[youtube https://www.youtube.com/watch?v=jejCmmawzLY&w=560&h=315]
As GBN reported last month, Chris Rock’s new film Top Five sparked a bidding frenzy at the Toronto International Film Festival, with Paramount Pictures emerging as the winner for distribution rights to the tune of $12.5 million. Last week, the studio dropped the first trailer. Written, directed by, and starring Rock, Top Five tells the story of New York City comedian-turned-film star Andre Allen, whose unexpected encounter with a journalist (Rosario Dawson) forces him to confront the comedy career—and the past—that he’s left behind.
Kevin Hart, Tracy Morgan, Cedric The Entertainer, J.B. Smoove, Sherri Shepherd, Anders Holm, Romany Malco, Leslie Jones, Michael Che, and Jay Pharoah also star.
The movie is set for a limited release on December 5, going wide a week later on December 12.
If you can’t wait to see Rock in action before then, check out him and musical guest Prince as he hosts “Saturday Night Live” this weekend.
article by Lori Lakin Hutcherson (follow @lakinhutcherson)
Posts published in “Movies”
Will Packer, who produced the hit films Ride Along, Think Like a Man, and Think Like a Man Too, sold a TV pilot for a female cop dramedy to NBC, according to Hollywood Reporter.
This marks the fourth TV pilot sale for the 40-year old producer in the last year. Earlier this week, Packer sold an autobiographical comedy to NBC called Like Father, Like Son. His production company, Will Packer Productions, has a first look deal with the network.
This is his first year working in television development.
Packer’s as-yet-untitled fourth project will feature two female detectives from LA who investigate homicides and have complicated personal lives. The hour-long project is being billed as a dramedy and riff on the familiar buddy cop formula. Ride Along, Packer’s last buddy cop project starring Kevin Hart and Ice Cube, raked in more than six times its budget and has a sequel planned for early 2016. Packer is set to return as producer for Ride Along 2.
Packer, however, is staying busy in the meantime. In addition to producing the thriller film No Good Deed, which made more than $52 million domestically against a $13 million budget, Packer is also the producer of the upcoming January 2015 Hart film The Wedding Ringer and the N.W.A. biopic slated for August 2015 titled Straight Outta Compton.
Packer will executive produce the new drama-comedy, with Gossip Girl writer and producer Amanda Lasher set to pen the pilot.
article via thegrio.com
Denzel Washington still has plenty of firepower at the box office as his latest action film “The Equalizer” looks to be heading to an opening weekend in the $35-$37 million range.With $12.6 million on Friday from 3,236 locations, the Sony release is performing significantly better than the studio’s initial estimates of an opening in the high-$20 millions. That’s the best opening ever for director Antoine Fuqua and one of Washington’s top debuts as well.Produced for $55 million by Columbia Pictures, LStar Capital and Village Roadshow Pictures, “The Equalizer” also benefited from a glowing A- Cinemascore.
The weekend’s other wide opener, “The Boxtrolls” from Focus Features and Laika, took $4.93 million on Friday heading for a weekend of $16 million, which is in line with expectations. The stop-motion animated film opened in 3,464 locations.
Fox’s “The Maze Runner” will fight it out with “Boxtrolls” for the no. 2 spot. The young adult sci fi pic took $5 million Friday for a weekend also in the $16 million range, putting its cume after two weeks near $57 million.
Warner Bros. “This is Where I Leave You” took in another $2.2 million Friday for a possible $7 million weekend, heading to a $22 million cume in its second week.
A pair of pics in their third weekend should top last week’s opener “Walk Among the Tombstones” — Screen Gems “No Good Deed” is hanging in there with $1.35 million Friday for a projected $4.5 million weekend, finishing with a $46.5 million cume by Sunday, while Warner Bros. “Dolphin Tale 2″ took $1.26 Friday for a weekend total of about $5 million.
article by Pat Saperstein via variety.com
For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.
MoMA plans an exhibition around the work called “100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History,” which is to open on Oct. 24 and showcase excerpts and still frames. Sixty minutes of restored footage will be shown on Nov. 8 in the museum’s annual To Save and Project festival dedicated to film preservation.
“There are so many things about it that are amazing,” said Jacqueline Stewart, a film scholar at the University of Chicago. “It’s the first time I’ve seen footage from an unreleased film that really gives us insights into the production process.”
