The Weinstein Company


In an age where Hollywood studios finally seem to be wising up to the value of streaming rights to their content, I’ve been questioning the continued viability of all-you-can-watch subscription services like Netflix. But, if the company is able to continue inking deals like the one they made today, we could all be safely watching gobs of cheap movies through their platform for the foreseeable future. What’s this deal I speak of? Brothers Harvey and Bob’s Weinstein Company has made an agreement with the service to make a host of their recent films available for streaming on Netflix exclusively, instead of sending them to cable. That includes titles like the Madonna-directed W.E., the Shakespeare adaptation Coriolanus, and probably the crown jewel of the deal, Best Picture Nominee The Artist. As usually happens when deals like this are made, ass-kissing by both sides commenced. Netflix CCO Ted Sarandos said, “We couldn’t be happier to be working again with Harvey and Bob, who have an unmatched track record of creating critically acclaimed and commercially successful movies.” He then added, “The Artist is a symbol of the Weinsteins’ triumphant return to the top of the film business. Through deep passion, great taste and phenomenal vision, Harvey and Bob continue to surprise audiences and make history.” You hear that? These returning heroes are making history. That Uggie was one cute dog.



Unless you happen to be from Chile, you might not have ever heard of director Nicolas Lopez. But chances are you soon will. After creating the top grossing Chilean films in both 2010 and 2011 with Que Pena Tu Vida and Que Pena Tu Boda, the director is next moving on to helm Aftershock, the newest film from Eli Roth. This one is a disaster movie that Roth and Lopez wrote together, and that Roth will be starring in. Apparently the idea for the film came to Lopez after his country was hit with a pretty bad earthquake back in 2010, but it’s got some of Roth’s horror sensibility in there as well. The story is largely about dangerous patients that escape an insane asylum after the quake. If horror fans have any sort of issue with getting some Lopez mixed in with their Roth, then maybe this awesome quote from the director will assuage your fears: “I was a fan of Cabin Fever and Hostel, and I love that we’re mixing our sensibility. People will be shocked when they see this movie. It’s nothing that you could expect. I want this to be my Robocop.” Anybody who doesn’t think their career is complete until they’ve made their Robocop is okay with me. Roth thinks he’s pretty okay too. When talking about his collaborator he said, “He has the incredible combination of commercial sensibility with an artistic eye, and what he has done here in Chile with their film industry […]



The Motion Picture Association of America must die. It’s a monopolistic behemoth that poisons creativity and commerce while hiding behind the failed task of educating parents about film content, and the time has come to call for its dissolution. The above logo is what we, as movie fans, are most familiar with when it comes to the MPAA because we see it on trailers and home video, but that symbol is really a trick of PR. The goal of the MPAA is not to rate movies, even if that’s the product we know and loathe best. The MPAA’s founding, fundamental aim is to maintain the corporate dominance of its members – the six largest studios. It does not serve fans. It does not serve families. It does not serve filmmakers.


Apollo 18

The crowded Labor Day weekend box office includes a mishmash of end-of-summer fare – some junk (Shark Night 3D), some attempts at awards bait (The Debt), even a long-delayed sex comedy (A Good Old Fashioned Orgy), but it also includes The Weinstein Company’s shoved around and mostly forgotten Apollo 18. The film’s marketing has hinged on making viewers believe that the film is “real” and crafted from “found footage,” but to pretty dubious results. I’m still not entirely convinced that Apollo 18 is an actual movie, much less one made up of real footage (and I say that as someone who knows people watching the movie as I type this). But despite all of TWC’s attempts to turn the film into an actually buzzed-about project, it looks like at least one faction of people involved with the production are hellbent on denying that the film is even remotely real – unfortunately, that faction is no less than NASA. Oops! NASA, however, is not just a bunch of cinematic killjoys. Last year alone, they collaborated on a vast number of space-themed entertainment, including almost 100 documentaries, 35 television shows, and 16 feature films. Apollo 18 was, at one point, just one of those collaborations, but now the space agency is chucking it out with the rest of the space trash, with Bert Ulrich, NASA’s liaison for multimedia, film and television collaborations, telling the LA Times, “Apollo 18 is not a documentary…The film is a work of fiction, and we always knew that. […]


Django Unchained 2012

Due to the long-standing love affair between Quentin Tarantino and the Weinsteins, there was never really any question as to whether or not The Weinstein Company would be doing the domestic distributing for the filmmaker’s upcoming spaghetti western homage Django Unchained. Which studio would handle the international distribution was very much in question however, and the subject of a pretty intense bidding war. Popular opinion was that Universal would end up with the duties, as they just teamed up with Tarantino for Inglorious Basterds, and that was his most financially successful film in quite some time. Unfortunately for Universal, those works ended up getting gummed up because of The Fresh Prince.



