You all probably thought The Iceman would win the box office this weekend, but nope…. Iron Man 3 did. In fact, it destroyed the weekend. In double fact, it made more in three days than all the movies in theaters have made in any single weekend so far this year. In triple fact, it scored the second highest opening weekend ever ! Iron Man 3 took in $175.3 million in its first three days. Read our Iron Man 3 review to find out why we love it so much, then check out the full Weekend Box Office Report after the jump. Box office top 10: 1. Iron Man 3 , $175.3 million 2. Pain and Gain , $7.6 million 3. 42 , $6.2 million 4. Oblivion , $5.8 million 5. The Croods , $4.2 million 6. The Big Wedding , $3.9 million 7. Mud , $2.2 million 8. Oz the Great and Powerful , $1.8 million 9. Scary Movie 5 , $1.4 million 10. The Place Beyond the Pines , $1.3 million
Two new Only God Forgives trailers have debuted, one domestic, and one international. The crime thriller reunites Ryan Gosling with his Drive director Nicholas Winding Refn. Watch both trailers below: Only God Forgives Trailer International Only God Forgives Trailer New Gosling stars as a drug boss named Julian, who runs a boxing club in Thailand as a front. When his brother is killed, his mother, played by Kristin Scott Thomas, forces him to hunt the person responsible. Refn wrote and directed the film, which is set to premiere July 19. Gosling can currently be seen reuniting with another former director in The Place Beyond the Pines . Read our our The Place Beyond the Pines review for more.
Two new Only God Forgives trailers have debuted, one domestic, and one international. The crime thriller reunites Ryan Gosling with his Drive director Nicholas Winding Refn. Watch both trailers below: Only God Forgives Trailer International Only God Forgives Trailer New Gosling stars as a drug boss named Julian, who runs a boxing club in Thailand as a front. When his brother is killed, his mother, played by Kristin Scott Thomas, forces him to hunt the person responsible. Refn wrote and directed the film, which is set to premiere July 19. Gosling can currently be seen reuniting with another former director in The Place Beyond the Pines . Read our our The Place Beyond the Pines review for more.
‘Place Beyond the Pines’ stunt coordinator explains to MTV News how the star transformed into a daredevil. By Kevin P. Sullivan Ryan Gosling in “The Place Beyond the Pines” Photo: Atsushi Nishijima/ Focus Features
PG-13 action extravaganza G.I. Joe: Retaliation (2013) will be dominating theater screens this weekend, and the only female flesh to be seen is Adrianne Palicki jogging in tiny little black running shorts and a sports bra 50-minutes in. Even the R-rated drama The Place Beyond the Pines (2012), only features a pokie shot of Eva Mendes in a thin t-shirt, and strategically covered sideboob in bed. The good news is that the indie comedy Mental (2012) is also showing up on the big screen, along with full frontal from Lily Sullivan going down a water slide. Split splash! More after the jump!
PG-13 action extravaganza G.I. Joe: Retaliation (2013) will be dominating theater screens this weekend, and the only female flesh to be seen is Adrianne Palicki jogging in tiny little black running shorts and a sports bra 50-minutes in. Even the R-rated drama The Place Beyond the Pines (2012), only features a pokie shot of Eva Mendes in a thin t-shirt, and strategically covered sideboob in bed. The good news is that the indie comedy Mental (2012) is also showing up on the big screen, along with full frontal from Lily Sullivan going down a water slide. Split splash! More after the jump!
Why do the robbery scenes in Derek Cianfrance’s The Place Beyond The Pines seem so authentic? They’re as close as you can get to the real thing without breaking the law! “Derek had this rule that all of those bank heists would be shot in one take,” explains star Ryan Gosling . “And so there was just an energy to them that I don’t think you could have got if you were breaking it up.” Turns out Cianfrance drew inspiration from an unlikely source for a top indie director. “My reference point for those robbery sequences wasn’t other movies, it was America’s Wildest Police Chases and Cops !…We had to really do these things!” The Magic of Ryan Gosling That’s Gosling racing through the streets of Schenectady, NY on a bike? Cianfrance says that because of the way he wanted to shoot the action scenes, it had to be. So they had the actor train with The Dark Knight franchise motorcycle stuntman Rick Miller, who after their first training session ranked Gosling on a scale of 1-10 at 3… In fact, Miller felt that with just eight weeks of prep time, he couldn’t get the actor beyond a 3.5 or 4. But as Gosling’s fans will tell you, the man can work miracles. “The day before production,” marvels Cianfrance, “I said ‘What level did Ryan get to?’ He said about a 7! So that shows you the magic of Ryan Gosling.” The Place Beyond The Pines opens in NY and LA today, and expands to more theaters on April 5 . Check out my full interviews with the director and cast below, including Gosling’s thoughts on how Drive was his version of a superhero movie: Follow Grace Randolph on Twitter . Follow Movieline on Twitter .
