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‘For Colored Girls’, Denzel, Halle, & Tyler Perry Win At NAACP Image Awards

Tyler Perry won bigtime in the movie and TV categories, while Prince was a surprise guest to give Halle Berry the Best Actress award for Frankie & Alice as the 42nd NAACP Image Awards were announced tonight during the live broadcast from LA’s Shrine Auditorium on Fox. The special was hosted by Holly Robinson Peete and Wayne Brady while performers and Presenters included Halle Berry, LL Cool J, Affion Crockett, Kimberly Elise, Kerry Washington and Vanessa Williams, Angela Bassett, NAACP Chairwoman Roslyn M. Brock, actress Loretta Devine, singer Jason Derülo, actress/singer Kat Graham, actor Dulé Hill, actor Anthony Mackie, Judge Greg Mathis, actresses Tia and Tamera Mowry, actress Sandra Oh, comedian Russell Peters and actress Anika Noni Rose. The special celebrated the accomplishments of people of color working in the fields of literature, music, television and film. Special honors included the Chairman’s Award recipient Surgeon General Regina M. Benjamin and President’s Award recipient General Colin L. Powell.

Winners

Outstanding Motion Picture
“For Colored Girls” (Lionsgate/34th Street Films)

Outstanding Actor in a Motion Picture
Denzel Washington – “The Book of Eli” (Warner Bros. Pictures)

Outstanding Actress in a Motion Picture
Halle Berry – “Frankie & Alice” (Freestyle Releasing)

Outstanding Supporting Actor in a Motion Picture
Samuel L. Jackson – “Mother and Child” (Sony Pictures Classics)

Outstanding Supporting Actress in a Motion Picture
Kimberly Elise – “For Colored Girls” (Lionsgate/34th Street Films)

Outstanding Independent Motion Picture
“Frankie & Alice” (Freestyle Releasing)

Outstanding Foreign Motion Picture
“Biutiful” (Roadside Attractions)

Outstanding Documentary (Theatrical or Television)
“For Love of Liberty: The Story of America’s … Read More »

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UPDATE: #1 ‘Megamind’, #2 ‘Due Date’, #3 ‘For Colored Girls’ All Meet Expectations; Long Lines And Sell-Outs For ’127 Hours’

SATURDAY PM/SUNDAY AM WRITETHRU: It’s the start of the Holiday Moviegoing Season, so celebrate! The box office sure is, because this wound up a record first weekend in November for North America with the $155+ million total of all the movies (not corrected for inflation or ticket prices) passing the Industry record of $153M set in 2003. But with all 3 big newcomers meeting their opening weekend expectations, where’s the fun for cynical me? Meanwhile, Sony Pictures had a great summer, Warner Bros led with a successful early fall, and now Paramount Pictures is showing strength: In the last 4 weeks, the studio has released 3 different films all at #1 and all opening over $40 million in 3 different genres. Here are what my sources say are Friday’s and Saturday’s Top Ten grosses with weekend and cume numbers:    

1. Megamind (DreamWorks Animation/Paramount) NEW [3,944 Runs]
Friday $12.5M, Saturday $20.6M, Weekend $47.6M   

DreamWorks Animation toons, like Pixar’s, do reliably strong box office, even on Date Night, with a big Saturday kiddie matinee bounce. So there was considerable surprise among rival studios starting midday Friday when newcomer Megamind 3D‘s grosses looked underperforming despite its “A-” CinemaScore, usually successful formula of hip pop culture references, a typically aggressive marketing push, and a giant release into 3,944 theaters with 2,634 of them 3D-equipped. It was as if life were imitating art, since Megamind is the most brilliant supervillain the world has ever known — and the least successful. But the problem, it turned out, wasn’t the movie. Instead, I learned that AMC theaters was experiencing computing problems and had no grosses in the system, according to distributor Paramount. The studio knew the actual number would go higher: “There are no kids out of school. Looks like mid- to high-40′s, right where everyone expected,” a Paramount exec reassured me. And it has. It opened just ahead of the first 3-day weekend of the original Madagascar ($47.2M) which was only 2D and therefore had lower ticket prices, but also ahead of How to Train Your Dragon 3D which was regarded as weak because of its summer weekend gross of $43.7M. Megamind starring the voices of Will Ferrell, Tina Fey, and Brad Pitt turns the superhero genre on its head so, naturally, the promotional campaign kicked off with a giant superhero event at LA Live where the record was set for the most superheroes ever gathered in one location. There also was a big tie-in with the World Series that featured Ferrell disguised as a character that looked remarkably like Marlon Brando’s Jor-El from 1978′s Superman. There also was an outreach on MTV for under age 25 moviegoers with Megamind auto tunes.   

