with domestic audiences. The $160 million blockbuster broke March opening records last month and has gone on to become 2017’s top-earning movie worldwide, tallying an astonishing $977.4 million globally after just 24 days in theaters.

Beauty and the Beast‘s North American total sits at $432.3 million (No. 15 on the all-time U.S. and Canada chart), registering career-high grosses (unadjusted for inflation) for its director and most of its principal cast, including Emma Thompson, Dan Stevens, Stanley Tucci, and Emma Watson, who previously appeared in eight high-profile Harry Potter flicks.

Further down the top five are a pair of new releases: Smurfs: The Lost Village ($14 million) and the Zach Braff-directed heist comedy Going in Style ($12.5 million). The former’s gross likely signals an end to Sony/Columbia’s current Smurfs revival series, which has waned in popularity since the release of 2011’s The Smurfs, a worldwide hit that went on to make $563 million after a $35.6 million North American bow. Lukewarm critical reviews didn’t sway audience opinion, however, as polled moviegoers gave the film an A on CinemaScore, which could signal longer-than-usual legs, as The Lost Village is the last major studio animated title to hit wide release until Pixar’s Cars 3 drives into theaters this summer.

As expected, Going in Style likely captured the interest of the mature set on Friday, a demographic with taste that’s consistently difficult to predict, as industry prognosticators had initially pegged the film (which stars Morgan Freeman, Alan Arkin, and Michael Caine) for a weekend in the $8-$10 million range.

Rounding out the top five is the Scarlett Johansson actioner Ghost in the Shell ($7.4 million), which takes a nasty tumble to the tune of 60.6 percent over its second weekend. Though its international grosses are still slightly padding its domestic underperformance (it has made $124.4 million worldwide on a $110 million budget), the film has a lot of ground to make up as it continues its global rollout.

Outside the top 10, Anne Hathaway’s brilliant kaiju comedy/addiction drama hybrid Colossal averages the highest per-theater number ($31,452) of the week, pulling in $125,809 from four domestic locations after sustaining glowing critical reviews dating back to its September 2016 world premiere at TIFF. The film marks Neon’s debut theatrical release, allowing the fledgling distributor to notch a specialty win over its freshman outing in North America.

Elsewhere, the Chris Evans-fronted drama Gifted — about a protective uncle fighting for a “normal” childhood experience for his niece, a mathematical child prodigy — opens to a solid $476,000 at 56 sites, averaging $8,500 per theater. The Japanese animated flick Your Name — which has amassed a staggering $328.7 million worldwide to date as one of Japan’s best-performing movies of all time — adds roughly $1.6 million to its ballooning total after opening Friday at 303 domestic locations.

Per comScore, overall box office is up roughly 5.5 percent from the same frame last year. Check out the April 7-9 weekend estimates below.

1 – The Boss Baby – $26.3 million
2 – Beauty and the Beast – $25 million
3 – Smurfs: The Lost Village – $14 million
4 – Going in Style – $12.5 million
5 – Ghost in the Shell – $7.4 million
6 – Power Rangers – $6.2 million
7 – Kong: Skull Island – $5.8 million
8 – Logan – $4.1 million
9 – Get Out – $4 million
10 – The Case for Christ – $3.9 million

Categories
Letterman

Get well soon, Neil…and this is awesome for Dave!!

David Letterman to Replace Neil Young for Pearl Jam Rock Hall Induction

David Letterman will induct Pearl Jam into the Rock and Roll Hall of Fame at the Brooklyn induction ceremony Friday, with the retired Late Show host filling in for Neil Young.

“Due to illness, Neil Young is regrettably no longer able to induct Pearl Jam at this Year’s Induction Ceremony,” the Rock Hall said in a statement Wednesday. “The Rock and Roll Hall of Fame is thrilled that David Letterman has agreed to induct Pearl Jam this Friday night at the 32nd Annual Induction Ceremony.”

