Blu-Review: PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE

Written by Geoffrey Fletcher
Directed by Lee Daniels


I saw PRECIOUS twice in theatres and when I sat down to watch it again from the comfort of my own couch, I felt almost like I had never seen it before. It was surreal. The film came with so much hype attached to it upon its theatrical release and is such a powerhouse of difficult yet necessary imagery that perhaps it was just too much to take in when I first saw it. With awards season now behind us though, it is possible to watch PRECIOUS with a degree of expectation removed. What I saw this time was an insightful and inspired piece of filmmaking.


I realize that only furthers the hype for the film but inviting PRECIOUS into your home is a cathartic experience. One might think it difficult to identify with an obese 16-year-old African-American girl who is pregnant for the second time by her biological father and who struggles to learn to read while her mother drills how stupid she is into her at every opportunity. There is a universal appeal to PRECIOUS though and it was one for me that only showed itself when I could be alone with the movie at home. Yes, Precious (the title character played by the revelatory, Gabourey Sidibe) is everything I just said but she is also just a person who wants to be someone and wants to be heard but doesn’t know how to make that happen and doesn’t it believe it even could. Everyone can identify with that to some extent.


Making PRECIOUS was clearly an equally precious experience for all involved, as is evident in the bonus material on the BD release. Not only does it look incredibly sharp but a sensitive director commentary from Lee Daniels and a number of featurettes about how the film was made really showcase how important PRECIOUS truly is.

THE FILM


THE BLU-RAY

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Shearing the Oscars: Best Actress

I'd best start by sharing some love on this, the day devoted to the subject. It would be necessary to do so simply because I will need the reminder after I get done with this piece.

This year's Best Actress Oscar race is not so much a puzzle to me as it an infuriating farce that exposes the emptiness of the Academy Awards. Sandra Bullock is the front runner for her work in THE BLIND SIDE. I don't mean to be hurtful. I saw the movie; I thought she was good in it but Oscar good? Please. Of course not, but she has had a really good year and has done so many great things for the box office over the years. Her top competition is Meryl Streep for her work in JULIE & JULIA. Streep has scored a record breaking 16 nominations with this last one but hasn't won since 1983. Naturally, we have to throw her something as some point. At least Streep's performance is Oscar worthy but what I don't understand is why the headlines don't read, "It's Down to Sidibe and Mulligan!"

Here are the nominees for Best Actress ...

SANDRA BULLOCK as Leigh Anne Tuohy in THE BLIND SIDE


I am not going to just denounce Bullock's nomination here. I didn't mind John Lee Hancock's THE BLIND SIDE. It was certainly designed to be satisfying but it accomplished its goals. Bullock carries the weight of the film on her shoulders and does it with strength and attitude to spare. She is also written in such a saintly manner that her character comes off as too perfect to be actually human. The fact is that Bullock has the nomination and the edge to win because she is well liked in Hollywood and Hollywood enjoys rewarding contribution over performance from time to time. Remember Julia Roberts in ERIN BROCKOVICH?

HELEN MIRREN as Countess Sofya in THE LAST STATION


At 64 years of age, this is Helen Mirren's fourth Oscar nomination. She won in this exact category in 2006 for her work in THE QUEEN. She returns now by portraying another famous historical figure, Countess Sofya, wife of Russian author, Leo Tolstoy, in Michael Hoffman's THE LAST STATION. Whereas her work in THE QUEEN had to be spot on given people's familiarity with the subject but, with little existing footage of Countess Sofya, Mirren had to create a character rather than recreate. This role is just not loud enough in a year like this one and I'm pretty sure Mirren knows it.

CAREY MULLIGAN as Jenny in AN EDUCATION


I am convinced that Carey Mulligan is going to be around for a long time and seen as one of the next generation's greatest actresses. In Lone Scherfig's brilliant, AN EDUCATION, she plays Jenny, a teenage girl of excessive intelligence and discipline who longs to let her passion run free. The range of Jenny's journey requires Mulligan to balance the many faces of this teenage girl - the good student, the perfect daughter, the virgin girlfriend to a man ten years her senior and of course the woman she so hurriedly wants to be. The National Board of Review and the Toronto Film Critics Association threw their support behind Mulligan but the film just never caught on like it should have.

GABOUREY SIDIBE as Clareece "Precious" Jones in PRECIOUS


I'm sure I've said this before but it bears repeating; I was completely floored when I met Gabourey Sidibe in person this past fall at a roundtable with her and PRECIOUS director, Lee Daniels. Ignorantly, I expected her to be much like the damaged, frightened, introvert she played in the film but she is the complete opposite. Beforehand, I did not think her performance was much of a stretch from who she had to be in reality. How could it be? Yet somehow, this bubbly, outspoken young lady found a pain so dark that everything she actually is is swallowed up by Precious. Sidibe was honoured by the National Board of Review but most of the film's award focus goes to co-star, Mo'Nique. Sidibe deserves this but will have to hope Streep and Bullock cancel each other out.

