Tag Archives: Matt Damon

Box office bloodbath: Hollywood has worst October in a decade

julianne moore2

Couldn’t happen to a finer group of people.

From Hollywood Reporter: Following a record September, the October box office was a bloodbath.

Revenue for the month won’t crack $560 million, the worst showing in a decade after a string of movies underperformed domestically. Through Sunday, October ticket sales stood at $539.1 million, down a steep 13.4 percent from the same time period last year, according to comScore. The last time October revenue didn’t cross $600 million, or $700 million, was in 2007.

The final weekend of the month was particularly brutal. Moviegoers already ambivalent about showing up to for the new titles on the marquee were easily distracted by Halloween parties and the World Series (to boot, Stranger Things 2 premiered on Netflix).

The malaise struck hard.

Case in point: George Clooney’s upscale dramedy Suburbicon opened to a paltry $2.8 million from 2,046, the worst showing of any film Clooney has directed and a career low for star Matt Damon outside of All the Pretty Horses in 2000. The $25 million film, also starring Julianne Moore and Oscar Isaac, was skewered by critics before getting slapped with a D- CinemaScore by audiences.

It is also among the worst wide openings in Paramount’s history. The studio has endured one box-office disappointment after another this year; last month, Darren Aronofksy’s mother! opened to $7.5 million domestically for a total to date of $17.8 million. Globally, the horror film, starring Jennifer Lawrence, has earned $43 million.

Thank You for Your Service, from Steven Spielberg’s DreamWorks and partner Universal, didn’t fare much better than Suburbicon after failing to drum up interest in America’s heartland. The $25 million film, starring Miles Teller as an Iraqi war veteran suffering from PTSD, opened to $3.7 million from 2,054 locations. Universal and DreamWorks hosted dozens of screenings for members of the military and veterans, hoping to emulate the success of American Sniper.

But the biggest reason for the worrisome slump was the lack of a successful big event film along the lines of past October hits Gravity ($274.1 million), The Martian ($228.4 million) or Gone Girl ($167.8 million).

This year, not one October release crossed $100 million domestically. Blade Runner 2049, which hoped to follow the same trajectory as Gravity and The Martian, has only earned $81.4 million since its release on Oct. 6. Environmental disaster pic Geostorm also faltered, earning just $23.6 million in its first 10 days. Both films are facing major losses.

To be fair, no 2016 October title cleared $100 million, either. However, five titles did earn north of $50 million; this time out, only one has, Blade Runner.

October has been a bloodbath at the box office, and unfortunately reminiscent of what was a very slow month of August,” says comScore box-office analyst Paul Dergarabedian. “With year-to-date revenue down 5 percent and just two months left in the year, making up the difference will be a daunting task with enormous pressure on every movie to perform to get us anywhere near last year’s record $11.4 billion North American record.”

Read the rest of the story here.

DCG

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Clooney’s “Suburbicon” opens today: Boycott “know nothing” Clooney, “cover-up” Damon & “gun-grabber” Moore

suburbicon

George Clooney’s movie, Suburbicon, opens today. Know about the libtards behind this movie:

George Clooney:

Matt Damon:

Julianne Moore:

The movie is receiving terrible reviews on Rotten Tomatoes:

    • A disappointing misfire for director George Clooney, Suburbicon attempts to juggle social satire, racial commentary, and murder mystery — and ends up making a mess of all three.”
    • “What’s the point of “Suburbicon“?”
    • “If there is a way to join these elements together, Clooney has failed to find it.”
    • A misfire in virtually every respect…Tonally the picture is a mess rather than a satisfying blend of disparate moods.”
    • “Irritating, faux-edgy, tonally wack, strained, unfunny, and such a colossally tone-deaf misfire.”
    • “The monumental misfire Suburbicon sinks to the bottom of a big pool of talent.”

Don’t waste your money on these people!

DCG

Clooney and Damon say they knew Weinstein was a womanizer, not a predator

george clooney and matt damon

Damon and Clooney: Selling their souls for fame and fortune

The jig is up boys. Quit trying to backpedal to sell tickets for your racist movie. #TheyAllKnew.

From Hollywood Reporter: George Clooney and Matt Damon are shedding more light on what it was like working with ousted Hollywood producer Harvey Weinstein, who helped launched both actors to stardom, in the late ’90s.

The pair, during their press tour for the Clooney-directed film Suburbicon, sat down with ABC’s Michael Strahan to clarify what they knew about Weinstein’s alleged history of sexual harassment prior to the media firestorm that erupted after the publication of two exposés, by The New York Times and The New Yorker, which detailed decades of harassment and assault allegations against the disgraced mogul.