Letterman’s Late Show was a favorite late-night venue for Pearl Jam, who performed at the Ed Sullivan Theatre seven times – compared to the zero appearances they made on Jay Leno’s Tonight Show – with Eddie Vedder also performing as a solo artist on Late Show. In 2006, the band played a 10-song set for the Late Show audience.

The band’s first Late Show visit occurred in September 1996 with a run-through of No Code’s “Hail Hail.” “This is a big thrill for me,” Letterman told the band after finally recruiting them to appear on the show.

Letterman joins a Rock Hall induction roster that includes Snoop Dogg (inducting Tupac Shakur), Jackson Browne (Joan Baez), Rush’s Geddy Lee and Alex Lifeson (Yes), Dhani Harrison (ELO) and Train’s Pat Monahan (Journey). Lenny Kravitz will also pay tribute to Prince at Friday’s induction ceremony, while Pharrell will honor lifetime achievement recipient Nile Rodgers.

The Rock and Roll Hall of Fame induction ceremony will air on HBO April 29th at 8 p.m. ET/PT. A special exhibit dedicated to the 2017 class will open at the Rock Hall in Cleveland March 31st.

Categories
Doctor Who

No matter who’s coming or going I just want this new season to be great!!

New ‘Doctor Who’ companion Pearl Mackie to get the boot after one season: Report

Pearl Mackie is reportedly set to be axed from Doctor Who after just one series of playing the Time Lord’s assistant.

The 29-year-old actress joined the cast of the BBC show in April, 2016, starring alongside Peter Capaldi’s Doctor. But after the actor announced he had quit the show, with his last episode coming at the end of the year, The U.K. Sun now claims that Mackie’s days on the show are “numbered.”

“Bosses have decided to have a completely fresh start,” a source told the newspaper. “Peter has already confirmed his exit and the rest of the team’s days are numbered too.

“It’s yet to be formally decided but it makes sense to give Chris (new Doctor Who boss, Chris Chibnall) his own choice of actor to play the Doctor and his companion.”

The report comes just weeks after Mackie revealed that her character Bill Potts will make Doctor Who history by becoming the first openly gay character in the show, with her sexuality revealed at the beginning of the first new episode when the BBC sci-fi series returns to Space here in Canada on April 15.

“It shouldn’t be a big deal in the 21st Century,” Mackie told the BBC. “It’s about time, isn’t it? That representation is important, especially on a mainstream show.

“It’s important to say people are gay, people are black – there are also aliens in the world as well so watch out for them.

“I remember watching TV as a young mixed race girl not seeing many people who looked like me, so I think being able to visually recognize yourself on screen is important.”

It remains to be seen who replaces Capaldi as the next Time Lord and, if The Sun’s claims are true, as his new assistant. There has been speculation that bosses are hoping to break another boundary by having a female actress play the Doctor – with Tilda Swinton and Olivia Colman among the names apparently being considered for the part.

Categories
Awards

He’s always been unfunny and inappropriate. The Juno Awards has gotten away with his “jokes” in the past, but this time he did go too far.

Juno co-host Russell Peters’ comments ‘inappropriate’: Mélanie Joly

Comedian Russell Peters’s performance as host of the Junos on Sunday night is getting a bad review from Heritage Minister Melanie Joly.

Peters, who hosted the music awards ceremony in Ottawa along with musician Bryan Adams, introduced the minister before she presented an award alongside artist Coleman Hell.

“With him is the minister of heritage, Melanie Joly,” Adams said.

“I don’t know why, but she’s hot, so who cares?” Peters replied.

Peters also commented on the number of young women in the audience, suggesting it was a “felony waiting to happen.”

Speaking outside the House of Commons on Monday, Joly said Peters’ comments were inappropriate, adding this type of humour does not have a place at the Junos.

The minister said she is proud to represent an industry worth $53 billion, noting Canada is the third largest exporter of music in the world.