MERYL STREEP as Julia Child in JULIE & JULIA


When I mentioned that Streep broke a record this year with her 16th nomination for JULIE & JULIA, I neglected to mention that it was her own record of most career nods she broke. There is no question that Streep gives everything every time she goes out there (almost, anyway) and not having been rewarded by the Academy since 1983 seems unacceptable but why can't we remember that we should be honouring individual performances and not bodies of work. That said, I would much rather watch Streep take this than see Bullock get it for just putting in the time. Unfortunately, with the Screen Actors Guild in Bullock's camp, it might be tricky.

WHO WILL WIN? Sandra Bullock

WHO COULD STILL UPSET? Gabourey Sidibe

Next up in Black Sheep's Oscar coverage, we give you a guide to what nominated films are still playing in theatres out there and what you need to make sure you need covered before Oscar night.

Again, before I go, much love to all the Black Sheep readers!

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Shearing the Oscars: Best Picture

As was started yesterday, Black Sheep continues today with a brief look at each of the ten Oscar nominated films for Best Picture. Yesterday, we looked at the first five, alphabetically, AVATAR, THE BLIND SIDE, DISTRICT 9, AN EDUCATION and THE HURT LOCKER. Today we continue with five more incredible films and I ask only one thing today. I ask that we take the time to acknowledge each of the nominated films and why they are being recognized instead of focusing on just two front runners.

All five of the following films deserve their place in this year's race. The remaining five Oscar nominees for Best Picture are ...

INGLOURIOUS BASTERDS


I've seen this film three times now and it honestly took me all three viewings to get past director, Quentin Tarantino's ego in order to appreciate its beauty. At least I can say he's earned it. INGLOURIOUS BASTERDS certainly stands as one of his finest works, potentially second only to PULP FICTION. A variety of his influences are not only being honoured here but actually reappropriated and given the Tarantino touch. Nominated for eight Academy Awards, including two for Tarantino himself as writer and director, INGLOURIOUS BASTERDS should not be discounted as a serious contender. The Tarantino camp just has to want it as bad as Brad Pitt wanted his scalps in the movie.

PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE


I believe that had the Oscars taken place a few months ago, PRECIOUS would be taking the top prize. The reality is that this film first screened over a year ago at Sundance and has been making nothing but noise since then. By the time it screened at TIFF and took the audience award, insiders were calling it this year's SLUMDOG MILLIONAIRE. In other words, it was a sure thing. Maybe it was overkill or maybe it only had enough to strength to go so far, but interest in PRECIOUS dropped almost instantly when the box office receipts started dropping. I still believe it deserves its place in the winners' circle but it will be tricky to get people back on this train.

A SERIOUS MAN


I was really hoping to see A SERIOUS MAN included amongst the Best Picture nominees. This is one of the most personal stories the Coen Brothers, Joel & Ethan, have told and yet it is one of the least inclusive works I've seen from them. Their authenticity and playfulness with the idea of one man cursed by God is often hilarious and even more often, painfully uncomfortable. Led by a brilliant performance by Michael Stuhlbarg, perhaps my most disappointing acting snub, A SERIOUS MAN has not and will not reach enough of an audience to get enough votes in this category and the Coen's far better work, NO COUNTRY FOR OLD MEN, already took this prize just a few years ago.

UP


The people at Pixar are probably very happy about the five Oscar nominations their latest hit, UP, has earned. It is also only the second animated film in history to earn a Best Picture nomination. And while it may have been their biggest money earner in years, I do not personally feel this is their best work in years. I loved UP; I've seen in three times and have laughed and cried each time but WALL-E not making the cut last year is one of the major contributing factors to UP even having a shot at being nominated this year. A win for UP would be a consolation prize almost, I feel. It is edging out FANTASTIC MR. FOX in the Animated Feature category and that, and possibly Michael Giacchino's enchanting score, is likely as far as it is going to go.

UP IN THE AIR


Back when awards season was just starting, people were calling UP IN THE AIR the one to beat. It was winning critics awards over and over again, while director Jason Reitman and star, George Clooney, were looking like top contenders in their fields. The energy has died out some but it isn't too late to get it back. If the cast and crew work their magic on the scene, it shouldn't be too hard to remind people that UP IN THE AIR is an incredibly timely and tender piece about connecting with other people and other flights. Reitman's smooth touch and Clooney's classical charm give UP IN THE AIR an ease that let it glide right into your heart.

And so that sums up all ten nominees for the Best Picture Oscar. Who are you rooting for? Get creative!

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THE 2009 MOUTON D'OR AWARD NOMINATIONS

UP IN THE AIR leads Black Sheep Reviews' 2009 Mouton d'Or Award nominations with a total of seven, including one for Best Picture. Fellow Best Picture nominee, DISTRICT 9 follows with five nods. UP! also earns five nods but misses out on a Best Picture shot. PRECIOUS, AN EDUCATION and (500) DAYS OF SUMMER round out this year's list of contenders for the top prize, each scoring four nods. The Best Picture race this year is one that is particularly meaningful to me. Together, the five films define the year in film for me, as they should. Each one left a distinct mark on me and each one would go on to be more than just a movie but also a memory of my life.