Oscar-nominated feature No by director Pablo Larraín starring Gael García Bernal are among the ten Galas that will screen at the 30th Miami International Film Festival. The ten-day fest will host 117 features and 12 shorts from 41 countries with an emphasis on films from Latin America. [ Related: River Phoenix’s Last Film To Debut At Miami International Film Festival ] No , which screened at the recent Sundance Film Festival , is based on the true story about an ad executive who comes up with an ad campaign to defeat Chilean dictator Augusto Pinochet in 1988. The film will screen in Miami’s CineDwntwn Galas along with other Sundance offerings, Twenty Feet From Stardom (Opening Night Film) by U.S/ director Morgan Neville, Sebastian Junger’s Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington by Sebastian Junger, screening in the Documentary Competition along with Marc Silver’s Who Is Dayani Cristal? , Valentine Road , Gideon’s Army and Blackfish / Radius-TWC’s Twenty Feet from Stardom turns the spotlight to some of the world’s biggest singers’ backbone, their backup singers. Maiken Baird and Michelle Major’s Venus and Serena will screen Awards Night March 9th. The doc will spotlight the American tennis superstars siblings. As previously announced, the festival will honor two remarkable directors with Career Achievement Tributes: renowned Swedish writer-director Lasse Hallström ( My Life as a Dog , What’s Eating Gilbert Grape ) and Spanish producer, writer, and Oscar-winning director Fernando Trueba ( Belle Epoque , Chico & Rita ). MIFF will screen the directors’ latest works including The Hypnotist by Hallström and The Artist and the Model by Trueba. The 30th Miami International Film Festival runs March 1 – 10. Galas, documentary and Ibero-American competition categories follow. For a list of further MIFF films, visit their website . CineDwntwn Galas Amor Cronico (USA/Cuba, directed by Jorge Perrugorría) The Artist and the Model (Spain, directed by Fernando Trueba) The Boy Who Smells Like Fish (Canada/ Mexico, directed by Analeine Cal y Mayor) Dark Blood (Netherlands, directed by George Sluizer) Eenie Meenie Miney Moe (USA, directed by Jokes Yanes) The Hunt (Jagten) (Denmark, directed by Thomas Vinterberg) The Hypnotist (Sweden, directed by Lasse Hallström) NO (Chile/USA, directed by Pablo Larraín) *2013 Oscar Nominated for Best Foreign Film Twenty Feet From Stardom (USA, directed by Morgan Neville) Venus and Serena (USA, directed by Maiken Baird and Michelle Major) Documentary Competition: Viva Cuba Libre: Rap Is War (USA, directed by Jesse Acevedo) Blackfish (USA, directed by Gabriela Cowperthwaite) The Crash Reel (USA, directed by Lucy Walker) Cubamerican (USA, directed by Jose Enrique Pardo Far Out Isn’t Far Enough: The Tomi Ungerer Story (USA, directed by Brad Bernstein) Gideon’s Army (USA, directed by Dawn Porter) Sagrada: The Mystery of Creation (Sagrada: El misteri de la creació) (Switzerland, directed by Stefan Haupt) Valentine Road (USA, directed by Marta Cummingham) Which Way Is the Front Line From Here? The Life and Time of Tim Hetherington (USA, directed by Sebastian Junger) Who Is Dayani Cristal? (United Kingdom/Mexico, directed by Marc Silver) Ibero-American Competition (fist-time feature filmmakers from Spain, Portugal and Latin America): The Boy Who Smells Like Fish (Mexico/Canada, directed by Analeine Cal y Mayor) Edificio Royal (Colombia/Venezuela/Germany, directed by Iván Wild) Good Luck, Sweetheart (Boa Sorte, Meu Amor) (Brazil, directed by Daniel Aragão) Miguel, San Miguel (Chile, directed by Matías Cruz) Molasses (Melaza) (Cuba/France/Panama, directed by Carlos Días Lechuga) No Autumn, No Spring (Sin otoño, sin primavera) (Ecuador/Colombia/France, directed by Iván Mora) Solo (Uruguay/Argentina/Netherlands/France, directed by Guillermo Rocamora) The Swimming Pool (La piscina) (Cuba/Venezuela directed by Carlos Machado Quintela) Villegas (Argentina/Netherlands/France, directed by Gonzalo Tobal)