She added: “It’s an interracial production, but not in the way scholars have talked about early film history, in which black filmmakers had to rely on the expertise and money of white filmmakers. Here, we see a negotiation between performers and filmmakers.” Of the three directors of the film, one was black and two were white.
“No Good Deed” lead the box office this weekend by taking in $24.5 million from 2,175 theaters, easily beating expectations. Going into the weekend, analysts expected the home invasion thriller to hover around $20 million. Females made up the bulk of the audience, taking up 60% of the seats in theaters, and 41% of ticket-buyers were under 30 years old.
“It’s not a full reversal of the weakness at the box office, but it’s a step in the right direction,” said Phil Contrino, vice president and chief analyst at BoxOffice.com. “It’s good to see new films enter the marketplace and do all right.”
“No Good Deed’s” success is a feather in the cap of stars Idris Elba and Taraji P. Henson, both of whom actively hawked the film on social media.
“They absolutely elevated it,” said Rory Bruer, Sony Pictures’ president of worldwide distribution. “They’re so hard working. It was a great collaboration.”
It also helps that “No Good Deed” cost a mere $13 million to produce. “It’s going to be hugely successful for the studio,” said Bruer.
Both actors will likely see their stars rise as a result. Elba has had showy supporting roles in “Thor” and “Prometheus,” but hasn’t carried a film to these kind of heights on his own shoulders since 2009’s “Obsessed.” He retains a passionate following from his days playing a drug kingpin on HBO’s “The Wire.”
Henson has an Oscar nomination on her resumé thanks to 2008’s “The Curious Case of Benjamin Button” and was part of the “Think Like a Man” ensemble, but hasn’t been front-and-center in a promotional campaign like she was here.
“I wouldn’t call them full on movie stars in their own right,” said Phil Contrino, vice president and analyst with BoxOffice.com. “They’re not bankable on their own terms, but this could certainly change that. Sometimes all it takes is one film.”
The concept of movie stardom has taken its knocks in recent years, as Hollywood has tried and failed to launch a new generation of A-listers to rival the Tom Cruises and Julia Roberts of an earlier era. The old days where an actor’s name above the title was enough to guarantee a big opening weekend have vanished. However, pairing the right actor with the right vehicle can still reap dividends, as evidenced by Liam Neeson’s success playing avenging angels and Melissa McCarthy’s track record with R-rated comedies.
“Taraji and Idris are terrific actors and they both so own their roles in this film,” said Rory Bruer, Sony Pictures’ president of worldwide distribution. “In spots and trailers, they delivered such a great intensity. It’s a terrific opening.”
Sony didn’t rely on star power alone to sell “No Good Deed.” It also orchestrated a clever social media campaign that unspooled across Twitter and Instagram.
On Twitter, the studio put a fresh spin on the Choose Your Own Adventure book series, presenting users with a set of challenges that dared them to outwit a murderer. For fans of Instagram, Sony created an interactive experience made up of images and videos that teased out parts of the film’s plot. That’s cheaper and potentially more potent than a costly television campaign.
“In this new world we live in, you want to be aggressive, and there are more means to do that and interact directly with fans than ever before,” said Contrino.
article by Brent Lang via variety.com (additions by Lori Lakin Hutcherson)
Henson has an Oscar nomination on her resumé thanks to 2008’s “The Curious Case of Benjamin Button” and was part of the “Think Like a Man” ensemble, but hasn’t been front-and-center in a promotional campaign like she was here.
“I wouldn’t call them full on movie stars in their own right,” said Phil Contrino, vice president and analyst with BoxOffice.com. “They’re not bankable on their own terms, but this could certainly change that. Sometimes all it takes is one film.”
The concept of movie stardom has taken its knocks in recent years, as Hollywood has tried and failed to launch a new generation of A-listers to rival the Tom Cruises and Julia Roberts of an earlier era. The old days where an actor’s name above the title was enough to guarantee a big opening weekend have vanished. However, pairing the right actor with the right vehicle can still reap dividends, as evidenced by Liam Neeson’s success playing avenging angels and Melissa McCarthy’s track record with R-rated comedies.
“Taraji and Idris are terrific actors and they both so own their roles in this film,” said Rory Bruer, Sony Pictures’ president of worldwide distribution. “In spots and trailers, they delivered such a great intensity. It’s a terrific opening.”
Sony didn’t rely on star power alone to sell “No Good Deed.” It also orchestrated a clever social media campaign that unspooled across Twitter and Instagram.
