Tag Archives: mpaa

Twilight Finale Flirted With An R-Rating

There’s a ballyhooed sex scene between Bella and Edward that received a respectable 8 on ML’s Scream-O-Meter , but it apparently was some violence that almost earned Twilight Saga: Breaking Dawn Part 2 an R-rating from the Motion Picture Association of America (MPAA), which would have caused quite a stir and conundrums in Twi-hard Land, which still counts quite a large crowd of teens among its ranks (not that that crafty crowd wouldn’t have found a way). Still, the ” Restricted: Children Under 17 Require Accompanying Parent or Adult Guardian ” would smack of potential box office blues for a franchise riding on a gangbuster turn-out and a final cash infusion for Summit, the franchise’s distributor. Initially, Breaking Dawn Part 2 received the R because of some extreme violence by way of beheadings, according to the Los Angeles Times. “Certainly, with any other movie, there are a thousand ways to kill people,” director Bill Condon told the Times. “With this one, it’s a variation on the same theme. If they were going to be offended by the idea of beheadings, we would have had no movie.” But the MPAA holds the ratings whip and the filmmaker said that some parts of the film were modified in order to give the multi-billion dollar franchise’s finale a more access-friendly PG-13 (The offending ‘R’ scenes should make for great marketing come DVD time at the end of the day). Sill, this isn’t the first time the world’s favorite vampires have sashayed with the only over 17 threat. Breaking Dawn Part 1 nearly received the R due to a sex scene (sex is often more titillating to the MPAA than violence which it more frequently tolerates, so those beheadings must’ve been doozies!) Kristen Stewart told Glamour that the original sex scenes in the first Breaking Dawn had even surprised her. “It was so weird, it didn’t even feel like we were doing a Twilight film. I was like, ‘Bella! What are you doing? Wow! What is happening here?!’ It was very surreal. We [originally] got rated R. They re-cut it.” [ Sources: The Huffington Post , Glamour , Los Angeles Times ]

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Twilight Finale Flirted With An R-Rating

Robert Zemeckis Says Bomb Mars Needs Moms Is ‘The Best 3-D Movie Since Avatar’

Disney’s 2011 family adventure Mars Needs Moms wasn’t just a box office disappointment; it was a box office disaster , one of the worst in movie history . Mars producer Robert Zemeckis , appearing at the Philadelphia Film Fest with his latest Oscar-hopeful, Flight , prefers to remember Mars Needs Moms another way: “It’s the best 3-D movie since Avatar .” Zemeckis’s bold answer matched the bold question that prompted his trip down memory lane during Flight ‘s post-screening Q&A session on Saturday night. Following a string of massive career hits ranging from the Back to the Future franchise to Oscar juggernaut Forrest Gump , the Zemeckis-produced Mars Needs Moms opened last year as the filmmaker’s most high profile critical and commercial failure. ImageMovers Digital, the Zemeckis-founded CG house that produced Mars as well as his own films The Polar Express , Beowulf , and A Christmas Carol , was shut down after completing Mars , while plans to embark on a Yellow Submarine pic with Disney were also scrapped; needless to say, it’s probably not Zemeckis’s favorite topic of conversation. (For what it’s worth, Flight , Zemeckis’s Denzel Washington -starring return to live-action film, played well with the Philly crowd.) But one Philadelphia Film Fest attendee was eager for answers. Film critic Martin Schneider penned a reasonably questioning if snarky review of Mars Needs Moms at the time of release, criticizing the film for a slew of offenses ranging from its animation to character development, with particular scrutiny of the film’s “anti-gay,” anti-progressive gender messaging. He seized the opportunity during the Philadelphia Film Fest closing night film event to share how offended he was by the film, asking Zemeckis to explain: What happened ? For his part, Zemeckis didn’t flinch. Prior to the film’s screening, Philadelphia Film Society Executive Director J. Andrew Greenblatt told the audience that the director would be taking questions, and that they could “ask him anything.” It’s tough to say whether or not Zemeckis expected the subject of his history-making bomb to pop up, but when faced by his accuser he kept his cool under pressure, like Denzel’s alcoholic hero Whip Whitaker. And then Zemeckis flew the airplane upside down, so to speak. “It was not marketed properly,” he said of the 3-D CG sci-fi flop, which cost a reported $150 million to make and made back just $38.9 million upon release, becoming the worst Disney performer of all time and one of the most miserable wide release 3-D openings in history. Zemeckis said Mars Needs Moms had been lost in the studio shuffle. He called it “breathtaking.” “It’s the best 3-D movie since Avatar ,” he continued. “It’s the way 3-D should be presented.” Meanwhile, in a career built on crowd-pleasers and after a decade spent attempting to bridge the uncanny valley with CG children’s films, Flight marks only the second film Zemeckis has directed to earn an R-rating. (His first? 1980s’s Used Cars .) Rated R “for drug and alcohol abuse, language, sexuality/nudity, and an intense action sequence,” Flight wasn’t gunning for anything less, given its full-tilt dive into the depths of addiction. “There was no way an adult drama was ever going to be anything other than R-rated,” said Zemeckis. Still, he earned applause with a parting shot at the MPAA: “I hate the ratings system. I think it’s horrible and despicable, and we should get rid of it.” Flight opens nationwide November 2. For more info on the Philadelphia Film Fest, head here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Robert Zemeckis Says Bomb Mars Needs Moms Is ‘The Best 3-D Movie Since Avatar’