Two weeks after carrying home the big prizes from the Critics’ Choice and Golden Globe Awards , Argo firmly established its Oscar front-runner status with another one-two punch in the form of the PGA’s Motion Picture Producer of the Year honor and the SAG Award for Outstanding Performance by a Cast. And in a season of confusion and contradiction, that front-runner status gives Argo traction that none of its Best-Picture rivals have. The PGA win was not a surprise, especially after Argo ’s strong showing with the Hollywood Foreign Press Association. Content-wise, it’s the type of film that charms producers, being a taut political thriller 65% of the time and a stack of insider Hollywood jokes the other 35%. Apart from that, you have The Affleck, and the time has come to love and praise The Affleck . Rejuvenated and relevant again, Ben Affleck is this year’s Oscar story. When the nominations came out, who was the “snubbed” director? It wasn’t Kathryn Bigelow , Paul Thomas Anderson , or Wes Anderson , the three directors whose films appeared on the most end-of-year lists. It was The Affleck, and within 72 hours, The Affleck was redeemed with populist awards broadcast live on the CW and NBC, making Argo the People’s Film and Affleck the Oscar story of the year. For Best Picture prognostication, the PGA Award is a major get. Since it was started in 1989, the Producers Guild has awarded the eventual Best Picture Oscar winner nearly 70 percent of the time, and has been perfect over the past 5 years. Additionally, the PGA uses a preferential ballot just as the Academy of Motion Picture Arts and Sciences has done since 2009. What this means is that Argo and Affleck do not need to top all ballots, they just need to be agreed upon by most ballots. I don’t have scientific findings to present here, but think about the conversations you’ve had about the Best Picture nominees: Lincoln , Les Misérables, Django Unchained , and Silver Linings Playbook are much more polarizing than the crowd-pleasing Argo . For what it’s worth, Argo also has the highest Rotten Tomatoes score of all the nominees, 96, followed by Zero Dark Thirty , 93, and Amour , 92. The movie’s SAG win was more of a surprise. Argo is not an Actor’s Movie. This is not to say the award was not earned, simply that most of the attention was divided between the flashy Les Mis and the kitchen sink acting of Silver Linings Playbook . But there’s that word: “divided.” The Screen Actors Guild is a massive organization of nearly 160,000 members (though only current on dues are eligible to vote), so while theater types might have leaned toward Les Mis and classically-trained types might have opted for Silver Linings or Lincoln , the one film the Guild ended up agreeing on was Argo and its Affleck-led cast. It was, in a word, the most popular. (Keeping with the populist theme, note how the SAG Awards are the only guild awards that appear on billboards). SAG has a terrible track record with Best Picture. The two top awards aligned less than half of the time since SAG started their awards in 1995. But this is a season when stats mean less than they would normally. The film with the most Oscar nominations is no longer the film to beat. Harvey Weinstein , who put Affleck on the Oscar map with the 1997 movie Goodwill Hunting, is fighting an uphill battle. There’s a legitimate front-runner in town, and it does not have the director’s nomination assumed necessary. (And I’m not talking about Django Unchained .) This season, the Best Picture race is all about tone and attitude, and Argo and its affable director are all about tone and attitude. Affleck is an A-lister once again, charming every room he enters — his jokes won the room at the PGA breakfast Saturday morning — and his film’s recent run of awards-season honors have made its Best Picture prospects impossible to ignore. After months of having several films on the radar, there is finally one at the center of it. John Hendel is a playwright from Los Angeles. Follow John Hendel on Twitter. Follow Movieline on Twitter.