On Twitter, the studio put a fresh spin on the Choose Your Own Adventure book series, presenting users with a set of challenges that dared them to outwit a murderer. For fans of Instagram, Sony created an interactive experience made up of images and videos that teased out parts of the film’s plot. That’s cheaper and potentially more potent than a costly television campaign.
“In this new world we live in, you want to be aggressive, and there are more means to do that and interact directly with fans than ever before,” said Contrino.
article by Brent Lang via variety.com (additions by Lori Lakin Hutcherson)
According to Variety.com, Idris Elba and Taraji P. Henson’s “No Good Deed,” is poised to knock box-office leader “Guardians of the Galaxy” out of first place this weekend. The Sony Pictures thriller opened to $8.8 million Stateside on Friday and is headed for a $24 to $25 million launch that will provide a much-needed boost to the historically low U.S. box office earnings.
“No Good Deed” stars Elba as an escaped convict who terrorizes Henson (a DA-turned-stay-at-home) and her two children in their own house.
The film, which carries a modest $13 million production budget, stands to benefit from targeting under-served African American audiences. It reunites Elba with his “Luther” TV show director, Sam Miller, and “Obsessed” producer, Will Packer, who is also behind the “Think Like a Man” franchise, which stars Henson. Lee Clay co-produced with Packer.
Alcon Entertainment’s “Dolphin Tale 2”, which stars Morgan Freeman, also kicked past the competition with $4.3 million on Friday. The family film will likely debut to $15 million.
If weekend estimates hold, the sequel will be a bit behind the 2011 original, which opened to $19.2 million, then went on to earn $72.3 million domestic. Harry Connick Jr., Ashley Judd, Freeman, and Kris Kristofferson all returned for the sequel, along with director Charles Martin Smith.
This year’s box office champ and summer savior, “Guardians of the Galaxy,” made $2 million on Friday to place third after three consecutive wins. It’s set to gross $7.5 million by Sunday and pass $305 million.
article by Lori Lakin Hutcherson (follow @lakinhutcherson)
After graduating summa cum laude, the first black valedictorian from the University of California, Los Angeles (UCLA) School of Theater, Film & Television, Artel J. Great is already raising the bar. A young, innovative visionary, Great is the 2014 recipient of the Cinema Research Institute Fellowship for innovation, which puts him in a class by himself at the onset of what may very well be a long and rewarding career.
Already an entrepreneur, Great has designed and founded Project Catalyst, a transmedia organization that combines creative community building practices with cinema, visual art, music, and technology. With the recent launch of the Project Catalyst App, there is no telling which direction Great will be heading when he gets off running.
BlackEnterprise.com recently spoke with Artel about innovation, his drive to succeed, and being a visionary.
BlackEnterprise.com: You are the founder of Project Catalyst. Explain what the company is and describe your role.
Artel J. Great: Project Catalyst is a media platform that uses technology to provide access to alternative entertainment. We specialize in showcasing groundbreaking artists who are creating from diverse humanistic perspectives in film, music, and visual art. Our mission is to offer a space for the expansion of multicultural media visibility. I’m responsible for the overall vision of the company and for overseeing business operations. I’m also the inventor of the Project Catalyst app, which allows users to watch amazing multicultural films, music videos, and documentaries on their smartphones or tablets on both Apple and Android devices, and I serve as the chief curator of the content we program into the app.
You were announced as the 2014 recipient of the Cinema Research Institute Fellowship for innovation. Congratulations! What does this mean, and how will this achievement help you in your line of work?
Thank you! The CRI fellowship means that executives in a film think-tank believe my ideas are cutting-edge and promising enough to nurture. It also means that I have financial support for one year to test an innovative model in the market, which will help procure long-term funding to secure the company’s growth.
Why did you choose a career in film?
I realized film’s ability to impact the viewer’s vision of possibilities. A good film is like a direct portal into memory— a waking dream. Film helps us understand the human experience so we can figure out who we are in the world. And since I’m committed to critical intervention through creative engagement, I understood that film could be a powerful tool to rally an advancement of consciousness.
After graduating summa cum laude as the first black valedictorian at the University of California, Los Angeles (UCLA) School of Theater, Film & Television, what is next for you?