“We need to make sure that all our role models are supporting the importance of gender parity,” Joly said. “I really hope that he takes that into consideration and understands … the importance of what he said.”

Peters was not immediately available for comment on Monday.

Categories
Awards

No matter what else did or didn’t happen, The Tragically Hip and their heartbreaking story was THE Canadian music story of the last year and CTV played them off and didn’t let them finish their speech on these Juno Awards. That was and is unforgivable!!!

Leonard Cohen, Gord Downie and Sarah McLachlan dominate 2017 Juno Awards

OTTAWA – Even from the afterlife, Leonard Cohen is still dominating the Canadian music scene, with his swan song You Want it Darker taking home Album of the Year honours at the Juno Awards in Ottawa Sunday.

The record, the 14th and final album from the legendary Montreal-born songwriter, was released on Oct. 21, just three weeks before Cohen passed away at age 82.

Cohen was also posthumously awarded Artist of the Year at Saturday night’s gala, and his legacy was honoured in an emotional tribute Sunday courtesy of Feist, who performed Cohen’s Hey That’s No Way to Say Goodbye, following an introduction from Prime Minister Justin Trudeau and Sophie Grégoire Trudeau.

Trudeau called Cohen “one of the greatest artists Canada has ever produced,” and recalled the friendship the Montrealer enjoyed with his father, Pierre Elliott Trudeau.

“We recognized ourselves in what he wrote,” said Grégoire Trudeau.

Cohen was also nominated for Songwriter of the Year, an award that went to Gord Downie, who also won three Juno awards the previous night, including Rock Album of the Year for The Tragically Hip’s Man Machine Poem, and for Adult Alternative Album of the Year for his own Secret Path, the story of Chanie Wenjack.

In a pre-recorded message, Downie thanked Canadians for their support of Secret Path, saying he hoped the album would be used to teach younger generations about truth and reconciliation.

“Thank you for following the sound you’ve sort of been hearing your entire life, for recognizing that we aren’t completely Canada yet,” Downie said. “My dream would be that this record might help people.”

The Tragically Hip were also named Group of the Year on the biggest night in Canadian music, with bandmates Rob Baker and Paul Langlois thanking just about everyone ever associated with the band, including Downie, before they were ushered off stage to the sound of their own music on the house speakers.

Shawn Mendes was awarded the Fan Choice award in the show’s finale.

Russell Peters and Bryan Adams showed off some early comic hijinks in an introductory skit featuring a cameo from the Prime Minister, who made a special request – an unnecessary one, as it turned out — for Adams’ iconic Summer of ’69, which was later performed with an all-star cast.

Peters and Adams stepped in to host after crooner Michael Bublé cancelled to care for his young son, who was diagnosed with liver cancer last fall.

The show kicked off earnestly with Buffy Sainte-Marie recognizing the “enduring presence of all First Nations, Inuit and Metis,” amid traditional indigenous dancers and the thundering beats of Ottawa’s A Tribe Called Red, featuring Tanya Tagaq.

Breakthrough Artist of Year winner, Edmonton singer-songwriter Ruth B., was elated as she took the stage. “The one thing I always wanted to hear on this stage — it doesn’t matter where you come from, no matter what you do, if you have a passion, follow it,” she said.

Jess Moskaluke won for Country Album of the Year for her sophomore album Kiss Me Quiet. “This is probably the coolest thing I’ve ever done – I didn’t even put shoes on,” she laughed.

Rap superstar Drake, who was honoured Saturday with an award for international achievement, was shut out of six other nominations — for the year’s best single, album, artist, rap recording and producer.

Drake also lost out on the Juno Fan Choice award to Shawn Mendes, who was nominated along with Hedley, Justin Bieber, Alessia Cara, Belly, Ruth B., The Weeknd, Tory Lanez and The Strumbellas.

Alessia Cara, with a shout-out to her Brampton hometown, took the award for Pop Album of the Year.

