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Blockbuster

26 May

BLOCKBUSTER • BY TOM MEEK 

They were on their way to buy wine and cheese and pick out a movie at the video store. It was his first time meeting her parents and he wanted to impress them even though she had said they were the cause of all her problems. He didn’t know what her problems were; she was tall, angular and adored. He had worked hard to gain her favor after they met on a whitewater rafting trip. He took her to arty movies that he thought were like the ones he had heard her talk about and cooked her the kind of dishes he saw in the magazines on her coffee table. She took him camping and skydiving and they made love in the woods on moss covered logs and rocky outcroppings overlooking the city.

“Alcoholics and liars,” is how she described her parents. He expected horrible people, but they were nice and welcoming during the brief five minutes they popped in to drop off their bags. “Maureen says you have great taste in movies,” her mother said giving his arm a gentle squeeze, “Why don’t you pick something out for us.”

They sailed down a country road past artfully masoned walls and immaculate lawns. There wasn’t a rogue leaf anywhere.

“Here! Here!” she said tapping on the dashboard frantically. “Turn here!”

He swerved hard right, the font wheel left a muddy rut across one of the manicured lawns. The Corolla skidded back onto the road and righted itself.

She tugged on his sleeve. “See that house up there?”

Up a long rolling lawn dotted with boulders sat a large stucco structure.

“A murder happened there, about three years ago. A doctor and his wife, who had just moved here from India, got hacked up by their own meat cleaver.”

“God that’s grim,” he said, “I hope they got the guy.”

“They did, but they shouldn’t have,” she said explaining that a boy she knew from school who grew up in the house and was abused by his alcoholic father, had gotten drunk and broke into the house. “They couldn’t figure it out for a long time,” she said, “but he was trying to get clean and said something at an AA meeting and somebody went to the police.”

“Sounds like they did the right thing.”

She slapped the dashboard. “That’s not the the point, godammit!”

“Okay, then what is?”

“AA’s all about recovery and having a system of trust. They violated that trust. It was wrong.”

“C’mon, Mo, it’s not like attorney-client or anything like that.”

“He was getting help, he was finally clean.”

“What are you saying? That his recovery is more important than their lives? That it justifies murder?”

“I didn’t say that.”

“Well, then, what?”

She slumped hard against the passenger door. “You just don’t get it, do you?”

The Corolla crested another hill. Below he could see the neon blue from the video store. He wondered what he should pick. He knew he had to choose wisely.

 

***

(published May ’19 in Everyday Fiction)

5 Sep

Summer — ‘tis the season of the blockbuster, or so Hollywood hopes, right? But who knew a blockbuster would sweep through the beloved Boston-area art house, the Brattle Theatre?

In case you were sleeping or don’t believe me, it happened, lines around the block and sold-out shows, night after night.

In Tinseltown there are formulas to these things, but it’s not all that secret or complex: something old (remakes and sequels to money makers), something borrowed (TV shows, young adult hits) or something novel (let’s pair up Walter White and a lovely French actress with a giant CGI lizard). Many of these endeavors cost well over the $100 million mark and while they receive poor to tepid critical reaction, they tend to turn a buck in the long run when you factor in foreign releases and Video on Demand (VOD). But every summer there’s always a wild card, that offbeat something cooked with a modest budget (just tens of millions) that comes out of left field and hits bigger than most expect it would.

(Courtesy, Brattle Theatre)

“Lucy” is one such example. Made by French provocateur Luc Besson through a collaboration of European outlets. The gonzo sci-fi crime thriller was modestly released stateside by Paramount in first run theaters and made more in its first week in the U.S. than its entire budget (of $40 million). Of course, having the actress du jour (Scarlett Johansson) and a ready made audience (those who love Besson for his edgy, cultish works; “Le Femme Nikita,” “The Professional” and “The Fifth Element”) helps, but not always does such pedigree guarantee big box office biz or fiscal love from the mighty studio machine.

Take the case of “Snowpiercer,” the bleak futuristic depiction of the remnants of a post-apocalyptic society living on a super Acela after the battle with global warming has gone bust and Earth is little more than a giant ice cube. Directed by Joon-ho Bong, the Korean auteur behind “The Host” and “Mother,” making his first English language film with an international cast featuring Ed Harris, Tilda Swinton, Jamie Bell (“Billy Elliot”), Octavia Spencer (“The Help”), Kang-ho Song (“The Host”) and Captain America himself, Chris Evans.

Movie mogul Harvey Weinstein, who has always had a reputation for tweaking the product (his fingerprints are all over “Gangs of New York” and “Next Stop Wonderland”), wanted Bong to dumb-down the film to broaden its appeal. Bong refused and Weinstein sent “Snowpiercer” off to his Radius/TWC subsidiary for a smaller foot-print/alternative release.

What that means is, no mass marketing and a soon-after-theatrical-release, or simultaneous, VOD issuance. No big movie chain like AMC or Regal wants to touch such a film as the prospect of a looming VOD date tends to kill the box office draw (the thought being that viewers will just stay at home and stream the film for less) and that’s when the Brattle jumped in. “Snowpiercer” had already done killer business in Korea and France.

With acumen and luck, Brattle program director Ned Hinkle booked the film. The cherished Harvard Square institution got in a week scot-free as the VOD date was set for one week later. and the film wasn’t playing anywhere else in Boston.

The decision bore box office gold as fans of Bong, dystopian futurescapes and the hunky actor who happens to also play “Captain America,” lined up around the block.   Continue reading