“You had to spend about five minutes with him to know that he was a bully, he was intimidating — that was his legend,” said Damon, who first worked with Weinstein on Good Will Hunting and was subsequently signed to a three-picture deal. “When people say everybody knew, yeah I knew he was an asshole. He was proud of that.”

Damon revealed that he had heard of Gwyneth Paltrow’s encounter with Weinstein from friend Ben Affleck, though he had been under the impression that Paltrow had come to “an agreement or understanding” following the incident.

Paltrow was one of the first Hollywood actresses to come forward and accuse Weinstein of sexual harassment. She previously disclosed to the Times that the producer made unwanted advances to her early in her career, summoning her to his hotel room and suggesting the two of them head to the bedroom for massages.

“I knew he was a womanizer. I wouldn’t want to be married to the guy, but it’s not my business,” Damon said, explaining his thinking back then. “But this level of criminal sexual predation is not something that I ever thought was going on.”

Clooney noted that he similarly had an inkling of Weinstein’s alleged behavior around women based on conversations he had with the mogul.

“Harvey would talk to me about women that he’d had affairs with,” said Clooney. “I didn’t necessarily believe him quite honestly, because to believe him would be to believe the worst of some actresses who were friends of mine.”

Telling Strahan he now knows the truth behind what Weinstein had described as an “affair,” he added, “The idea that this predator — this assaulter — was out there silencing women like that…it’s beyond infuriating.”

Clooney called for a change in Hollywood and an end to victim shaming, saying, “There has to be a comeuppance for all of this. All of the people who were part of that chain. And then, we have to make it safe for people to feel that they can talk about it.”

The Suburbicon director, noting that wife Amal Clooney has also been subject to harassment in her line of work, encouraged women to continue coming forward and so that men may be warned that “you’ll be out of the business, and more than that, you might be prosecuted.”

On the topic of harassment in Hollywood, he added, “We’re going to have these discussions, and we’re going to make it harder for it to happen.”

Since allegations first surfaced in the Times, over 40 women — including actresses Lupita Nyong’o, Lea Seydoux and Sean Young — have accused Weinstein of harassment and assault.

The disgraced film mogul has since been terminated as co-chairman from his own company, expelled from the Academy of Motion Picture Arts and Sciences and is under investigation by the LAPD, NYPD and London police.

DCG

Matt Damon and Russell Crowe helped kill a story about Weinstein’s harassment

affleck weinstein and damon

Partners: Wife-cheater Ben Affleck, sexual predator Harvey Weinstein and proggie Matt Damon

This whole Harvey Weinstein scandal is disgusting and imploding. See here, here and here.

Now comes news that two Hollyweird stars, libtard Matt Damon and Russell Crowe, knew of Weinstein’s activities and actively tried to protect him.

That’s Hollyweird for you.

From Daily Mail: Matt Damon may soon be forced to comment on the decades of sexual harassment Harvey Weinstein inflicted upon his staff and a number of Hollywood actresses after one of those stars took aim at the Oscar-winning writer and star of ‘Good Will Hunting.’

One day after Sharon Waxman revealed in a post on The Wrap that she had been working on an expose about Weinstein until Damon and actor Russell Crowe called her directly to try and bury the piece, Rose McGowan lashed out at the actor.

‘Hey @Mattdamon what’s it like to be a spineless profiteer who stays silent?’ wrote McGowan Monday afternoon, hours after calling on the entire board at Weinstein Company to step down for being complicit in covering up the executive’s actions.

McGowan also acknowledged a few of Damon’s similarly tongue-tied pals, tweeting: ‘Ben Affleck Casey Affleck, how’s your morning boys?’

Waxman said in her piece that Damon and Crowe called her after she managed to get multiple sources stating on the record that an Italian man being paid $400,000 by the company knew little about film and was better known for the ‘evenings he organized with Russian escorts.’

The story was ultimately killed despite Waxman’s findings at the time.

Reps for both Crowe and Damon did not respond to requests for comment.

At the center of the story was a man who worked as the head of Miramax Italy, but who had no film experience. Miramax, which was founded by Weinstein and his brother Bob in 1979, was still being run by the brothers at that team even though in 1993 they had sold to Disney.

Multiple sources told Waxman that Fabrizio Lombardo, who headed up Miramax Italy, was actually put on the payroll to help procure women for Weinstein, and that was the reason for his $400,000 in the one-year span between 2003 and 2004 when he worked for the company.

Waxman also tracked down a woman in London who said she had been paid off after an unwanted sexual encounter with Weinstein.

