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Michael Moore’s “Fahrenheit 11-9” — with No Smoking Gun– At Less Than $6 Mil After 17 Days

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Michael Moore’s “Fahrenheit 11-9” is enlightening, elucidating, and enlivening.

But the much anticipated documentary is a dud at the box office. Without a smoking gun, a big reveal, or a scoop, “11-9” has scored less than $6 million in 17 days of release.

The film is now eyeing a theatrical finish around $6 million when it winds down next Friday.

It’s a disappointment for the audience, for Moore, and for the new Briarcliff distribution company. The only good news is that “11-9” finishes $2 million higher than Moore’s last release, “Where to Invade Next.”

But of course the numbers are way off from the original film, “Fahrenheit 9-11,” which soared to the amazing heights of $177 million.

The problem is that Donald Trump is involved in ten scandals a day, all of them provable. But he exhausts the public. And his base of nitwits don’t seem to care if he’s broken 10 laws, offended 10 countries, or tried to undermine the basic values of the United States. There’s no ‘a hah’ moment when the whole day is BREAKING NEWS.

 

Soap Ratings Disaster: “Young and Restless” in Free Fall, Total Weekly Viewers Now Below 4 Million

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If CBS and Sony aren’t trying to destroy their number 1 rated soap opera, they’re behaving pretty strangely at this point.

“Tne Young and the Restless” scored only 3.95 million viewers for the week of September 17-21. The show was down a whopping 463,000 fans since the same week last year.

Four of the five days that week were under 4 million. The number of people watching declined every day from Monday through Friday, when the total was a measly 3,846,000.

Firings of veteran actors, public discord among the actors on social media, fan disapproval of storylines, is killing the show. I’ve said before, the only explanation that works is CBS wanting to get out of the soap business for good.

But what will they replace it with? More “CBS Morning News”? Unlikely. And with Julie Chen out of “The Talk,” the network has a new problem at 2pm. More syndicated talk? No one wants it, frankly. ABC is going to try and launch Tamron Hall soon. But the buzz simply isn’t there.

Simultaneously, something has also gone wrong at the CBS companion show, “The Bold and the Beautiful.” They lost 399K viewers year to year from September 17-21. Their total was down to 3.1 million. Both CBS soaps have lost 1 million viewers in one year.

With declines like these, the network will have the ammunition to cancel their remaining soaps — and soon. It’s the same game they played in 2010 with “As the World Turns” and “Guiding Light.” It’s as nefarious as a soap villain’s evil plot.

Melissa McCarthy Joins a Crowded Field in Oscar Race for Best Actress in “Can You Ever Forgive Me?”

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Melissa McCarthy is mostly known for comedy. Her breakthrough film was “Bridesmaids” and she starred for six seasons in CBS’s “Mike and Molly.”

But McCarthy’s turn in “St. Vincent” with Bill Murray showed that she had the drama chops,too.

Now she throws her hat in the ring for Best Actress in the dramedy “Can You Ever Forgive Me?” She plays Lee Israel, a real life New York writer who couldn’t make ends meet after one best seller. So she forged letters from famous writers like Dorothy Parker and Noel Coward, and sold them to Manhattan dealers for hundreds and thousands of dollars.

For a while in 1991 Israel pulled off the scam, and involved a pal named Jack Hawk, who helped her pull off the deception. Richard E. Grant plays Hawk and is just sensational.

Marielle Heller directed from a screenplay by the great Nicole Hofcener with playwright Jeff Whitty. Among the executive producers is actor Bob Balaban and producer Anne Carey (“20th Century Women”).

“Can You Ever Forgive Me?” premiered Sunday night at the Hamptons Film Festival, which has been a marathon of viewing potential Oscar movies and performances. McCarthy should be a slam dunk in Best Actress, joining Lady Gaga, Glenn Close, maybe Emma Stone (“The Favourite”), and some names yet to be viewed in their films including Saoirse Ronan, Margot Robbie and so on.

Grant is a no brainer in the best supporting actor category.