Sarah McLachlan was inducted into the Canadian Music Hall of Fame. “I have the best job in the world,” said McLachlan. “Music is my church. It’s my comfort and salvation. Because of music my life has deeper meaning and a powerful sense of purpose.”

McLachlan performed World On Fire in a broadcast that also featured songs from Dallas Smith, Shawn Mendes, July Talk, The Strumbellas, Ruth B., Arkells, Alessia Cara and Billy Talent.

But they saved the best for last, with Adams rocking out Summer of ’69, joined by an all-star cast of the evening’s winners and nominees.

ahelmer@postmedia.com
twitter.com/helmera

TOP JUNO AWARDS, 2017

Album of the Year:
You Want It Darker, Leonard Cohen

Artist of the Year:
Leonard Cohen

Group of the Year:
The Tragically Hip

Rock Album:
Man Machine Poem, The Tragically Hip

Songwriter:
Gord Downie

Adult Alternative Album:
Secret Path, Gord Downie

Pop Album:
Know-It-All, Alessia Cara

Single:
Spirits, The Strumbellas

Country Album:
Kiss Me Quiet, Jess Moskaluke

Rap Recording:
Hotel Paranoia, Jazz Cartier

R&B/Soul Recording:
Starboy, The Weeknd

Breakthrough Artist:
Ruth B.

Categories
Movies

I will see a movie again this week, I promise you!! I can’t wait!!

Box office report: The Boss Baby dethrones Beauty and the Beast

After two straight weeks of putting in the work to see Disney’s Beauty and the Beast, audiences have hired a replacement box office champion in Fox’s The Boss Baby.

The animated family comedy dethrones the reigning champion, posting an estimated $49 million — a figure nearly $20 million higher than industry expectations initially projected — over its first three days in theaters.

Featuring the voices of Alec Baldwin, Lisa Kudrow, Jimmy Kimmel, Steve Buscemi, and Tobey Maguire, the film follows a suit-wearing infant who teams with his older brother to foil an evil CEO’s nefarious plot. Though it failed to drum up much excitement from movie critics, The Boss Baby notched an impressive A- grade on CinemaScore from polled moviegoers, who drove the film to a $12,987 per-screen average from 3,773 locations — the highest of the week.

According to the industry tracking analysts at comScore, The Boss Baby‘s Friday grosses also helped solidify March 2017’s record as the month’s best performer ever, tallying over $1 billion in ticket sales for the first time in history. Around $1.171 billion worth of audiences went to see movies on domestic screens between March 1-31 — an uptick of 23.4 percent from the previous record of $949.1 million posted in 2016.

Falling to No. 2 across its third week in wide release, Disney’s Bill Condon-directed adaptation of Beauty and the Beast adds a healthy estimated $47.5 million to its growing total, which sits at $395.5 million domestically to date. With a further $67 million pouring in from overseas audiences, Beauty and the Beast has made an astounding $876 million worldwide, cementing it as the year’s top-earning picture both in North America and internationally.

Debuting at No. 3 with a muted $19 million is Paramount’s take on the popular Japanese animation series Ghost in the Shell. The $110 million blockbuster features Scarlett Johannson as an anti-cyberterrorism cyborg. Playing at 3,440 sites, the film averaged a so-so $5,523 and a B-grade on CinemaScore. While its domestic numbers aren’t spectacular, films like this are designed to perform much better overseas, so it can’t be labeled a flop just yet; the female-fronted actioner Resident Evil: The Final Chapter made a paltry $26.8 million stateside in January, though its worldwide total has continued to climb past the $300 million mark well into spring. Ghost in the Shell currently occupies approximately 78 percent of its planned international footprint, so expect it to earn a great deal beyond the $40.1 million it earned from foreign countries this weekend.

Holdovers occupy the remaining slots in the top five, including Power Rangers — which dips a harsh 64 percent to $14.5 million over its second outing — and Kong: Skull Island. The King Kong franchise entry sheds 40 percent of its audience for a fourth weekend total of $8.8 million, bringing its North American haul to $147.8 million thus far.