She revealed however that while the reporting was going well, she began to hit a different road block once Weinstein learned that the Times was working on a negative story. That is when the executive got to work trying to kill the story, using Damon and Crowe to help him by vouching for Lombardo.

The two men both appeared in Miramax films produced by Weinstein around that time – Damon in ‘The Brothers Grimm’ (2005) and Crowe in ‘Master and Commander’ (2003).

Damon and his lifelong pals Ben and Casey Affleck all owe their careers to Weinstein in many ways thanks to his championing of ‘Good Will Hunting.’

Waxman wrote the she was ultimately told that Weinstein made a visit to the Times newsroom, where he visited with people ‘above my head’ to ‘make his displeasure known’.

Miramax was a big advertiser in the paper at the time as well, and used that to help get the story killed according to Waxman. In the end, her editors decided against publishing the accusations.

‘The story was stripped of any reference to sexual favors or coercion and buried on the inside of the Culture section, an obscure story about Miramax firing an Italian executive. Who cared?’ Waxman recalled.

Waxman wrote the story about her failed attempt to out Weinstein in response to a ‘sanctimonious’ story written by the Times columnist Jim Rutenberg on Friday, praising his newspaper for taking down one of Holllywood’s most powerful men when so many other media outlets ignored the rumors.

‘Until now, no journalistic outfit had been able, or perhaps willing, to nail the details and hit publish,’ Rutenberg, the Times’ media columnist, wrote.

Waxman wanted to set the record straight: The Times may have been the ones to finally get Weinstein – but they knew about the allegations as early as 2004 and passed on the opportunity to report the truth.

‘The New York Times was one of those enablers. So pardon me for having a deeply ambivalent response about the current heroism of the Times,’ she wrote.

DCG

George Clooney: “Houston is Syria post Hurricane Harvey”

george clooney

Riiiiight. Because Syrian refugees and victims of Hurricane Harvey have so much in common.

Bonus: Not only does Julianne Moore want “re-education for everyone,” she also wants to “eradicate all these borders.”

From Hollywood Reporter: As George Clooney joins efforts to aid victims of Hurricane Harvey, and Hurricane Irma rips through Florida, the Hollywood star on Sunday likened Americans left homeless by catastrophic weather events to Syrians caught up in their country’s civil war.

“It’s going to take a long time … and we’ll all have to be involved, because Houston is Syria,” the multihyphenate said during a press conference for his film Suburbicon, which is screening this week at the Toronto International Film Festival after bowing in Venice. “People in Houston are now refugees based on something that had nothing to do with them. They didn’t do anything. They’re now victims and they’re out of their homes and they will be suffering for a very long time,” he added.

Harvey slammed into Texas’ Gulf Coast on Aug. 25 as a Category 4 hurricane. It was soon downgraded to a tropical storm but lingered for days, dropping up to 50 inches of rain on Houston and the surrounding area before moving eastward to Louisiana.

“We’re going to have to find ways to get involved — that’s our jobs as citizens of the world,” said Clooney. The Hollywood star directed Paramount’s Suburbicon, which features Matt Damon and Julianne Moore as a couple in over their heads with a dastardly plan in a caustic satire penned by Joel and Ethan Coen, Clooney and Grant Heslov.

Moore, also in Toronto to help promote the film, said humanitarian crises like in Syria and hurricane-ravaged Texas and Florida remind Americans they need to come together to help one another. “This is happening everywhere, with people being forced out of their homes and their nations and are looking for places to go. The only way we can help each other is by eradicating all these borders and thinking globally,” said the actress.

Damon said Suburbicon, a drama about very flawed people making very bad choices in a seemingly idyllic 1950s community, also has resonance with the Trump era. “You never know when you’re making a movie. A lot of these current events, we couldn’t have predicted,” said the actor.

A movie inspired by the true-life story of African-Americans who were harassed by their white neighbors to get them to move out of their Levittown, Pa., community in the 1950s, Suburbicon will inevitably be overshadowed by recent events in Charlottesville, Va., Damon suggested.

“Everything was there, but the lid hadn’t been torn off yet. And it seems like this presidency has reinvigorated this certain element, and emboldened them to step out into the open,” the actor said of Donald Trump’s defiant comments about alt-right provocateurs in the wake of the Charlottesville tragedy.

The U.S. president stirred controversy when he initially declined to single out the white supremacists and neo-Nazis whose demonstration against the removal of a Gen. Robert E. Lee statue had led to violence and the death of a counter-protester in Charlottesville.