McCarthy is full of surprises in “Can You Ever Forgive Me.” She abandons all her comedy tics (which are hilarious– see her Emmy for playing Sean Spicer on “SNL”). She’s the real thing as Lee Israel, an engaging but difficult woman (she died in 2014) who was an repentant alcoholic and iconoclast. McCarthy’ performance is a tour de force, and not to be missed.

PS McCarthy might ask US if we can forgive her for “Happytime Murders.” After seeing this new movie, the answer is yes. All is forgiven. Please don’t do that again.

Box Office: “A Star is Born” Takes $42.6 Mil, Soundtrack Conquers Charts with 16 of iTunes Top 100

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“A Star is Born” totals up at $42.6 million including previews through today, which is maybe a little softer than expected but just fine.

The main story right now is that the soundtrack has placed 16 slots on the iTunes top 100 including several songs by newly minted hitmaker Bradley Cooper.

“ASIB” has the top three songs on iTunes. It’s also the number 1 album. It couldn’t have done any better.

Back in the comic book world, the “Spider Man” spin off “Venom” did a whopping $80 million for Sony. Sony still holds on to Spider-Man related material for Marvel, and is thanking God– in this case, Stan Lee– that they do. The worldwide appetite for Marvel never abates. “Venom” has $205 million in the bank so far internationally.

A Star Soars on Pop Charts: Lady Gaga Places A Whopping 12 Entries from Film Hit on iTunes Top 100, Movie Heads to $45 Mil Weekend

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“A Star is Born” made $15.8 Million Friday including previews, heads to $45 million weekend!

I told you when I saw “A Star is Born” at the Toronto Film Festival that the soundtrack would be wildly popular, perhaps eclipsing even “The Bodyguard.”

Well, after one official day of release, that prediction is coming true. The album is number 1, of course. And it’s in two versions in the top 100 albums–one with extra tracks.

But the songs individually are selling like crazy. All 12 of the Lady Gaga songs from “Star” have hit the iTunes top 100. Gaga is holding down the number 1 spot with “Shallow,” and also has the number 3, 4, and 5 spots with “Is That Alright?”, “Always Remember Us This Way,” and the long version of “I’ll Never Love Again.”

Gaga then has seven more spots on iTunes, wrapping up the other songs on the album including a couple with newly minted rock star Bradley Cooper.

Robert Pattinson: From Vampire to Celibate Astronaut Who Uses Sex Toys in “High Life”

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Robert Pattinson stars as an astronaut who swears to celibacy in acclaimed French director Claire Denis’ perverse and wacky sci-fi saga, “High Life,” which had its U.S. premiere Tuesday evening at the New York Film Festival.

On a spaceship that looks like a cross between a cargo box and a hospital, a bunch of exceptionally good-looking young death row convicts are on a black-hole journey to hell, forever. At the same time they’re participating — some reluctantly — in a reproduction experiment orchestrated by a sex obsessed doctor, played by Juliette Binoche.

This Nurse Ratched-like doctor (she murdered her family), wears an exotic black braid down to her waist, and is obsessed with collecting sperm samples to impregnate the women. She tricks Monte (Pattinson) into some weird, half asleep sex play so he releases semen and ends up becoming a father. (Binoche herself has a sex scene you have to see to believe, where she writhes around naked on a large steel dildo in a space called a “fuckbox.”)

Earlier in the day at the film’s press conference, when asked about how Pattinson became attached to the film, the actor said he caught Denis’ 2009 film “White Material,” on TV by chance and tried to set up a meeting.

Meanwhile Denis did not have Pattinson on her radar for “High Life.” She envisioned Monte as an “older man, tired of his life, at the end wishing nothing but to die.” Denis said, “Robert brought something unexpected to the part. I was a little bit afraid, to be honest. I’m wasn’t afraid, not of his youth, I was afraid maybe he was too good-looking or too precious… I thought, ‘Oh, my God, I have to be aware of that and not be afraid of that, you know, not to be afraid by his charisma.”

“Don’t be afraid,” whispered Pattinson.