There is one change to the Mouton d'Or Awards this year ... The technical awards have been dumbed down simply because I don't feel technical enough to make any judgment. So instead of having specific awards for editing, cinematography or art direction, there is just one award now called, Best Looking Movie.

This is also the second year for the Black Sheep Reader's Choice Award. Another six films have been culminated from your submissions for Best Film of 2009 and over the course of the next few weeks, you can vote for your favorite of the favorites by completing the Black Sheep poll near the top right of the page.

The winners of the Mouton d'Or Awards will be announced on Saturday, March 6. Without any further delay, I am proud to present to you the Black Sheep Reviews' 2009 Mouton d'Or Award nominations ...

(Click any highlighted title to read the original Black Sheep review)


BEST BIG MOVIE

AVATAR
DISTRICT 9
STAR TREK
UP!
WHERE THE WILD THINGS ARE


BEST LITTLE MOVIE

(500) DAYS OF SUMMER
THE GIRLFRIEND EXPERIENCE
THE HURT LOCKER
J'AI TUE MA MERE
SIN NOMBRE


THE WORST MOVIE I SAW ALL YEAR

THE FINAL DESTINATION
THE LAST HOUSE ON THE LEFT
THE LOVELY BONES
OBSERVE AND REPORT
THE TWILIGHT SAGA: NEW MOON


BLACK SHEEP READER'S CHOICE AWARD

(500) DAYS OF SUMMER
AVATAR
DISTRICT 9
INGLORIOUS BASTERDS
UP!
UP IN THE AIR


THE TREVOR ADAMS ANIMATED FEATURE AWARD

CLOUDY WITH A CHANCE OF MEATBALLS
CORALINE
FANTASTIC MR. FOX
PONYO
UP!


BEST LOOKING MOVIE

AVATAR
DISTRICT 9
THE HURT LOCKER
INGLORIOUS BASTERDS
WHERE THE WILD THINGS ARE


BEST MUSIC IN A MOVIE

FANTASTIC MR. FOX
NINE
A SINGLE MAN
UP!
WHERE THE WILD THINGS ARE


BEST SUPPORTING ACTOR

MATT DAMON in INVICTUS
ALFRED MOLINA in AN EDUCATION
CHRISTOPHER PLUMMER in THE LAST STATION
STANLEY TUCCI in THE LOVELY BONES
CHRISTOPH WALTZ in INGLORIOUS BASTERDS


BEST SUPPORTING ACTRESS

MARION COTILLARD in NINE
VERA FARMIGA in UP IN THE AIR
ANNA KENDRICK in UP IN THE AIR
MO'NIQUE in PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
JULIANNE MOORE in A SINGLE MAN


BEST ORIGINAL SCREENPLAY

(500) DAYS OF SUMMER written by SCOTT NEUSTADTER and MICHAEL H. WEBER
THE HURT LOCKER written by MARK BOAL
INGLORIOUS BASTERDS written by QUENTIN TARANTINO
A SERIOUS MAN written by JOEL COEN and ETHAN COEN
UP! written by BOB PETERSON and PETE DOCTER


BEST ADAPTED SCREENPLAY

DISTRICT 9 written by NEILL BLOMKAMP and TERRI TATCHELL
AN EDUCATION written by NICK HORNBY
FANTASTIC MR. FOX written by WES ANDERSON and NOAH BAUMBACH
A SINGLE MAN written by TOM FORD and DAVID SCEARCE
UP IN THE AIR written by JASON REITMAN and SHELDON TURNER


BEST ACTOR

JEFF BRIDGES in CRAZY HEART
GEORGE CLOONEY in UP IN THE AIR
COLIN FIRTH in A SINGLE MAN
MORGAN FREEMAN in INVICTUS
MICHAEL STUHLBARG in A SERIOUS MAN


BEST ACTRESS

HELEN MIRREN in THE LAST STATION
CAREY MULLIGAN in AN EDUCATION
MAYA RUDOLPH in AWAY WE GO
GABOUREY SIDIBE in PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
MERYL STREEP in JULIE & JULIA


BEST DIRECTOR

KATHRYN BIGELOW for THE HURT LOCKER
JAMES CAMERON for AVATAR
JOEL COEN and ETHAN COEN for A SERIOUS MAN
LEE DANIELS for PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
JASON REITMAN for UP IN THE AIR


BEST PICTURE

(500) DAYS OF SUMMER
DISTRICT 9
AN EDUCATION
PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
UP IN THE AIR

It's been a good year!

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Black Sheep's Top 10 of 2009

I sit before my computer on the last day of 2009. In a matter of hours, there will be so much going on that I will not be able find two minutes together to accomplish anything really so it's best that I get this done now, when I can give it the attention it truly deserves. 2009 was a great year for me and the movies. Early on in the year, I began publishing a regular monthly column on The Movie Network's "Movie Entertainment" magazine's website and it has since been picked up by The Movie Network itself. In April, I attended the Tribeca Film Festival for the first time and ended up meeting and interviewing one of my favorite director's, Steven Soderbergh. My interview with him about THE GIRLFRIEND EXPERIENCE would go on to be published on CBC's website. In May, I left my day job and prepared to move to Toronto, which I did in July. The summer was a great time to be unemployed and I managed to sustain myself on zero incoming cash until just after the Toronto International Film Festival. This year, I saw nearly 20 films at the festival, compared to a scant five the year before. I also had the chance to sit and interview the star and director of this year's indie success, PRECIOUS. I have had to return to working my day job now but 2010 awaits and I'm closer now than ever before.