DCG

George Clooney: “There’s a dark cloud hanging over our country right now”

george clooney and libtards

Damon, Clooney and Moore: Bunch of angry libtards

Feel free to keep your butt in Italy, George.

Bonus: Julianne Moore wants “re-education” for everyone.

From NY Post: George Clooney’s “Suburbicon” has a timely subplot — based both on present times and a 1957 incident — about racism in white America. That subplot, however, resounded deeply during the Venice Film Festival press conference for the film, which stars Matt Damon and Julianne Moore.

“I was watching a lot of speeches on the campaign trail about building fences and scapegoating minorities and I started looking around at other times in our history when we’ve unfortunately fallen back into these things,” said Clooney, talking about how the pic germinated.

While casting around for story ideas, Clooney found a 1957 incident that happened in Levittown, Pa., in which an African-American family moved into a suburban development; however, many white residents in the area reacted with violence. Then, while looking to try to make a film out of the Levittown story, he remembered that the Coen brothers had written a script called “Suburbicon,” so those two elements were meshed together.

Of course at that stage the Charlottesville, Va., race riots had yet to happen, noted Damon, who in the film plays a bad guy who goes all the way, to an extent that he’s “never been able to do so far” in his career.

“When we were filming we obviously could not have predicted the race riots,” said Damon. “We weren’t literally thinking that race riots would erupt in America right before this came out. But it does speak to the fact that these issues have not, and are not, going away. So there’s an honest reckoning in our country.”

As to the character Damon plays: “It’s kind the definition of white privilege when you are riding around your neighborhood on a bike covered in blood murdering people and the African-American family [who are his neighbors] is getting blamed for it,” he said.

Clooney pointed out that the film’s very dark tone reflects the anger he sees in the U.S. today.

“If you go to our country…depending on what side of the aisle you sit on, it’s probably the angriest I’ve ever seen it,” he noted. “There’s a dark cloud hanging over our country right now.” But he added: “I’m an optimist…I believe that we will get through all these things…but people are angry; a lot of us are angry.”

The “Suburbicon” director also underlined that the film “isn’t a movie about Donald Trump. … This is a movie about our coming to terms constantly with the idea that we have never fully addressed our issues with race.”

Moore, who plays a double role in the pic, made a clear-cut a statement on the issues being raised by Charlottesville.

“We are living in the United States where people are arguing about removing Confederate monuments: They must be removed,” she said. “You simply cannot have these figures from the Civil War in town squares and in universities for our children to see. As a parent and as a citizen I need to be active in the eradication of those, in the re-education of everyone. We have to take responsibility for it.”

Clooney joined her on a similar note: “This is something that is really festering right now in the United States: Talking about the Confederate flag, and the Jefferson Davis monument,” he noted.

“Now, if you want to wear it [a confederate flag] on your T-shirt or if you want to hang it on your front lawn…have at it. But to hang it on a public building where possibly African American tax payers are paying for it — and it’s a symbol of hate — that cannot stand.”

DCG

Matt Damon’s ‘The Great Wall’ to Lose $75 Million

matt-damon

Too bad, so sad…

From Hollywood Reporter: The collapse of The Great Wall at the domestic box office (it has made $34.8 million in North America) has iced any notion of a significant future for U.S.-China co-productions. The movie likely will end up with losses of more than $75 million, sources say, and Universal Pictures will be on the hook for at least $10 million.

The studio funded about 25 percent of the film’s $150 million production budget, the rest coming in equal parts from Legendary Entertainment, China Film Group and Le Vision Pictures. But Universal also covered Wall’s global marketing expenses, conservatively estimated at $80 million-plus. The film earned $171 million in China (a disappointment) and is expected to top out at about $320 million globally. That’s way less than investors had anticipated for the biggest-ever U.S.-China co-production. “The fusion of the No. 1 and No. 2 movie markets in the world will eventually happen, but it is a misfire, domestically speaking,” says box-office analyst Jeff Bock. Adds one Hollywood executive who has dealt extensively with China, “There’s no question but that it’s a failure.”

The good news for Universal is that its share of this failure will be relatively modest. The studio gets to collect a roughly 10 percent distribution fee from all theatrical revenue (between 40 percent and 50 percent of the total box office), and box-office rentals likely will recoup much, if not all, of its marketing outlay before other investors dip into whatever money is left to cut into production costs. The four partners will split any further theatrical income equally.

If the movie generates hoped-for ancillary revenue (including $20 million from domestic home entertainment and as much as $40 million from international home entertainment, with $25 million to $30 million from TV — admittedly, a best-case scenario), that will further stanch the red ink.

Read the rest of the story here.

DCG