Ali finds himself with a five-year-old child on his hands. Sam is his son, but he hardly knows him. Homeless, penniless and friendless, Ali takes refuge with his sister Anna in Antibes, in the south of France. There things improve immediately. She puts them up in her garage, she takes the child under her wing and the weather is glorious. Ali, a man of formidable size and strength, gets a job as a bouncer in a nightclub. He comes to the aid of Stéphanie during a nightclub brawl. Aloof and beautiful, Stéphanie seems unattainable, but in his frank manner Ali leaves her his phone number anyway. Stéphanie trains orca whales at Marineland. When a performance ends in tragedy, a call in the night again brings them together. When Ali sees her next, Stéphanie is confined to a wheel chair: she has lost her legs and quite a few illusions. Ali’s direct, unpitying physicality becomes Stéphanie’s lifeline, but Ali too is transformed by Stéphanie’s tough resilience. And Stephanie comes alive again. As their stories intersect and diverge, they navigate a world where strength, beauty, youth and blood are commodities—but where trust, truth, loyalty and love cannot be bought and sold, and courage comes in many forms.
||November 23rd, 2012 (Limited) by Sony Pictures Classics, released as Rust & Bone|
||March 19th, 2013 by Sony Pictures Home Entertainment|
||R for strong sexual content, brief graphic nudity, some violence and language.|
(Rating bulletin 2231, 7/11/2012)
||Romance, Single Parent, Martial Arts, Confined to a Wheelchair, Paralysis / Loss of a Limb|
|Source:||Based on Fiction Book/Short Story|
|Production Method:||Live Action|
|Creative Type:||Contemporary Fiction|
||Page 114, France 2 Cinema, Les Films du Fleuve, RTBF, Lumiere, Lunanime, Canal Plus, Cine Plus, France Television, Why Not Productions|
It is a very healthy week on the home market, at least at the top, as there are a number of big hits and Awards Season contenders. The biggest of these is The Hobbit: An Unexpected Journey. The film didn't live up to expectations, but it is still worth picking up, especially if you've made the leap to 3D. There are also a couple of Awards Season contenders coming out this week, but I'm waiting for the screeners for both of them. Les Miserables has generated a lot of praise, but also some harsh criticisms. On the other hand, Zero Dark Thirty was one of the best movies of the year and even sight unseen, the Blu-ray Combo Pack is the Pick of the Week.
There was only one film able to top $10,000 on the per theater chart, as Stoker earned an average of $22,935 in seven theaters. Its reviews were only good and not great, so I'm not sure how well it will do next week.
Quartet opened on top of the per theater chart with an average of $23,561 in two theaters. This is very impressive, especially for this time of year. Amour expanded from 3 to 15 theaters, but you couldn't tell from its per theater average, as it held very well down just 14% to $17,138.
The Hollywood Foreign Press Association announced their nominations and the same list of films that have been mentioned since the beginning of Awards Season were rewarded today. Lincoln led the way with seven nods, while Argo and Django Unchained were close behind with five.
SAG nominations were announced and there were only a few surprises to deal with. Leading the way for total nominations was The Silver Linings Playbook, Lincoln, and Les Miserables, all of which earned nominations in four of the six categories.
Hyde Park on the Hudson opened on top of the per theater chart with an average of $20,341 in four theaters. That is good for a limited release, but bad for a potential Awards Season contender, which is how many people saw the film prior to its release. Additionally, with weak reviews, it has little hope at long legs. Burn was much further back at $13,602, also in four theaters. Rust and Bone saw its theater count double to four, but its per theater average actually grew to $13,015. Its word-of-mouth is outstanding. Beware of Mr. Baker remained in the $10,000 club with $10,349 in one theater.
It was a rather slow week on the per theater chart with only two films topping the $10,000 mark, and none of them were massive hits. Rust and Bone rose to first place with an average of $12,369 in two theaters. It rose to top spot thanks to a miniscule 9% drop-off. The only other member of the $10,000 club was Beware of Mr. Baker, which was right behind with $12,195 in its lone theater.
The Independent Spirit Awards has a special place in the Awards Season. The nominations are the unoffficial start of Awards Season, but the actual awards aren't given out until Oscar weekend, so they are the beginning at the end of Awards Season. They also help out a lot of limited releases that would otherwise not get enough buzz, although they are not so good at predicting Oscar wins. This year, two films tied for most nominations, Moonrise Kingdom and The Silver Linings Playbook, both of which earned five nominations. They weren't the only films to earn multiple nominations though.
It was a particularly busy week on top of the per theater chart with seven films topping the $10,000 mark. Leading the way was Hitchcock with an average of $16,924 in 17 theaters. This is good for a limited release, but not great, and given the competition at this time of year, it needed to be great to survive. Anna Karenina expanded from 16 theaters to 66 earning an average of $13,580. Again, this is good, but not great. Rust and Bone was next with an average of $13,577 in two theaters. If it had sold just one more ticket, it would have earned second place instead of third on this list. Lincoln actually saw its per theater average grow reaching $12,724. It has already expanded truly wide and it should expand at least a little bit more. Likewise, Silver Linings Playbook should also expand more, as its per theater average this week was $11,945; however, it likely won't expand wide. The overall box office leader, The Twilight Saga: Breaking Dawn, Part 2, was next up with an average of $10,723. The Central Park Five topped $10,000 on the per theater chart, barely, with an average of $10,190 in three theaters. Skyfall was the final film in the $10,000 club with an average of $10,069. It is pretty rare for a film to remain above that mark for three weeks in a row.
As expected, The Twilight Saga: Breaking Dawn, Part 2 and Skyfall are dominating the Thanksgiving charts, and, with some help from three new releases and two strong holdovers, will produce the most lucrative Thanksgiving holiday in history. All told, we should see something a little over $200 million in revenue for the three-day portion of the weekend, placing it in the top 20 weekends of all time. Breaking Dawn, Part 2 is tracking about in line with Part 1 at this point in its run. In contrast, Skyfall is well ahead of James Bond's previous outing, and has become the first Bond movie to top $200 million domestically (before adjusting for inflation).
It's a pretty light week for limited releases. Hitchcock is by far the biggest release, but its reviews are only mixed, so its box office chances are not strong. On the other hand, The Central Park Five is earning reviews that are strong enough that it should thrive, at least in limited release. It is very rare for a documentary to expand wide, even under the best of circumstances.
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