John Waters & Provincetown Film Festival Fete Roger Corman

The Provincetown International Film Festival feted Roger Corman over the weekend with John Waters taking to the stage in a laugh-filled interview before a packed house in the eccentric enclave’s town hall. The maverick producer/director/actor offered up highlights from his long career and offered up a litany of tales from his years the low budget B-movie throne. While distributors consistently have spats with the MPAA for getting a “harsh” rating, Roger Corman recalled a time when he went back to the MPAA to ask for a “harsher” rating. “Eight year-olds” don’t want to see a G-rated film,” John Waters observes… Roger Corman received the festival’s 2012 Filmmaker on the Edge Award, while actress Parker Posey received the Excellence in Acting Award and Kirby Dick took the event’s Faith Hubley Career Achievement Award. Dick’s latest, The Invisible War caught a good amount of buzz at the festival with a number of insiders already predicting the title will get an Oscar nomination. But the weekend was owned by Corman. Check out the interview here…

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John Waters & Provincetown Film Festival Fete Roger Corman

Weekend Receipts: Hunger Games Makes it Three in a Row on Quiet Holiday

Happy Monday! Did you have a good holiday weekend? Here’s hoping it was better than what transpired over the last few days at the box office, where returns ranged from modest to sluggish as America’s families holed up with God and the Masters and whatever else struck their fancies while multiplexes hummed along quietly with a shrinking blockbuster and a few decent runners-up. Your Weekend Receipts 1. The Hunger Games Gross: $33,500,000 ($302,839,000) Screens: 4,137 (PSA $8,098) Weeks: 3 (Change: -42.8%) Spring’s mega-hit crossed the $300 million mark sometime Sunday, while the global tally rose to an insane $459 million. Continued congrats to the gang at Lionsgate, for whom this money will no doubt buy at least 15 new Tyler Perry films. 2. American Reunion Gross: $21,500,000 (new) Screens: 3,192 (PSA $6,736) Weeks: 1 As the American franchise goes, a $21 million opening falls on the low side of a spectrum that runs from American Pie ‘s $18.7 million debut in 1999 to the first sequel’s tremendous $45.1 million bow in 2001. On the bright side, all three previous films grew wickedly long tails here and abroad, pulling in well over $200 million at the end of the day. So sure: It’s not a number you can penetrate a pie with, but history suggests that it’ll get the job done. 3. Titanic 3D Gross: $17,350,000 ($25,710,000) Screens: 2,674 (PSA: $6,488) Weeks: 1 It’s a good thing that James Cameron and Co. aren’t just a bunch of ” greedy motherfuckers ,” because this showing would probably represent quite the disappointment. Art takes the day! 4. Wrath of the Titans Gross: $15,010,000 ($58,899,000) Screens: 3,545 (PSA: $4,234) Weeks: 2 (Change: -55.1%) Barring some late foreign-market miracle, this franchise is probably dead: At $200 million to make and market, it should be sitting on a little softer B.O. cushion than $135 million right now. Dare I say good riddance? 5. Mirror Mirror Gross: $19,000,000 ($36,473,000) Screens: 3,545 (PSA $4,234) Weeks: 2 (Change: -39.3%) A better-than-expected hold, but not much better. That’s about all that I’ve got. [Figures via Box Office Mojo ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Weekend Receipts: Hunger Games Makes it Three in a Row on Quiet Holiday

6.9 Million People Still Can’t Get Enough of The Ten Commandments

Maybe this is the 3-D revival Hollywood should foist on holiday moviegoers: “ABC’s traditional Easter-weekend broadcast of The Ten Commandments was the highest-rated program of the night with a 1.6 rating among adults 18-49 and 6.9 million total viewers.” That would make 2012 the fifth year out of the last six that Cecil B. DeMille’s epic swan song claimed the top ratings spot the night before Easter. Holy Moses, etc… [ TV By the Numbers via Big Hollywood ]

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6.9 Million People Still Can’t Get Enough of The Ten Commandments