The last time I heard some news about Paul Thomas Anderson, he had two possible projects that he was working on, and heiress Megan Ellison was going to help him finance them. There’s big news on that front as The Weinstein Company has won the rights to distribute the religious drama Anderson has written that was once titled The Master. Whether or not that will remain the film’s title is unknown, as it has reportedly undergone some serious rewrites, but it is now confirmed as Anderson’s next film. The project already has Philip Seymour Hoffman set to star as the creator of a new religion in post WWII America. The movie seems to explore the beginnings of a cult movement, and is said to have a parallel or two to the life of L. Ron Hubbard and his founding of Scientology. Perhaps further exploring the theme of lost souls, Anderson has also cast Joaquin Phoenix, who has recently returned to acting after a very public and very fake meltdown. Other than that, not too many details are known, but what else do we need? All you have to tell me is that PT Anderson is making another movie and I’m on board. Get Hoffman in a starring role and I’m positively salivating. A release date for this one can’t come soon enough, no matter what it ends up being called. [Deadline Tilden]


The King's Censored Speech

We’ve reported before on the possibility of The Weinstein Company shooting for an edited version of The King’s Speech in order to get a brand new, shiny PG-13 rating. According to Variety, they’ve successfully done so. What does it all mean? It means that an Oscar contender for Best Picture has been watered down because 1) bad language is dangerous to our youth 2) teenagers put down their Nintendo DSes and sexting devices for long enough to lobby TWC to get a teenager-friendly version approved and/or 3) none of the above. What it really means is that if you haven’t seen the film, and you want to see it in all its (literal) fucking glory, you might not be able to soon. If TWC decides to pull all of the original, un-bowdlerized versions and replace them with the PG-13 version (which some source are saying has the words muted. That’s right. Muted. You’ll hear nothing instead of a human talking where a human is supposed to be talking), then you might be out of luck. As adults and movie fans, the only response is to do the opposite of what TWC expects – don’t go see the film specifically because its been edited. It’s unclear what role Tom Hooper played in this move, if any, but it is clear that The Weinstein Company has done it solely because they feel it will expand their profit base. However, the millions of teenagers demanding access to this film will finally get it […]



A few months back, a fight for free expression was exercised by the Weinstein Company for the Sundance-indie favorite Blue Valentine to be theatrically released with an R-rating instead of the dreaded NC-17. Many things about this pseudo-fight are nothing special: there’s hardly anything surprising about fights with the MPAA or about the Weinsteins making a fuss – it’s how they’ve succeeded in the business for decades. But this fuss, and the anti-MPAA lobbying contained within it, seemed significantly more justified because it was exercised in the name of potentially getting an exceptional indie into more theaters across the country (and while the film does star two recognizable names, it is, economically speaking, very much a truly modest indie of the classic Sundance variety). In the end, the Weinsteins got their way, and justifiably so. The NC-17 rating has become an economic form of censorship: nothing associated with the label, or the institution that bestows that label, has the power to actively stop distribution of NC-17 films, but because of the rating’s associations with sexually-explicit content, and because of the liability and extra measures required of theaters in preventing young people from sneaking their way into such films, many theaters (and some entire theater chains) will not exhibit films with such a rating. This would have relegated Blue Valentine, at best, to arthouse theaters in big cities. Such theaters are no doubt where Blue Valentine will play best regardless, but the key word here is opportunity – an R-rating provides […]



Normally a move like this could signal an upcoming bomb, but this might actually be good news for audiences and for Youth In Revolt.



Apparently most remakes are unimaginative and add nothing new to the story. So says Bob Weinstein while failing to prove how the upcoming Children of the Corn remake will add anything new.



From the man that brought you gimmicky mining tools flying at your face comes gimmicky kitchen knives stabbed at your face. It might sound lame, but you don’t see the words “Rob Zombie” anywhere near this do you?



John Landis has sold remake rights for An American Werewolf In London to the Weinsteins. The worst decision he’s ever made (that didn’t involve helicopters).



So it turns out that The Weinstein Company is in a little financial trouble. Maybe. At least that’s what it seems like. Let’s take a quick look and try to make sense of it all.



So it looks like the rights to Sin City 2 are on the market after all. Unless they’re not.



We just got a press release that proudly announces Anne Hathaway will play icon Judy Garland in an upcoming biopic of the singer/actress being produced by The Weinstein Company. Nowhere in the press release is the phrase, “Over the rainbow with excitement” uttered. This is an outrage.

Kevin Carr

Review: Igor

Movie Reviews By Kevin Carr on September 20, 2008 | Comments (9)


This is where most lower-quality animated films fail – not in the animation, but in the writing. The Pixar and DreamWorks CGI animated films often carry a message, but it is woven decently into the script rather than being delivered with the subtlety of a sledgehammer.


Hell Ride

We felt the earth move during the Hell Ride press junket in Los Angeles, but weren’t quite sure if that was the earthquake, or the arrival of Vinnie Jones. Seriously, this guy is so kickass that even Chuck Norris doesn’t hold a candle to him.


Jonathan Levine will be delighting audiences with his second film The Wackness soon enough, but what ever happened to his first film, the one with hottie Amber Heard? Oh right… There it is.


You would think that we would send our ninja spies out to get concept art and script pages from Transformers 2 or something, but no, we send them after the holy grail, never-before-seen footage from an upcoming episode of Ask a Ninja.


Back in August of 2006 in Toronto, director Jonathan Levine’s film All the Boys Love Mandy Lane was picked up for distribution. Flash forward to May of 2008, its supposed month of release. Will we see it? It is doubtful, at best…

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published: 01.30.2015
published: 01.29.2015
published: 01.28.2015
published: 01.28.2015

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