Alright, so that's me. Now what about the movies? I knew all year that I was going to be leaving my day job at some point so I was able to get excited about a lot of the movies that were coming out this year. And a lot of them did not disappoint. As per usual, my full list of best performances and films will be coming soon with the announcement of the Mouton d'Or awards in January but the following is my Top 10 films of 2009, in alphabetical order. Even as I write these very words to you, I have a short list of eleven titles and I'm still not sure what will make it and what won't. The suspense is killing me! Anyway, here goes ... (click on any title for the full Black Sheep review)


(500) DAYS OF SUMMER
Directed by Marc Webb


I've seen this film three times and it makes me smile and feel good about everything every time. This anti-love story is so infectious and so enchanting that it somehow ignites my personal quest for love while simultaneously breaking down all the myths about love I've subscribed to all these years. The adorable Joseph Gordon-Levitt and Zooey Deschanel are the cutest couple of the year!


DISTRICT 9
Directed by Neil Blomkamp


When I first saw this film, I was floored. It was original; it was exciting; I was completely convinced that South Africa had been overrun with alien life. It isn't every day that you catch a film that is visually remarkable, action packed and socially conscious at the same time with absolutely no trace of compromise. I was also pretty floored because the moment it ended, I knew it was going to find its way on this list.


AN EDUCATION
Directed by Lone Scherfig


This film was the toast of TIFF and I could not get in no matter how hard I tried. It was well worth the wait. Its classic style and subtle screenplay brought new perspective to the feminist plight. Star, Carey Mulligan carries the ecstasy of a first love with the jubilance of a little girl and the weight of the consequences to dating an older man with grace and restraint. I for one definitely felt like I learnt something.


FANTASTIC MR. FOX
Directed by Wes Anderson


Wes Anderson is a particular taste and I was thrilled to see that taste make a successful transition into the realm of animation. Watching this adaptation of the Roald Dahl classic is a constant delight. It truly digs its own path, striking the perfect balance between adult insight and childlike excitement throughout. In a world where Pixar owns the monopoly on satisfying adult animation (and rightfully so), it is refreshing to see that others out there can not only pull it off too but bring something new as well.


THE HURT LOCKER
Directed by Kathryn Bigelow


By now, you've no doubt seen this film on every Top 10 list in the world. It is an obvious choice but it is also the right choice. Bigelow managed to craft a highly explosive film about trying to make sure bombs don't go off. The film is naturally tense but all the more so because Bigelow sneaks us into this military bomb squad in Iraq by shooting from as many different perspectives as possible. Perhaps this is why it is the least judgmental Iraq war film to date.


PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
Directed by Lee Daniels


From a filmmaking perspective, this one is certainly uneven at times but its boldness is so striking that it certainly earns its place amongst the best of the year. This story of a young woman, overweight, pregnant, illiterate and abused, is the most unlikely of success stories. It is fueled by some of the most brave performances of the year from one of the most eclectic casts of the year. It is Daniels though who deserves the biggest applause here for getting people to stop ignoring this girl and see her for who she is inside.


A SERIOUS MAN
Directed by Joel and Ethan Coen


Who knew that the Coen Brothers could get so personal and still feel completely disassociated? Michael Stuhlbarg's incredible performance as Larry Gopnick allows this tale of misfortune to transcend its Jewish roots and become a tale for unlucky folks everywhere. Watching his life is like watching a train wreck just get worse and worse but somehow all the while, thanks to that special Coen touch, deep, genuine sympathy is inspired aplenty.


SIN NOMBRE
Directed by Cory Fukunaga


I cannot say enough good things about this first feature from Cory Fukunaga. Two complete strangers end up on the same journey to cross the Mexican border into the United States and neither their lives nor ours are the same for having the experience. Each of their characters is going through their own individual struggles but the solace they find in each other makes every hardship they suffer worth it. Fukunaga is a bold new voice.


A SINGLE MAN
Directed by Tom Ford


Fashion designer, Tom Ford's directorial debut, is just plain stunning. It's 1960's design is authentic and exquisite and the performances from Colin Firth and Julianne Moore are fresh and exciting for each of them. By adapting Christopher Isherwood's novel of the same name about a man coping with the death of his longtime lover in a world that doesn't acknowledge that love, Ford has made more than a film; he has also made a very compelling argument for gay marriage and the rights that should be afforded gay men and women everywhere. And naturally, he did it in style.