The actor was asked at the press conference about his choice of eclectic roles, including “The Lost City of Z,” “Cosmopolis,” “Damsel” and now High Life.”

“In general it’s pretty simple. I’ll see a director’s work (I admire) and “basically I approach people whose work I really love.”

Of Denis he said, “It seems like all of her actors have total un-self consciousness and they really seem to inhabit their physicality. As a person who doesn’t totally inhabit my body,” he said, “I hoped if it happened to other people maybe it will happen to me.”

On the red carpet that evening at Alice Tully Hall, Pattinson inhabited his body in a dark close-fitting jacket and wide-legged shorts that would seem impossible for anyone else to pull off without looking silly.

I asked Denis on the red carpet how she dreamed up such a kinky script. “I don’t know. I am like that. I am kinky maybe,” she said. “I thought it was the way to do it, that was my plan.”

I asked her what she meant earlier in the day about her reservations Pattinson might be too charismatic to play Monte. That’s not what she meant she told me. “I said there was at the moment I was shy, I didn’t say he was too charismatic. I said, I was afraid that I was not going to understand how charismatic he was in a film you know? No, I was not afraid by that, it’s only that I was shy, that’s all. And he is mysterious and shy too you know?”

In “High Life,” Pattinson plays a role he’s never done: space dad. There are wonderful scenes in the beginning of the film with him and a baby and they have a terrific rapport.

At the public Q&A Tuesday evening, Pattinson was asked what it was like working with the baby and where did they find her?

“She came in for an audition,” cracked the actor.

Denis interjected, “Robert knew the baby,” she said. “This dear friend of his from school had the baby.” The first round of babies did not pan out. “We were not so happy with the baby caster,” Denis said. “This baby was terrific to work with, so cute, so open to people, so interested in sharing.”

“From the first day she was like that,” said Pattinson. “She’s my best friend’s kid. She also took her first steps on set and called me ‘dada dada.’”

The director was then asked why she decided to make “High Life” in English?

“In space people speak only English or Russian,” said Denis.

The final question was to the 72 year-old director about masturbation and “the fuckbox.”

Said Denis, “The fuckbox is more than (a place to) masturbate. They do masturbate alone in their box” but “this box is a way to be alone and it was important that there was such a place.”

Pattinson, who had changed from his red carpet shorts suit to jeans and a baseball hat turned backward, nodded along “yes.”

Pattinson sings over the closing credits of the movie to a ballad called “Willow” by Stuart A Staples of English alternative Rock band Tindersticks.

A24 purchased “High Life” with no release date yet set.


photo c 2018 Showbiz411 by Paula Schwartz

Lady Gaga: Brings ’70s Back as Secret Disco Hit Released on Same Day as “A Star is Born”

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Lady Gaga? She can do anything.

Today “A Star is Born” is released to movie theaters. The soundtrack is number 2 this morning on iTunes. The single “Shallow” is number 1.

But what about her OTHER release today?

Two years ago Gaga recorded the 70s disco hit “I want Your Love” for Tom Ford, produced by Nile Rodgers and recorded with his original Chic.

Today the song is available at last on the new Chic album “It’s About Time.” And it’s about time! Gaga brings back disco on the same day she becomes a movie star. Can’t do better than that.

Lady G isn’t alone in today’s disco revival. Rod Stewart’s great new album “Blood Red Roses” has a great dance hit called “Give Me Love.”

Times are tough– so dance!

Clint Eastwood, 88, Is Coming for More Oscars Directing, Starring in “The Mule” (Watch Trailer)

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The irony of Clint Eastwood’s “The Mule” is that it co-star Bradley Cooper, who will also be up for acting, directing, and writing nominations with “A Star is Born.” But Clint, who is 88, looks like he’s going to get two of those nods and maybe win by the looks of the trailer for his new movie, “The Mule.” (Nick Schenk wrote “The Mule,” and it looks like it has the feel of his other Eastwood classic, “Gran Torino.”) He plays a drug courier, unwitting at first then forced into it.