Rounding out the top 10 is Focus’ Niki Caro-directed historical drama The Zookeeper’s Wife, starring two-time Oscar nominee Jessica Chastain as Antonina Zabinski, a Polish zookeeper who saved hundreds of people and animals during the German invasion in WWII-era Warsaw. Overperforming from Friday through Sunday, the film took an estimated $3.3 million from 541 theaters, averaging a healthy $6,191 per location. The decision has prompted Focus to roll out plans to expand the film to more theaters faster than initially anticipated.

“We’re very happy with our opening weekend, having a more limited title open in the top 10 is a great accomplishment!” Focus Features’ head of distribution, Lisa Bunnell, said of Zookeeper‘s performance via statement. “The film played extremely well with our core audience — exit polls were huge with over 90 percent of the audience rating the film in the top two boxes — as a result we’ve decided to expand faster than originally planned. Adult audiences are looking for films with a great story and strong performances and The Zookeeper’s Wife delivers.”

Per comScore, overall box office is up around 5 percent from the same frame last year. Check out the March 31 – April 2 weekend box office estimates below.

1 – The Boss Baby – $49 million
2 – Beauty and the Beast – $47.5 million
3 – Ghost in the Shell – $19 million
4 – Power Rangers – $14.5 million
5 – Kong: Skull Island – $8.8 million
6 – Logan – $6.2 million
7 – Get Out – $5.8 million
8 – Life – $5.6 million
9 – CHIPS – $4 million
10 – The Zookeeper’s Wife – $3.3 million

Categories
Movies

What?! I didn’t go to a movie again this week?!? But I really wanted to!!!

Box office report: Beauty and the Beast doubles Power Rangers’ weekend gross

As expected, Disney’s Beauty and the Beast roars atop the weekend box office for the second week in a row, bounding past a wide crop of newcomers as the month of March sets a new industry standard in record time.

The Bill Condon-directed fantasy falls around 49 percent for a sophomore finish of $88.3 million, bringing its North American total to $316.9 million in a mere 10 days. After breaking the March opening weekend record last week, Beauty and the Beast goes on to score the fourth largest 10-day gross of all time this weekend in addition to posting the fourth largest second weekend tally of all time.

Overseas, Beauty and the Beast adds $119.2 million after opening in territories like France, Australia, and Argentina, cementing the film’s $690.3 global total to date. So far this year, Disney has amassed an estimated $1.3 billion globally.

At a distant second is Lionsgate’s Power Rangers reboot, which slightly exceeds industry forecasts with a healthy $40.5 million. The expensive $100 million blockbuster should earn back its production budget in the U.S., though its profitability will be determined by how well it performs on the international market. Tentpole spectacles tend to do well overseas — particularly in Asia — so the film’s promising domestic launch is only a small start to what could be a long life on screens worldwide in the weeks ahead.

Though they’re technically rivals in the box office arena, the impressive weekend hauls of both Power Rangers and Beauty and the Beast have helped domestic totals push past the $1 billion mark for March alone, making it the month’s best showing in history, according to comScore.

Falling one spot to No. 3 is the Legendary/Warner Bros. actioner Kong: Skull Island, which muscles a further $14.4 million over its third weekend in wide release. The franchise flick has made $133.5 million in the U.S. and Canada thus far, with another $258.6 million pouring in from overseas for a global total of $392.1 million and counting.

Coming in at No. 4 is the heavily buzzed Sony/Skydance thriller Life, which world-premiered at SXSW to solid critical reviews earlier this month. The $58 million production meets modest industry expectations over a competitive weekend through Sunday, earning an estimated $12.6 million — a relatively low number given its star power (Ryan Reynolds and Jake Gyllenhaal star), intriguing alien-centric premise, and effective marketing campaign.