The funny thing is I never set out to be valedictorian. I was just determined to do my best and work to the highest of my ability. When I was told I would be valedictorian and that I was the first black person to achieve that distinction, I was humbled. That wasn’t my objective, but it happened and I’m grateful. I earned it. It’s historic. In terms of awards, I don’t really focus on that. I focus on doing my work. Making a positive contribution. That’s what I think about— what can I give of myself to make a contribution to our culture? If I’m blessed to win more awards I’d be grateful to accept them in the spirit of the ancestors who sacrificed so much for me to even have an opportunity. They’re my motivation.
What projects have you worked on or are you currently working on, if any?
Currently, I’m touring across the U.S. launching the new Project Catalyst app. We’ve successfully organized live events and presentations in New York City, Chicago, and Los Angeles to introduce our new film and music app to the world. We now have users in 11 countries across Europe, Asia, North and South America, the Caribbean, and the Middle East. Our Project Catalyst App offers a progressive voice to multicultural communities with fresh, insightful entertainment that empowers and illuminates.
Paramount is about to finalize what will likely be the biggest deal of this year’s Toronto Film Festival: a whopping $12.5 million for the Chris Rock comedy “Top Five.” The studio, which is acquiring worldwide rights to the movie, has also agreed to spend $20 million on marketing.
The Scott Rudin-produced film, which Rock stars in and directs about a day in the life of a comedian movie star, premiered in Toronto on Saturday night and sparked a fierce bidding war among several studios.
The film’s budget was north of $10 million. Buyers interested in the film included CBS Films, Sony, Open Road and Relativity.
Part of the concern for potential buyers is that with a substantial promotional commitment and Rock’s limited international following, the film would be almost wholly dependent on its domestic box office in order to make a profit. However, the film was enthusiastically received by audiences at Toronto and knowledgeable insiders say it has real commercial potential.
Paramount makes sense because the studio’s chief, Brad Grey, has a longstanding relationship with Rock.
article by Brent Lang and Ramin Setoodeh via Variety.com
The film’s budget was north of $10 million. Buyers interested in the film included CBS Films, Sony, Open Road and Relativity.
Part of the concern for potential buyers is that with a substantial promotional commitment and Rock’s limited international following, the film would be almost wholly dependent on its domestic box office in order to make a profit. However, the film was enthusiastically received by audiences at Toronto and knowledgeable insiders say it has real commercial potential.
Paramount makes sense because the studio’s chief, Brad Grey, has a longstanding relationship with Rock.
article by Brent Lang and Ramin Setoodeh via Variety.com
The film rights for the “Mother of Hip Hop,” the late Sylvia Robinson (pictured), who helped put the musical genre on the map, was acquired by producer Paula Wagner, according to The Hollywood Reporter.
Robinson co-founded Sugar Hill Records, the label that produced the Sugarhill Gang’s 1979 classic “Rapper’s Delight,” credited as the first monster hit to get folks to sit up and pay attention to Hip-Hop. Robinson was also the machine behind such early Hip-Hop artists as Grand Master Flash and the Furious Five, who recorded the classic song, “The Message.”
Wagner secured the rights to Robinson’s life story from her son, Joey, who will reportedly act as the biopic’s consultant and executive producer. Grandmaster Melle Mel, another Hip-Hop pioneer, will also wear the hat of consultant on the film.
According to Wagner, the film will span Robinson’s four decade career and encompass all of the important aspects of her busy life, including the music business, her mercurial love life and the indelible mark she left on a genre of music that has grown to immense proportions.
“Sylvia Robinson’s life story has all the elements of a great film,” said Wagner in a statement according to The Hollywood Reporter. “It is not only the story of female empowerment at a time when the world of music was male-dominated, but it’s also a story of the origin of Hip-Hop and how this woman’s determination, immense talent and savvy business sense fostered an entire musical movement.”
“This movie is going to show how my parents were able to remain independent, keep control of their publishing and master recordings and how they later dealt with the major record labels and mob associates,” added Joey. “Sugarhill paved the way for a new genre of music that the industry had no knowledge of back in 1979. You will see the struggles of what Sugarhill went through to keep Hip-Hop music alive when the industry wanted to bury it.”
Besides navigating the musical careers of performers, Robinson, herself, was a recording artist with such hits under her belt as “Love Is Strange” in 1957, as part of the duo Mickey and Sylvia and the 1973 R&B hit, “Pillow Talk,” which was a solo project.
article by Ruth Manuel-Logan via newsone.com