2. Due Date (Legendary Pictures/Warner Bros) NEW [3,355 Runs]
Friday $12.2M, Saturday $13M, Estimated Weekend $33.5M   

Warner Bros’ Due Date, an unofficial reboot of John Hughes’ Planes Trains & Automobiles, opened this weekend almost exactly on target with what Hollywood expected from its wide release into 3,355 theaters. Audiences gave it a “B-” CinemaScore. The comedy starring Robert Downer Jr and Zach Galifianakis, who reteamed with his The Hangover director Todd Phillips, had been tracking on the high side of what an “R”-rated buddy comedy will do, and indeed Due Date fared almost exactly the same as The Other Guys starring Will Ferrell and Mark Wahlberg did in this genre over the summer. As usual, Warner Bros’ marketing czarina Sue Kroll promo’ed the heck out of the pic, with three different trailers and TV ads. The teaser trailer was launched with Inception in July, and the studio had a main trailer playing from September through release. WB capitalized on early opportunities with TV season premieres in September, and longer format media stunts (Downey singing “Looks Like We Made It”) that included heavy network, cable, NFL, Baseball/World Series, etc. There also was a strong WOM program that included military bases, college campuses, traditional radio, and national talk shows. As a result, Due Date generated well-balanced male and female support, capturing strong date crowd business, with its primary audience 17 and older. It also was one of those few R-rated comedy marketing that didn’t try to insult or gross out women. “The campaign sought to always capture the humor, but also ensure the tone was warm, likeable, even sweet at times — but always with outrageous comedy,’ a WB exec tells me. In the online/social media world, the studio used its existing Facebook Hangover fan page (8 million followers) to push Due Date content “giving us a much wider reach than we otherwise would have had to a perfectly targeted audience for the material,” the exec noted.   

3. For Colored Girls (Lionsgate) NEW [2,127 Runs]
Friday $7.4M, Saturday $7.9M, Weekend $20.1M

Lionsgate’s For Colored Girls at first looked like the R-rated drama was wildly overperforming Friday for an estimated $28M from 2,127 theaters when the Tyler Perry-directed film was only expected to gross $20M, the equivalent of its budget. Then again, it receiced an “A” CinemaScore from audiences. ”It’s performing more on a par with Tyler’s other films,” an excited Lionsgate exec prematurely gushed to me that afternoon. But the weekend grosses were not the phenom first thought. Still, they met expectations and, ”between Tyler’s loyal female following and the cross cultural and multi generational appeal of the work, the opening weekend is feeling like we made this an event, going beyond the core African-American audience,” an insider tells me. With actresses including Thandie Newton, Whoopi Goldberg, Kimberly Elise, Phylicia Rashad, Janet Jackson, Loretta Devine, Anika Noni Rose, and Kerry Washington, Perry gave each the poetic monologues dealing with love, abandonment, rape, Read More »

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Oscar Contenders, Part 2: Now For The Hopefuls That Didn’t Hit Fall Fest Circuit

Pete Hammond

Passing the giant Wall Street: Money Never Sleeps billboard at the Pico Blvd entrance to 20th Century Fox, I noticed the words “Academy Award” prominently mentioned no less than five times. Academy Award Winner Michael Douglas. Academy Award Nominee Josh Brolin. Academy Award Winner Susan Sarandon. Academy Award Nominee Frank Langella. Academy Award Nominee Carey Mulligan. Not so subtly, making an early bid like this to find any way to associate the Academy Awards and an opening movie this time of year can be a smart marketing strategy. It’s a way to establish a new film as a contender amid the endless glut of generally still-sight-unseen Oscar wannabes.