Outside the top five, Warner Bros.’ kitschy contemporary adaptation of the beloved television series CHiPs bows with an estimated $7.6 million — a lukewarm start for director-writer-star Dax Shepard’s latest filmmaking effort, which was reportedly produced on a budget of around $25 million.

Elsewhere, the comparatively low-profile basketball drama Slamma Jamma posts a decent $1.7 million after playing at 502 sites over the weekend. At 310 locations, the Woody Harrelson/Laura Dern vehicle Wilson — helmed by The Skeleton Twins director Craig Johnson — also bows with a soft estimated $330,000, averaging approximately $1,065 per theater.

Per comScore, overall box office is up around 5.5 percent from the same frame last year. Check out the March 24-26 weekend box office estimates below.

1 – Beauty and the Beast – $88.3 million
2 – Power Rangers – $40.5 million
3 – Kong: Skull Island – $14.4 million
4 – Life – $12.6 million
5 – Logan – $10.1 million
6 – Get Out – $8.7 million
7 – CHiPs – $7.6 million
8 – The Shack – $3.8 million
9 – The LEGO Batman Movie – $2 million
10 – The Belko Experiment – $1.8 million

Categories
Movies

It didn’t fail because it cost too much, it had a bad script and didn’t know what it wanted to be. That’s why it failed.

Ivan Reitman Weighs In On Paul Feig’s ‘Ghostbusters,’ Says More Franchise Movies Planned

Last year’s “Ghostbusters” reboot wasn’t the massive hit that the studio and filmmakers were hoping for. No matter your thoughts on the finished product, the film just didn’t make enough money to warrant a sequel. But that’s not deterring producer Ivan Reitman from keeping hope alive. He’s not just planning to continue the “Ghostbusters” franchise with another movie, he’s planning on multiple movies.

“We jumped into an animated film [after the last movie] and we are developing live-action films. I want to bring all these stories together as a universe that makes sense within itself. Part of my job right now is to do that,” said Reitman in an interview with io9.

Is the public craving more “Ghostbusters” movies, especially an animated film? That’s the big question. Reitman is betting there’s still a big outcry for more stories from the “Ghostbusters” universe. Before the reboot film premiered last summer, there were tons of rumors about a “Ghostbusters” cinematic universe combining the female cast with another franchise of people busting ghosts that starred Channing Tatum and Chris Pratt. It’s not known if the “universe” that Reitman is hinting at is this plan or a completely new one.

Reitman also has some thoughts about why the reboot didn’t do so well. “We certainly would’ve loved to have a larger hit, but considering the last film was almost 30 years ago, it really did extremely well. I think the film cost too much, frankly, and that’s the real issue. I personally had other points of view in terms of where the film should go and it was kind of a continuous conversation with Paul [Feig] about that. But Paul was the filmmaker on this one and he’s a very talented director. I wanted to give him enough room to do the film he thought it should be,” said the producer.

With the long layoff between films, and the lukewarm reception of the last film, it remains unclear whether or not Reitman is right or maybe the public just isn’t interested in a new version of “Ghostbusters.” Even with the controversy surrounding the 2016 film, with an all-star cast and director, it still failed to live up to expectations. Even if that film ended up only costing $70 million instead of $144 million, the final worldwide box office total of $229 million isn’t enough to warrant a huge franchise.

According to Reitman, the animated film is shooting for release in 2019 or 2020.

Categories
People

More very sad news. May he rest in peace.

Chuck Barris, Wacky Host and Creator of ‘The Gong Show,’ Dies at 87

He also produced ‘The Dating Game’ and ‘The Newlywed Game,’ shadowed Dick Clark for a year and wrote ‘Confessions of a Dangerous Mind’ and the pop song “Palisades Park.”
Chuck Barris, the goofball host of The Gong Show who also was the manic mastermind behind two other spontaneous game-show classics, The Dating Game and The Newlywed Game, has died. He was 87.