UP IN THE AIR
Directed by Jason Reitman


Films that are decidedly adult in theme and tone have struggled recently to connect with audiences but this one is so perfectly executed that it is not only reaching its audience but going far beyond it. The zeitgeist factors in this film, from the crumbling economic backdrop to the increasingly guarded approach towards love and human interaction, make it easy for most to identify with it. The entire cast (George Clooney, Vera Farmiga and Anna Kendrick) is lovely; the tone is respectful; and thanks to Reitman, the whole thing soars.


HONOURABLE MENTION: HUNGER
Directed by Steve McQueen


OK, so I found a way to cheat the Top 10. Don't hate on me. I did not include this film in the actual Top 10 as it is considered a 2008 entry but as it did not play in Canada until this year, it warrants mentioning. This 2008 festival favorite went unnoticed in North American cinemas this past spring but that doesn't shock me. Hunger strikes and graphic prison violence are not exactly crowd pleasers. If you are up for it, you must see this film. It will turn your stomach but it will furiously turn the wheels of your mind as well.

There you have it folks. These were my favorite films from 2009. Here is to an excellent 2010!

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Black Sheep @ The Box Office: Avatar Goes Far!

There are two major points to discuss this week when it comes to the box office. The first is that giant blue movie, AVATAR. Studios avoided pitting anything against the anticipated juggernaut, except for a feeble and unsuccessful attempt on Sony's part to counterprogram with DID YOU HEAR ABOUT THE MORGANS? (The answer to that question, by the way, is no, no one has apparently heard of them.) AVATAR may not have done the business they were expecting but it was still certainly an event. I caught the film on Saturday morning and as the theatre had not opened yet, there were lines of people around the block waiting to get in. The IMAX screenings were sold out for the day but yet the people were still pouring in to the lobby in hopes of a miracle. Fox insists that AVATAR would have grossed even more if it weren't for the snow storms in the North East of the country and they are probably right. Despite the excuses though, AVATAR still made over $70 million, an average of over $21K per theatre, and with the holidays and inevitably good word of mouth to follow, it will certainly go on to justify its own hype.


The other story at the box office this week is the influence of the Golden Globes, if there is any such thing. AVATAR itself scored a Best Picture nod but I doubt that had any influence on anyone's decision to see it. Fellow Best Picture nominee, UP IN THE AIR continued its successful expansion, going from 72 to 175 screens and seeing its gross increase by nearly 30%. The film goes wide on Wednesday, hitting 1800 screens, and looks poised to be a holiday favorite. Another Best Picture nominee, Rob Marshall's star-studded musical, NINE, platformed on 4 screens this week before going wide next Friday. The result was an impressive $62K per screen average. Reviews are mixed though so it should be interesting to see if audiences find it amidst the busy frame. Tom Ford's A SINGLE MAN, nominated for Best Actor (Colin Firth) and Best Supporting Actress (Julianne Moore), dropped off by 36% this week but still managed a healthy $15K average before its wide expansion next week. Troubling figures came in for Peter Jackson's THE LOVELY BONES. The film has not been seeing much awards love and dropped off over 60% in its second frame. It too goes wider next weekend. Two other actor nominees, Emily Blunt in THE YOUNG VICTORIA and Jeff Bridges in CRAZY HEART made their debuts. Bridges fared better with an average of $21K on four screens and Blunt pulled in a decent $7.4K on 20 screens. And finally, PRECIOUS expanded past its 664 screen count where it had stalled a couple weeks back to hit over 1000 screens. The Best Picture nominee still dropped off 12% though, signaling that its once bright hopes for Oscar gold are dwindling.


NEXT WEEK: It's Christmas! This means big titles and small chipmunks apparently. ALVIN AND THE CHIPMUNKS: THE SQUEAKUEL opens on over 3700 screens on Wednesday, hoping to duplicate the success of the original. Meryl Streep and Alec Baldwin hit 2800 screens with their Golden Globe nominated comedy, IT'S COMPLICATED. And Guy Ritchie's remake of SHERLOCK HOLMES, starring Robert Downey Jr, will hit more than 3600 screens. There will be plenty of presents under Hollywood's tree this year.

Source: Box Office Mojo

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Black Sheep @ The Box Office: A Very Full Moon

You will have to excuse me; I was away on business. Now that I am back, I am exhausted so I will be doing nothing for the rest of that day. That said, I could not overlook what amounted to the third best opening of all time. THE TWILIGHT SAGA: NEW MOON opened to the best opening day of all time on Friday with over $70 million and finished the weekend with roughly double that. Everyone knew it would be huge but who could have predicted this? The true test will be next weekend. Most fans caught it right away so next weekend will show how far past its fanbase the film will play.


In other box office news, Sandra Bullock has a great year with THE BLIND SIDE opening over $34 million, following her summer hit, THE PROPOSAL. PRECIOUS continues to expand to incredible numbers, almost increasing by 100% over last week after adding approximately 450 screens. There was nothing out of this world about PLANET 51's fourth place opening. Below the TOP 10, FANTASTIC MR. FOX took in another per screen average of nearly $50K before expanding to over 2000 screens next week. Werner Herzog's update of BAD LIEUTENANT starring Nicolas Cage brought in a mild per screen of just under $10K but good word of mouth could turn that around as it expands. And this week's biggest per screen average went to Pedro Almodovar's latest, BROKEN EMBRACES, pulling $54K on just 2 screens.