With that in mind, I continue my rundown of award hopefuls. I started last week with an assessment of Oscar chances for the films that had just appeared at any or all of the three Fall Film Festivals in Venice, Telluride, and Toronto. I began that list with Friday’s New York Film Festival opener The Social Network. Now comes, in order of scheduled release date, the trickier proposition of forecasting the awards status of films that weren’t unveiled at a Fall Fest but will be opening before the end of the year:

WALL STREET: MONEY NEVER SLEEPS (Twentieth Century Fox – 9/24) On paper, with its timely theme, this is exactly the kind of popular drama with an Oscar-heavy cast and director that the 10 Best Picture nominations would tend to favor. Well-received in Cannes last May, it still  hasn’t generated  the kind of serious buzz which fall fest entries like Social Network, The King’s Speech, and Black Swan all managed. Oscar Chance: Bearish, since sequels rarely compete and Oliver Stone’s 1987 original received just a single nomination — and won Best Actor for Michael Douglas. His bigger-than-life Gekko remains its best chance to jump in the race, particularly with goodwill for the actor running high due to his cancer and memories of his acclaimed work in the indie Solitary Man still fresh from earlier this year. Never-nominated Eli Wallach, 95, might have had a shot for his small but indelible role. But he’s already getting an Honorary Oscar in November.

NOWHERE BOY (The Weinstein Co – 10/8) This story of the young John Lennon opened last Christmas in England and has already hit British Airways and Blu-ray but is craftily timed for U.S. release the day before what would have been the musician’s 70th birthday. Oscar Chance: Both female co-stars Kristin Scott Thomas and Anne-Marie Duff were BAFTA nominees last season and might have a long shot in the Supporting Actress category if Weinstein does any sort of serious campaign for this.

SECRETARIAT (Walt Disney Pictures – 10/8) This emotion stirring crowd-pleasing story of the 1973 Triple Crown winner and the woman who wouldn’t give up on him could appeal to the same feel-good contingent that made The Blind Side such a player last year. Oscar Chance: Diane Lane and John Malkovich could figure in acting races. While sound, cinematography, music, and Best Picture nominations are not out of the question. If 2003’s Seabiscuit, which landed 7 nominations including the big one back when there were only five slots, could do it, then it should be a breeze for this horse. But Disney has to campaign just as aggressively as Universal did back then.

COMPANY MEN (The Weinstein Co – 10/22) There hasn’t been a whole lot of buzz on this John Wells written and directed title since it debuted to mixed reviews in Sundance. But this of-the-moment drama about the effect of corporate downsizing on three men has a strong cast that includes past Oscar winners Ben Affleck, Tommy Lee Jones, and Chris Cooper. Oscar Chance: A longshot that needs to step up its awards game or risk downsizing to also-ran status against stiff competition.

WELCOME TO THE RILEYS (Samuel Goldwyn – 10/29) Fine acting from James Gandolfini, Melissa Leo, and Kristen Stewart highlight this drama about the effect that a young runaway has on a married couple. Oscar Chance: This quiet and effective drama was a Sundance success. But it’s likely to be more prominent at the Spirits than the Oscars.

FAIR GAME (Summit – 11/5)  The hot button Valerie Plame/CIA leak story gets the cinematic treatment from director Doug Liman. It played well to critics in competition at Cannes in May but has been dormant on the Fall Festival circuit. Oscar Chance: It has two stars, Sean Penn and Naomi Watts, who are usually Academy bait. But so far neither is generating much heat in the highly competitive lead actor and actress races. Perhaps that will change when the film gets its second shot at glory just after election day. Of course, Penn already has a couple of Oscars.

FOR COLORED GIRLS (Lionsgate – 11/5) Except for the trailer, no one’s really yet seen this Tyler Perry adaptation of Ntozake Shange’s 1975 play with the longer title For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf. But apparently Lionsgate has enuf confidence to push the release right up to the start date of the film industry’s official holiday movie season. Oscar Chance: Perry’s a cash cow for Lionsgate but he’s got no Oscar cred yet except for an AMPAS membership card. Last year, this distributor scored 6 nominations and 2 Oscars with  Precious (which Perry supported by lending his name). But can lightning strike twice?

HARRY POTTER AND THE DEATHLY HALLOWS PART 1 (Warner Bros – 11/19) The mega-box office Harry Potter series begins its wrap party with the first of a 2-part finale. Oscar Chance: These films are usually good for one or two technical nods but haven’t broken through into the marquee categories. If Harry has any shot at pulling a Lord Of The Rings-style victory lap, it’s probably with the more emotionally potent Part 2 which gets a July release.

THE NEXT THREE DAYS (Lionsgate – 11/19) Oscar-winner Paul Haggis co-wrote and directed this thriller about the turmoil in a couple’s life after the wife is accused of murder. Russell Crowe, Liam Neeson, and Elizabeth Banks star. Oscar Chance: Although Haggis and Lionsgate last struck Oscar gold together with Crash, this one is said to be a strictly commercial bet with no similar awards trajectory. Read More »

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