Barris, who in his book, Confessions of a Dangerous Mind: An Unauthorized Biography, claimed to have been an assassin for the CIA — his implausible story became a fantastical 2002 movie directed by first-timer George Clooney and written by Charlie Kaufman — died Tuesday of natural causes at his home in Palisades, N.Y., his family announced through publicist Paul Shefrin.

The Philadelphia native also penned the 1962 pop song “Palisades Park,” a tribute to the old amusement park in New Jersey that was a hit for Freddy Cannon and figured high on Barris’ list of career achievements.

With his innovative shows, Barris changed the face of reality TV but was derided but critics who nicknamed him “The King of Schlock,” “The Baron of Bad Taste” and “The Ayatollah of Trasherola.”

On The Gong Show, which aired on NBC and in syndication in daytime and primetime from 1976-80, amateurs took to the stage to demonstrate their so-called talent in front of three celebrity judges. Quite often, they made fools of themselves.

Barris’ original idea had been to create a show that featured fine performers, but in his search for talent, he frequently encountered awful acts. “I came back and said, ‘Let’s change the show, have all bad acts and one or two good ones, and people can make a judgment,’ ” he said in a 2010 interview with The Archive of American Television.

When original host John Barbour didn’t work out after about a year, NBC execs insisted that the cuddly, curly-haired Barris come on as his replacement, so he donned a tuxedo and a floppy hat and introduced the acts.

Any of the three judges (a roster that included Jaye P. Morgan, Rex Reed, Rip Taylor, Jamie Farr, Arte Johnson and David Letterman) could send the bad performers packing by striking a large gong.

“Everybody could relate to somebody wearing a lampshade and dancing around,” Barris said. “Bad acts are inherent in everyone.”

Acts who appeared included The Unknown Comic (Murray Langston), Danny Elfman, Paul Reubens and Barris’ own mother, and at random moments, the host would call out Gene Gene the Dancing Machine (stagehand Gene Patton) to boogie for the audience to the tune of “Jumpin’ at the Woodside.”

On one particularly crazy show, Morgan unbuttoned her blouse to reveal her breasts to the cameras, and Barris said she never worked on The Gong Show again.

“The end of the show came because of me,” he said in the TV Archive chat. “I had a small nervous breakdown out there, doing strange things. When I see films of the last shows, I was walking around, busting up [studio] flats on the air. That was the behavior of a host who was bored to death.”

In October, ABC ordered a new version of The Gong Show to be executive produced by Will Arnett.

Barris first made his mark in the game show arena when he created The Dating Game, which bowed as an ABC daytime program in December 1965. Hosted by San Francisco radio personality Jim Lange, the program featured a bachelor or bachelorette asking three members of the opposite sex suggestive questions, then choosing one for a date.

ABC’s The Newlywed Game, produced by Barris and hosted by the cheeky Bob Eubanks, premiered in July 1966. Four couples who had been married for a year or less competed by matching answers to questions about their spouses’ likes and dislikes. Just like The Dating Game, it was a huge hit and played in primetime as well (both shows aired in tandem on Saturday nights for a time).

Barris often came off as a nut case, but he was an astute businessman. As a pioneer of first-run syndication, he sold The Dating Game and The Newlywed Game to stations after ABC canceled his shows, keeping them on the air.

He formed the public company Chuck Barris Productions in 1968 and sold his shares in the firm to producer Burt Sugarman in a 1986 deal that valued the company at about $86 million ($195 million today). The firm was eventually acquired by producers Peter Guber and Jon Peters and then by Sony.

Charles Hirsch Barris was born on June 3, 1929. The son of a dentist and a housewife, he graduated from Lower Merion High School and Drexel University, then landed a job in the foundry at U.S. Steel.

After working various odd jobs, including traveling around the country selling teleprompters, Barris moved to New York and became an NBC page. He went through a management training program and took a sales job, but then the network fired everyone in the department.