Hunger Games Sequel Saga: Gary Ross Still May Direct, Clock Ticking For August Shoot

Despite last week’s report to the contrary , it’s not especially surprising to hear that Gary Ross is not quite out as the director of the Hunger Games sequel Catching Fire : Various sources have followed up initial word of Ross’s franchise departure with news of predictable-enough salary disputes over ridiculously large sums of money that would push any spin machine into overdrive. So buckle up — first for Deadline’s counterattack explaining why Ross has logical reason to leave the blockbuster series : The Seabiscuit director knows the benefit of riding in a winner and not switching horses midstream. Ross lobbied hard to get The Hunger Games and turned it into the biggest hit of his directing career. Before that, he developed several serious historical dramatic projects under his deal at Universal that didn’t get off the ground. Staying for a sure-fire hit and a sequel that audiences actually want to see makes a lot of sense for Ross, particularly given how active the filmmaker has been in the construction of Catching Fire . Hmm. OK? I mean, of course Ross reportedly backed out on creative and professional terms (whatever), which, if we were to take at face value, would imply that the Catching Fire upside isn’t all it’s cracked up to be. But since we don’t take things at face value — particularly after a third consecutive number-one weekend at the box office — let David Poland walk you through the prospective, dizzying economics of it all: [F]or the director/co-writer of four films to be paid, at best, 2.5% of the NET revenues on a franchise like this does not seem excessive or abusively demanding. And if Gary Ross has to settle for 5 years of his professional life going for $20 million… $25 million… well… ya know… he’d have a legacy… he might improve as a director (he’s a decent director, but still a writer first)… he’d have the career lesson of a steady, defined gig, and the money doesn’t exactly suck. In an industry of few sure things, one thing is sure. We know that [Lionsgate] is NOT going to lose money on paying Gary Ross $40 million for the next 3 films. Step up. Stop being greedy pigs. Do it like the grown up studios. And get on with it already. Yeah! Like, now , because as you might have heard , Jennifer Lawrence has an X-Men sequel to shoot: [S]ources say the filmmaker is concerned about an ambitious production schedule that would require shooting to begin in August so that star Jennifer Lawrence can complete her work before she is due to start filming a sequel to Fox’s X-Men: First Class in January. Since Fox’s deal with Lawrence predates her contract for Hunger Games , X-Men is in a priority position. With the script for the second Hunger Games not yet locked, that means all preparations for a sequel would have to be done in four months — a tough schedule to meet. What ever will happen? (Hint: Ross will get paid, and happy fans will go on to push The Hunger Games franchise into a $3 billion juggernaut.) Stay tuned… [ Deadline , The Hot Blog , THR ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Hunger Games Sequel Saga: Gary Ross Still May Direct, Clock Ticking For August Shoot

Harvey Weinstein: I’m Not Manipulating Ratings System for Free Publicity — This Time

Mmm-hmm : “‘I am not being Harvey Weinstein, showman,’ he said in a separate interview on Friday. ‘I am not using the ratings system for publicity . Yes, I’ve done it in the past . Mea culpa for that.’ But, he said of Bully , ‘this is completely out of passion.'” [ NYT ]

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Harvey Weinstein: I’m Not Manipulating Ratings System for Free Publicity — This Time

Surprise: The Dark Knight Rises is Rated PG-13

An eagle-eyed reader of Warner Bros.’ exhibitors site passes along word today that The Dark Knight Rises has earned — wait for it — a PG-13 from the MPAA ratings board for “intense sequences of violence and action, some sensuality, and language.” Sensuality! I knew Batman and Bane were going to get close, but not that close. [ Nolanfans via Collider ]

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Surprise: The Dark Knight Rises is Rated PG-13

