Posted on July 4th, 2018 by Frederik

Wait, there’s a thing like a mid-season film award?! Apparently there is: The LAOFCS (Los Angeles Online Film Critics Society), and they’re not only giving out accolades in June or July when no one else is thinking about the winter’s awards season, but they also strive to promote gender balance and diversity in film criticism. So that’s good. And even better, they named Toni Collette Best Actress for her performance in “Hereditary”, in a tie with Charlize Theron for “Tully”. It’s fair to see they’ve enjoyed stressed-out moms. Additionally, Alex Wolff was awarded Best Supporting Actor. The full list can be read at their website. Let’s have our fingers crossed the hype’s still going until December :-)

Posted on July 4th, 2018 by Frederik

On June 22, the National Board of Review hosted a screening of “Hereditary” with a Q&A afterwards. Unfortunately there’s no video available, but a picture has been posted along with some quotes by Ari Aster and Toni Collette. Below is a great quote by Toni about the working experience with Alex Wolff, Milly Shapiro, Gabriel Byrne and Ann Dowd. See the full article here:

How was it like working with such a great supporting cast? TC: In terms of Ari’s specificity, he really did hand pick every actor as well as key crew member. Ann Dowd is an angel. She’s such a pleasure to work with. She’s so open, so present, and she allows moments to kind of erupt on their own. I hadn’t seen The Handmaid’s Tale before working with her and I’m very glad because it would’ve made me feel slightly different. Gabriel Byrne, total dreamboat. He’s grounded, so funny, so generous. And he was my pal. We would sit on the stage and know exactly what we were thinking and it was really great to share this with him. Millie Shapiro was fourteen. This was her very first film. She’s done a couple of shows on Broadway. We had a shared rehearsal together, and she was just so astute. She loves horror films. She was just very conscious of her options in how to portray certain things. She really, really created something quite amazing. Alex, who plays Peter, just loves turning itself inside out. He’s incredible in the movie and I think when I was that age, I think I liked to kind of go there as well, but I’m too old for that. It was something to behold. I think we all felt really touched that we were chosen to work with this material because it felt original. We all got to really steep ourselves, saturate ourselves in something that deeply special we were making. It was bloody hard. It was exhausting. It was a beautiful challenge and really satisfying.

Posted on June 22nd, 2018 by Frederik

Nice bit by THR‘s Scott Feinberg on Toni’s Oscar chances: People started talking about the Oscars earlier this year than most thanks to the critical and commercial successes of Disney’s Black Panther and Paramount’s A Quiet Place, as well as the doc features Won’t You Be My Neighbor?, from Focus, and RBG, from Magnolia. It may now be time to include another title in the discussion, as well: the A24 horror flick Hereditary. Hereditary marks the feature directorial debut of 31-year-old Ari Aster and stars Australian veteran Toni Collette as the matriarch of a family that faces a bizarre series of events after the death of her own mother. The film, which premiered at Sundance in January and also screened at March’s SxSW Film Festival en route to a June 8 opening in 2,200 theaters, has proven divisive. Critics have championed it (it’s at 91 percent on RottenTomatoes.com) and moviegoers have shown up for it (it grossed $28.1 million domestically in its first two weeks in theaters following the biggest-ever opening weekend for an A24 release). But many ticketbuyers have left it confused and unsatisfied (hence its D+ CinemaScore grade), not least because of its open-to-interpretation ending. Where are Academy members likely to land on the spectrum of reactions? That’s a tough question to answer. Collette’s performance, which admirers consider the best of her decades-long career, certainly appears to stand a better chance of being nominated than any other aspect of the film, but everything is obviously largely dependent on what the rest of the year brings. The complete article can be read here.

Posted on June 14th, 2018 by Frederik

Lots and lots of magazine scans from around the world have been added to the photo gallery, all covering last week’s theatrical release of “Hereditary” (or this week, in Europe). Have a look at the previews below for a complete overview. Many thanks to Alvaro for sending in some of them. Much appreciated. Enjoy reading!



Photo Gallery – Magazines & Scans – Time Magazine (USA, June 18, 2018)
Photo Gallery – Magazines & Scans – The New Yorker (USA, June 18, 2018)
Photo Gallery – Magazines & Scans – The Observer (UK, June 10, 2018)
Photo Gallery – Magazines & Scans – Marie Claire (USA, June 2018)
Photo Gallery – Magazines & Scans – Fotogramas (Spain, June 2018)
Photo Gallery – Magazines & Scans – SFX Magazine (Australia, June 2018)
Photo Gallery – Magazines & Scans – Empire Magazine (Spain, June 2018)
Photo Gallery – Magazines & Scans – The Evening Standard (UK, June 18, 2018)
Photo Gallery – Magazines & Scans – Film Comment (USA, May/June 2018)

Posted on June 10th, 2018 by Frederik

According to Forbes, A24’s Hereditary scored a record-breaking opening weekend for the indie distributor. The acclaimed (and pretty darn good) family horror melodrama, starring Toni Collette (in an Oscar-worthy turn), Gabriel Byrne and Ann Dowd, earned $13 million over the weekend. For comparison, The Witch earned $8.8m in its opening weekend and It Comes At Night earned just $5.9m in its debut Fri-Sun frame last summer. Hereditary is a somewhat more commercial flick than the period piece chiller and the post-apocalyptic tragedy, but this I remain impressed. Sure, the CinemaScore grade is a D+, but that’s par for the course for arthouse horror. Heck, for a movie like this, earning an “F” would have been a badge of honor. At least folks showed up in greater numbers than for mother! and Annihilation. Unless it has an awful multiplier, it’s going to end up becoming one of A24’s biggest domestic earners. Even a 2.33x multiplier (like It Comes at Night) would give the $10 million Sundance sensation a $30m domestic total, making it A24’s second-biggest domestic grosser. Legs like The Witch ($25m from an $8.8m debut) would put the flick at $36m, between Moonlight ($27m) and Lady Bird ($48m). No, this isn’t a conventional year-end Oscar picture, but Collette might sneak in there if A24 wants to spend the money.

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