NEXT WEEK: Happy Thanksgiving everyone! John Travolta and Robin Williams are looking for WILD HOGS numbers with OLD DOGS opening on 3300 screens. James McTeigue, director of V FOR VENDETTA returns with NINJA ASSASSIN on 2500 screens. The critically acclaimed THE ROAD with Viggo Mortensen and Charlize Theron opens wide. And on the smaller end, character films like THE PRIVATE LIVES OF PIPPA LEE and ME AND ORSON WELLES open on a handful of screens and Disney platforms THE PRINCESS AND THE FROG on just two screens before going wide in December.

Source: BOX OFFICE MOJO

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Black Sheep @ The Box Office: 2012 Flattens the Planet

The end of the world is a popular topic in film and television these days but no picture deals with it more directly or exploits our fear surrounding the subject more than 2012. I don't know what our fascination is with wanting to see potential scenarios for our demise but we are definitely fixed on it - 2012's $225 million global take is the 9th biggest in history. $65 million of that came from its domestic tickets, including my own. I caught the Roland Emmerich hit on Saturday morning and the theatre was packed. Did I mention it was morning? It must be bittersweet for Sony though. They have a huge hit on their hands but no possibility for a sequel.


If I were Oprah, I would be doin' a little dance right now. Her pet project, PRECIOUS, continued to devour everything in its indie path this weekend. After debuting to record breaking figures last week on just 18 screens, it managed to make the Top 5 on just 174 screens this weekend. Maintaining an excellent per screen average of $35K, PRECIOUS is redefining the traditional expectations of art house releases. As its wide release isn't even expected for another couple of weeks, it looks like PRECIOUS is going to be around for a while. Look out, Oscar!


The rest of the Top 10 saw a much needed strong hold for Disney's A CHRISTMAS CAROL, a significant loss of interest in MICHAEL JACKSON'S THIS IS IT and both PARANORMAL ACTIVITY and COUPLES RETREAT crossed the $100 million mark. The week's biggest per screen average went to a title outside the Top 10, despite the strong numbers posted by PRECIOUS and 2012. No, this week's highest per screen average was $65K and that was had by the wonderful, the tremendous, the FANTASTIC MR. FOX. Wes Anderson's first animated feature showed strong legs on four screens in NYC and L.A. and will try to steal away the rest of the country on Thanksgiving when it goes wide. Other indie successes this week include Oscar contender, THE MESSENGER ($12.5K on 4 screens) and AN EDUCATION continued to expand gracefully (a 24% increase on 37 new screens).


NEXT WEEK: Sandra Bullock shows off her southern side in THE BLIND SIDE (3100 screens) and PLANET 51 tries to pretend its a Pixar feature on 2600 screens but it doesn't matter. How could it when TWILIGHT: NEW MOON attacks over 4000 screens?

Source: BOX OFFICE MOJO

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A PRECIOUS JOURNEY (part two)

An interview with director, Lee Daniels and star, Gabby Sidibe


Now that PRECIOUS has started playing in limited release, I will finally get an answer to something I’ve been wondering since I saw it last September. Will audiences choose to see a film in theatres knowing that it will likely kick them in the gut repeatedly, leaving them bloody and bruised on the floor? It broke records on 18 screens last weekend and unrolls onto another 174 screens this weekend. Lionsgate plans to push it to 600 screens in time for Thanksgiving, a holiday that Precious herself would never have had the opportunity to experience.

It has been selling out screenings all week so the future looks bright. I am both pleased and relieved by this. The biggest impact PRECIOUS has on its viewer is to bring a mirror to the viewer’s face, exposing a layer of ignorance so deep that the viewer may not even be aware of it prior. Precious is the kind of girl one walks right past in the street while casually judging her weight and making presumptions about who she is as a person. PRECIOUS forces you to think about how every person has a story that brought them to precisely where they are. The film has the potential wake people up, to make them more open but we cannot see how closed we are if we never walk past her to begin with.

When asked how he did it, director, Lee Daniels, attributes this effect to one specific approach in his direction. “I just tried to capture moments of truth.” And the truth subsequently follows through on its promise to set things free.


These moments of truth depended on Daniels getting his cast to understand their characters’ truths and with a cast that consists of an unknown, a comedienne and a diva, that could not have been easy.

“I knew exactly what I wanted from every one,” Daniels answers when asked about the eclectic cast. “I knew when I hired them what I was going to get.”

I’m glad he knew because I would never have suspected that any of these actors were capable of pulling the sincerity from their souls that they did. In fact, I would never have necessarily referred to a couple of them as actual actors. Again though, it is about opening your mind and that is clearly what Daniels got them to do.

“Mr. Daniels and I had so many conversations about who this character was and that helped me get it,” Precious herself, Gabby Sidibe, admits when asked how she found this character. Her trust in her director was so strong she even refused to talk to the author of the original book, Sapphire, prior to filming. “I didn’t want any different direction about who this character was. The creator of this character, she really could have thrown me off.”