REVIEW: Popes Are People Too in Nanni Moretti’s We Have a Pope

In the ’70s New York Magazine ran occasional contests, in one case asking readers to submit greeting cards for unlikely occasions. Nanni Moretti’s We Have a Pope — it original title was Habemus Papam — could use one of those entries as its tagline: “Saw your smoke, now you’re Pope, congrats!” Actually, it’s kind of a bummer to be Pope, which is the idea behind this way-too-gentle but still potentially incendiary comedy by Nanni Moretti (director of the 2001 Palme d’Or winner The Son’s Room ). Michel Piccoli stars as a sad old cardinal who’s surprised to find himself elected to the biggest job in the world — or at least the one with the flashiest costumes. All the other voting cardinals are relieved not to have been chosen — one of the numerous cute gags in the movie involves shots of nervous Vatican pope-deciders casting their votes while whispering variations of “Not me, Lord! Please, not me!” Piccoli seems OK with the appointment at first, and then suffers a panic attack. And what sane person wouldn’t? A psychoanalyst (played by Moretti himself, who also co-wrote the script, with Francesco Piccolo and Federica Pontremoli) is brought in to delve into Piccoli’s psyche, although he’s not allowed to ask questions about the subject’s dreams, sexual fantasies, mother or childhood. What else is there? Before long, Piccoli escapes the Vatican and emerges, blinking, in the outside world, where he comes to terms with his lifelong ambition of being a theater actor. Being a Pope is high theater, but it’s not the kind he wants. The big problem with We Have a Pope is that Piccoli (historically a wonderful and charming performer) just looks shell-shocked every minute. There’s no texture to the performance. The zonked expression on his face is the same in every sequence: He looks as if he’s pondering which cardigan to wear to the big bocce tournament. Still, as lukewarm as We Have a Pope may be as a piece of filmmaking, Moretti doesn’t tread particularly gently into sacred territory. The picture could be more irreverent, but at least it dares to suggest that popes are people too. If nothing else, Moretti does come up with great gag in which a trio of jolly cardinals, thrilled that their pope-choosing duties are over (or at least they think they’re over) try to get their fellow cardinal BFFs to go out for doughnuts and a Caravaggio exhibit at a local museum — the Vatican equivalent of cracking open a cold one. [Editor’s note: This review appeared earlier, in a slightly different form, in Stephanie Zacharek’s 2011 Cannes Film Festival coverage .] Read Movieline’s interview with filmmaker (and Cannes 2012 jury president) Nanni Moretti here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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REVIEW: Popes Are People Too in Nanni Moretti’s We Have a Pope

Surprise, Surprise: Bully Nabs PG-13 Without Trimming Offensive Scene

You don’t need me to explain to you how Harvey Weinstein is half huckster-genius and half megalomaniac witch doctor (even though I have, again and again and again ). Find all the evidence you need in Thursday’s announcement that Bully — the “controversial” documentary chronicling America’s bullying epidemic — would finally receive the PG-13 rating it so conspicuously sought from the MPAA. The best part: It won’t even have to trim the offending scene at the heart of all the publicity to date. Surprise! Suckers. The MPAA won’t even insist on the customary 90-day window between R- and PG-13-rated versions. Great! No one will ever accuse them of making it up as they go along ever again ! From a Weinstein Company press release: The Weinstein Company aided by the guidance and consultation from attorneys David Boies and Ted Olson, announced today that the MPAA has lowered the R rating, given for some language, for BULLY to a PG-13 in time for the film’s April 13th expansion to 55 markets. The scene that has been at the forefront of the battle with the MPAA, the intense scene in the film that shows teen Alex Libby being bullied and harassed on a bus, has been left fully intact and unedited. BULLY director Lee Hirsch felt editing the scene was not an option, and subsequently refused to do so, since it is too important to the truth and integrity behind the film. Also a victory is the exception the MPAA made by allowing the film to be released with the new rating before 90 days, which is the length of time their policy states a film must wait to be in theaters after a rating change to avoid confusion or inconvenience for moviegoers. This decision by the MPAA is a huge victory for the parents, educators, lawmakers, and most importantly, children, everywhere who have been fighting for months for the appropriate PG-13 rating without cutting some of the most sensitive moments. Three uses of the ‘F word’ were removed from other scenes, which ultimately persuaded the MPAA to lower the rating. Hirsch made the documentary with the intent to give an uncensored, real-life portrayal of what 13 million children suffer through every year. The new rating, which came about with the great support from MPAA Chairman Chris Dodd, grants the schools, organizations and cities all around the country who are lined up and ready to screen BULLY, including the National Education Association and the Cincinnati School District, the opportunity to share this educational tool with their children. Of course, the latter organizations always had that option , but what good is accepting parental permission slips without the prospect of getting the full ticket price as a result? Sigh. I know this is a “Forget it, Jake, it’s Chinatown” moment if ever there was one, but to come to work every day and see so many otherwise smart, savvy and skeptical industry observers and pundits just pass along such cynical, craven marketing spin for months without ever communicating Harvey’s obvious calculations to their readers — to treat the Bully ratings saga as a legitimate cause — is a just a total failure. It’s a total embarrassment . Taking nothing away from the film or the consequences of bullying, what kind of a complacent creep do you have to be to smilingly shovel so much of these people’s bullshit? Or to keep taking the MPAA at its grotesque face value? Or to accept some bullied teenager(s) carrying the banner for a movie on behalf of the most notorious bully of the modern Hollywood era? Or to pull a paycheck every day for publicizing such bald-faced lies? Puke. Anyway, the entertainment industrial complex wins again. Whatever. So much for Good Friday. [via Deadline ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Surprise, Surprise: Bully Nabs PG-13 Without Trimming Offensive Scene