He then was hired by ABC, which offered him the dubious assignment of tailing Dick Clark, the young and popular host of TV’s American Bandstand, at Philadelphia station WFIL-TV. Barris’ task was to ascertain whether Clark was involved in the illegal practice of payola.

“It was so ridiculous. If I left at 6 o’clock, what’s to say he couldn’t be doing anything nefarious after 6 o’clock?” Barris said.

Still, he wrote daily memos detailing the goings-on at American Bandstand for about a year, and his notes were presented before a House of Representatives subcommittee in Washington. Ultimately, Clark was absolved of any wrongdoing.

Meanwhile, “Palisades Park” had reached No. 3 in June 1962 on the Billboard Hot 100 chart. (Barris would also write the theme music for many of his game shows.)

As a result of his work shadowing Clark, ABC sent Barris to Los Angeles as its director of daytime television on the West Coast. When no one would return his phone calls, he set up shop in a bungalow at the Beverly Hills Hotel. His innate sense of Hollywood tribal behavior worked: Now people were getting back to him.

His first show was Poker People, a failed pilot in which two celebrity panelists attempt to guess the professions of 16 guests just by their appearance. “It was a disaster,” he recalled. “I had brought prostitutes and policewoman on the show, and the policewomen wouldn’t work with the prostitutes.”

Shortly after attending a civil rights rally in Selma, Ala., Barris left ABC to become an independent producer. Living on his royalties from “Palisades Park,” Barris developed The Dating Game and sold the show to his former employers.

“When The Dating Game came out, women had to wait for a man to call,” Lange told the Los Angeles Times in a 2002 interview. “Having them make the choices [on the show] appealed to the female population, the target demographic.”

Future sportscaster Al Michaels was a member of his staff; Burt Reynolds, Michael Jackson and John Ritter were among the contestants; and it was Barris’ idea to have Lange and the contestants blow kisses to the cameras at the end of each show.

The Newlywed Game “was the easiest show to do,” he said in the TV Archive interview. “It only needed four couples, four questions and a washer/dryer.”

In the show’s most precious moment, Eubanks asked one wife,”Where specifically is the weirdest place that you personally have ever gotten the urge to make whoopee?”

“In the ass?” she answered. Her husband then turned over a card that revealed his response: “In the car.”

In 1980, Barris directed, co-wrote (with Robert Downey Sr.) and appeared in Universal’s The Gong Show Movie. An R-rated look at the game show, it was pulled from theaters after one weekend, he said.

Barris also presided over other game shows like The Game Game, How’s Your Mother-in-Law?, Dream Girl of ’67, The $1.98 Beauty Show, 3’s a Crowd — with the premise “Who knows a husband better, his wife or his secretary?” — The Family Game and The New Treasure Hunt.

In 1968, he produced Operation: Entertainment, a variety show that had a different host (George Carlin, Dick Cavett, Dick Shawn, et al) appearing at a different military base each week.

Barris read Erich Segal’s Love Story and figured he could write an even better romance novel. So he went to France and penned You and Me, Babe, based on his relationship with his first wife; and it was published in 1974 and became a best-seller.

After “the critics had harassed me for 15 years saying that I’d lowered the bar of civilization,” he said in a 2003 interview with A.V. Club, an angry Barris holed up in a New York hotel for two years and wrote Confessions of a Dangerous Mind.

The book was a dud upon its release but sold well when the film version, starring Sam Rockwell as Barris, was released.

Asked in the TV Archive interview if he really was an assassin, Barris replied: “I don’t answer that question, ever. I can just tell you that the No. 2 guy in the CIA said that I must have been standing too close to the gong when I said things like that.”

A sequel, Bad Grass Never Dies, came out in 2004.

His daughter, 36, died from an overdose of drugs and alcohol in 1998, and Barris wrote the moving Della: A Memoir of My Daughter, published in 2010.

He is survived by his wife of 16 years, the former Mary Clagett. In lieu of flowers, it is suggested that donations be made in his name to the New York Police Foundation.