With that much trust in the captain, how exactly does he run his ship? “When I am doing a film, it is very much like a theatre piece,” Lee begins. “There are no egos except mine.” Having worked in theatre, I can attest that this is pretty much the only way it comes together but does Daniels seriously expect me to believe that Mariah or Mo’Nique left their egos at home?


“Mariah came with zero – no posse, no makeup – and she remained that way. She was putting makeup on Gabby. Mo’Nique was feeding people at the service table.” Daniels beams with pride as he tells me this. “It was a union nightmare but I believed that we were one. I think that’s the magic of the film.”

With material as difficult as this, I cannot imagine the cast not bonding. If anything, they would need to in order to just get through it all. Still, it could not have been an easy set to be on.

“The air was stale and shady sometimes,” admits Sidibe. “Most of the time, Mr. Daniels would call cut and we would laugh. With other scenes though, between takes we would just sit there and avoid eye contact.”

Daniels remembers it the same way but he seems as if part of him is still there. “I get transported back into just being there,” Daniels confides but not before getting choked up and noticeably emotional. “It was a very powerful thing, to just let the material speak for itself.”

So what is the secret formula to make something as tricky as this work so beautifully? “Anything to get the performance!” Daniels proclaims before getting specific about his technique. “I didn’t want tears at all. By not wanting tears, we got the truth. So by not directing them, I did direct them. I knew that if we were just in the moment, then it would happen.”

I will point out at this stage that there are plenty of tears in PRECIOUS. Daniels may not have asked for them but he still got them.


Mariah and Mo’Nique aside, Sidibe, the only actor coming in with zero experience, is perhaps his greatest achievement. The performance he pulled from her is so transformative that when I met her in person, I was myself floored by her outgoing personality. I never saw that coming.

“I don’t know if I can yet say that I am proud of myself because I can’t really see that yet,” Sidibe earnestly confides. “It feels like such a conceited notion to be proud of yourself. It is a completely different girl up there though.”

This whole other girl is changing the lives of everyone she comes in contact with. But has Precious and the subsequent whirlwind the film has been picked up into changed the girl who brought her to life?

“No,” Sidibe asserts by tacking on at least ten more O’s on the end of that word. “There are maybe ten days out of the year where I’m a big deal so this is still something big for me.”

Wait until you hear your name called out for an Oscar nomination, Gabby. Talk to me then.

It was a pleasure meeting both of these talented, appreciative people. I urge anyone who reads this to see PRECIOUS when it plays in your city. We all need to be set free.

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A PRECIOUS JOURNEY (part one)

Interviews with PRECIOUS director, Lee Daniels and star, Gabourey "Gabby" Sidibe


It didn’t always have this name. Back in 1996, when Claireece “Precious” Jones was first introduced to the world, it had another name altogether. Back then, it was a book and it was called “Push”. It was still called “Push” when its film incarnation debuted at the Sundance film festival in January of this year. In fact, it was still called “Push” when it went on to win both the audience and the critic’s award at that festival, a rare feat. It was only then that things changed. It had moved people; it had floored them. It was then that “Push” became “Precious”.

More specifically, the film adaptation of Sapphire’s acclaimed novel is called PRECIOUS: BASED ON THE NOVEL “PUSH” BY SAPPHIRE. And to be fair, the name change did not come about because the new title was more emotionally evocative than the original. A superhero movie called PUSH that came and went pretty quick this spring owned the rights to that name so it was necessary to change it when Lionsgate came on as North American distributor at Sundance. I personally prefer the new title.

“Really? I was so hurt by the change.” This is the first thing that Gabourey Sidibe says to me when we meet at the Toronto International Film Festival. Things are off to a great start.


When a little known film producer named Lee Daniels first approached Sapphire about adapting the novel that meant so much to so many, she wanted nothing to do with him. It wasn’t until he had some concrete experience directing (his first feature was the critically panned, SHADOWBOXER, starring Helen Mirren and Cuba Gooding Jr.) that she even allowed herself to consider his request. Sapphire appreciated Daniels’ seemingly natural interest in difficult subjects – Daniels had previously produced THE WOODSMAN and MONSTER’S BALL – and figured him the best man for the job.

Once Daniels had the rights, he was not letting go of the direction he wanted to take. “I had fought so long to get to do PRECIOUS. I knew what I wanted and what I was doing. I didn’t care what anybody else said,” Daniels tells me when we meet at TIFF. “It was my book. It was my story.”

While this may at first sound somewhat arrogant, I assure you there is nothing remotely smug about Daniels. In person, he is self-effacing and clearly overwhelmed by the heaps of praise both he and the film have received. He is also warm, receptive and surprisingly candid, whether he is talking about the film, his cast or himself.

Daniels worked with first time screenwriter, Geoffrey Fletcher, to adapt Sapphire’s harrowing stream-of-consciousness novel. It was not easy. “If I had done the book the way it is written, it would be x-rated,” he proclaims rather starkly. “Sapphire’s book delves deep into the truth and stays there. Just when you think you can’t take it anymore, she just goes right back there.”