This will present Warner Bros. with some serious issues– promote their elder statesman or their new young hot shot? The studio will say Everyone should have these problems. But just Fox Searchlight after last year when “Three Billboards” was up against “The Shape of Water.” Someone is going to be unhappy.

Broadway: “Roseanne” Star Laurie Metcalf, John Lithgow Will Play “Hillary and Clinton” in New Play About Her 2008 Presidential Campaign Next Spring

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Broadway news: “Roseanne” star Laurie Metcalf and John Lithgow will play Hillary and Bill Clinton in a new play by Lucas Hnath, who wrote the hit “A Doll’s House, Part 2.” The play opens April 19, 2019. Joe Mantello is directing.

Here’s the description:

 

“Behind closed doors in the state of New Hampshire during the early days of 2008, a former First Lady named Hillary (Metcalf) is in a desperate bid to save her troubled campaign for President of the United States. Her husband, Bill (Lithgow), sees things one way; her campaign manager, Mark, sees things another. If any of this sounds familiar, don’t be fooled; in a universe of infinite possibilities, anything that can happen, will. “

Paul McCartney, Elvis Costello, Giles Martin Pay Tribute to Legendary Recording Engineer Geoff Emerick

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Paul McCartney, Elvis Costello, and Giles Martin have all paid tribute to legendary recording engineer Geoff Emerick, who passed away Tuesday at age 72 from a heart attack.

Elvis:

Geoff Emerick was wonderful man, a masterful engineer and mixer and a patient but confident presence in the studio. 
We really could not have made the album “Imperial Bedroom” with anyone else.
On those sessions, Geoff was as important as any member of the ensemble, the studio being his instrument.
In fact, almost everyone in the post-1966 recording world owes an often unacknowledged debt to his quiet and modest innovations. Infinitely less-talented individuals make a song and dance out of matters that he took in stride. 
He told me once that learning his trade at Abbey Road might mean be asked to record Otto Klemperer and the Philharmonia in the morning, Judy Garland in the afternoon or The Beatles until the song was done in the early hours. Little wonder there was barely a musical conceit with which you could daunt or confound him.
I feel very lucky to have known and worked with Geoff and I will miss him a great deal.

McCartney:

I first met Geoff when he was a young engineer working at Abbey Road Studios. He would grow to be the main engineer that we worked with on many of our Beatles tracks. He had a sense of humour that fitted well with our attitude to work in the studio and was always open to the many new ideas that we threw at him. He grew to understand what we liked to hear and developed all sorts of techniques to achieve this. He would use a special microphone for the bass drum and played it strategically to achieve the sound that we asked him for. We spent many exciting hours in the studio and he never failed to come up with the goods. After The Beatles, I continued to work with him and our friendship grew to the point where when he got married to his beautiful wife Nicole, it was in the church close to where we lived in the country.

He came with me to Lagos Nigeria to record my album ‘Band on the Run’. I remember arriving at the half built studio with a handful of 45s which I played for him to explain what direction I wanted to take on this particular album. I remember asking him to make sure that the tracks had a lot of space and he was happy to deliver that. We kept in touch through the years and our phone calls or messages always gained a giggle or two.

Having seen him as recently as this year when he came to visit us at Henson Studio in LA, where we were putting the finishing touches to ‘Egypt Station’, he was his usual cheerful friendly self and gave me the thumbs up to the mixes we played him.
I’ll always remember him with great fondness and I know his work will be long remembered by connoisseurs of sound.

Lots of love Geoff, it was a privilege to know you.

Giles Martin:

RIP @GeoffEmerick one of finest and most innovative engineers to have graced a recording studio. I grew up with him as he worked so much with my father. We have all been touched by the sounds he helped create on the greatest music ever recorded.

Mike McCartney, recording artist and Paul’s brother:

Wow! Just heard the sad news! Geoff ‘Freaky Freaky’(as r kid & I used to call him) joins So many up there. A luvly, kind, very talented man..one of the inner sanctum. A lot will miss him..RIP Geoff