To alleviate some of the tension the novel manifests, which is not to suggest that Daniels and Fletcher sugarcoated any aspect of it, they included a fantasy world for Precious to escape to whenever necessary. This is the most significant departure from page to screen and, so far, enthusiasts of the novel have not had any major issue with the addition. Of course, everyone involved in the project wanted to honour the book and its fans. “Being a fan of the book, I just really, really wanted to get it right,” confides Sidibe, perhaps the person with the most pressure to perform after Daniels himself. “I wanted to stay true as a fan myself,” she continues. “I hate it when adaptations don’t get it right.”

To meet Sidibe in person is mind-blowing. How could this jovial, delightful girl have transformed herself into such an introvert? Sidibe landed this demanding role in what seemed to her like the blink of an eye. “There weren’t a lot of girls who met the physical requirements of the role,” she quips as if her weight, which was beefed up an extra seventy pounds prosthetically during filming, was the only reason she got the role. “Monday was the audition; Tuesday was the callback; Wednesday I got the part without having to audition again.” Sidibe had responded to an open casting call in Manhattan and prior to this, she had only appeared in some college theatre productions. She seemed destined for this part and now she is an Oscar front-runner. Not bad for her first role.

Destiny, whether that be a great personal triumph or a great tragedy, is central to PRECIOUS. And right now, it would seem that PRECIOUS is destined to reach many people and move even more. Of course, lots of movies move people on a regular basis but PRECIOUS is different. PRECIOUS is an experience that most infrequent filmgoers are unaccustomed to. It deals with illiteracy, poverty, abuse of all kinds, teen pregnancy and incest. When was the last time the masses came out for something like that?


Suddenly, the girl that everyone would walk right past in the street without noticing is the one that everyone wants to see. And who do we have to thank for that? Oprah, of course.

Oprah Winfrey and independent movie mogul, Tyler Perry, both signed on as executive producers after PRECIOUS premiered at Sundance. As a result, the attention the film is getting is almost deafening. It was honoured with standing ovations at Cannes. It won the Audience Award at TIFF. It broke records for limited releases when it hit theatres last weekend, pulling in nearly $2 million on just 18 screens. A Best Picture nomination is almost guaranteed.

How does this affect the director? “I am humbled by all of it,” Daniels states with sincerity and cracks in his voice. “I have to embrace this moment, savour it. That is ultimately what PRECIOUS is all about, appreciating what you have.”

Imagine, there’s only more greatness to come.

(Part Two of Black Sheep’s PRECIOUS feature will run tomorrow.)

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Best of Black Sheep: PRECIOUS BASED ON THE NOVEL "PUSH" BY SAPPHIRE

Written by Geoffrey Fletcher
Directed by Lee Daniels
Starring Gabourey Sidibe, Mo'Nique, Paula Patton, Mariah Carey and Lenny Kravitz



EDITOR'S NOTE:
By now, you have certainly heard about PRECIOUS. It is certainly connecting with people in an inspired fashion and Black Sheep Reviews will be taking a closer look at the Lee Daniels film over the course of the next few days. PRECIOUS has had an incredible journey and Black Sheep will break that down for you with interviews with the film's director and its star, Gabourey Sidibe. For now, here are my initial thoughts on the film when I caught it at this year's Toronto International Film Festival, where it won the Audience Award.

Changing the name from “Push” to “Precious” was a smart thing for Oprah Winfrey and Tyler Perry to do after theysigned on as executive producers on this one. If there is one thing that Lee Daniels’ PRECIOUS does, it reminds you just how that word applies to life. No matter how bad you thought you might have it before you see this movie, you will think you’re living large by the time it is over. And the best thing about PRECIOUS is that it doesn’t ask us for our sympathy, it inspires it.


Newcomer, Gabby Sidibe, plays the title character. At 16 years old, she can barely read, she is seriously overweight and is pregnant with her second child. She lives with her mother (Mo’Nique), who sees her more as a means to get bigger welfare cheques and much less an actual daughter. She treats her with even less respect than that, if you can believe it. I am only scratching the surface here. Precious has problems that I cannot even imagine and the stark manner in which Daniels lets bomb after bomb drop on the Harlem circa 1987 setting not only shakes you out of your comfort with the film but also with yourself.


PRECIOUS boasts incredible performances from the entire cast – including smaller parts from The View’s Sheri Shephard and a completely stripped down Mariah Carey as a lowly cubicle social worker. (Diva even has a mustache!) It is the mother/daughter dueling between Mo’Nique and Sidibe that will be getting the most attention though and deservedly so. Their relationship is so strained but these two actors fill the wide space between them with complexities so deep that you are not comfortable being in the same room as both of them. Novice director, Daniels has guided some of the most unexpected and delicate performances of the year.


Ordinarily, modern human nature dictates that we should look away from such hardship – that matters like these are private ones and we have no business getting involved. Of course, this is just an excuse we tell ourselves so that we don’t actually have to get involved. PRECIOUS doesn’t allow you to look the other way though. More importantly, it reminds us that problems do not belong to one but to all and that everything is a gift of the universe.

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