November, 2009 Archive

Movie Mistakes has given us a quick list of mistakes they found in the New Moon film.

Continuity: After Bella awakes from the first nightmare, we see her Romeo and Juliet book on the pillow beside her. When Charlie brings in her presents the book is gone, but then reappears on the pillow between shots.

Continuity: Bella goes to Italy to save Edward. Alice drops Bella off – when Bella gets out of the car to ask where Edward will be, first you see Bella in front of the car door, then she is suddenly behind the car door.

Visible crew/equipment: In the montage scenes where we see Bella’s depression, when the camera is circling her, the camera man is shown in the mirror (twice) behind her.

Continuity: When Edward takes Bella to the forest to tell her he is leaving, Bella’s hair hangs down her back. But in a following shot most of it is tucked up in the hood of her coat.

Continuity: When Alice jumps over the staircase in school to wish Bella happy birthday, between shots during the scene the positioning of the decorated scarf around her neck varies.
Continuity: When Bella pulls up at the Black’s, she spots Jacob, gets out of her truck and her door doesn’t fully close . Later you can see in the background that the door is firmly shut.

Revealing: The rims of the vampires contacts can be spotted occasionally during the film, especially the Volturi’s during the ending scenes, e.g. Jane’s in the elevator.

Continuity: When Alice is driving Bella to the Volturi, she is wearing a headscarf and sunglasses. During the scene the way the headscarf is tied changes; the size and shape of the knot (and the colours on the knot) are different.

Continuity: When Mike and Jacob are standing outside the cinema waiting for Bella, between shots the Burger King takeaway bag sitting on the trashcan next to them changes position.

Factual error: When Bella is flying to Italy they show a Virgin America airplane. Virgin America only flies within certain cities in the US. Virgin Atlantic flies from the US to Europe.

Continuity: When Jacob first shows off his tattoo, it is up at the top of his shoulder. Then when he is in the forest at the end with Bella and Edward, his tattoo is about 2 inches further down his arm.

Factual error: In the main title when the giant new moon appears on the screen the shadow fades over the moon from right to left when it should actually fade from left to right. The moon travels around the earth clockwise. The waning moon should turn to a new moon, not the waxing which is shown.

Visible crew/equipment: In the very last scene, right before the ultimatum, if you look into the tail lights on Edward’s car you can see various members of the crew reflected.

Continuity: When Bella is at the cafeteria table with Mike and he is asking her to the movies her hair keeps moving from behind her ear to hanging, and back again.

Continuity: When Edward and Bella turn around to leave the Volturi Chamber, Edward’s robe is tied. When they show them leaving from the back it is undone.

According to Entertainment Weekly, New Moon took in another $42.5 million domestically this holiday weekend, bringing its US total to $230.6 million and its worldwide total to $473.6 million.

Studio execs should give plenty of thanks to female moviegoers: The Twilight Saga: New Moon and The Blind Side led the best-ever Thanksgiving weekend at the box office by drawing women and families into theaters, while male-centric newcomers Old Dogs and Ninja Assassin only earned so-so numbers.

Following its record-breaking first weekend, first-place finisher New Moon brought in $42.5 million over the three-day (Friday through Sunday) weekend, driving its cume to a fantastic $230.7 million — the sixth highest of the year, just below Star Trek ($257.7 million). Not far behind, The Blind Side came in at No. 2 with $40.1 million by appealing to audiences who would rather watch a movie about football than stay home for a game on TV. With a $100.3 million total so far, the pigskin pic is Sandra Bullock’s second $100 million hit of the year after this summer’s The Proposal ($164 million).

According to Hit Fix New Moon brought in over $14 million dollars on Wednesday.

“”The Twilight Saga: New Moon” go?  After making another $14.3 million on Wednesday for a new U.S. total of $179 million, the question isn’t whether it will hit the $250 million mark it’s whether it can hit $300 million.  Considering the first “Twilight” made only $192 million a year ago that would be a stunning achievement.”

According to Gossip Cop the Thursday total is $9 million

That would but New Moon’s total domestic earning at approximately $188.4 million dollars. Twilight earned $192.7 million in it’s teatrical run that lasted from November 21, 208-April 2, 2009. In other words, what it took Twilight a little over four months to earn, New moon will earn in a week. Without question New Moon will pull in at least 4 million this Friday which will have it jump the Twilight total. In fact it will probably surpass the coveted $200 million mark by the end of the weekend.

All of this will have New Moon land in the number 6 position right behind Star Trek starting next week. Where it goes from there is anyone’s guess.

EW is celebrating the success with this article

“The ascendance of the Twilight saga represents an essential paradigm shift in youth-gender control of the pop marketplace. For the better part of two decades, teenage boys, and overgrown teenage boys, have essentially held sway over Hollywood, dictating, to a gargantuan degree, the varieties of movies that get made. Explosive truck-smashing action and grisly machete-wielding horror, inflated superhero fantasy and knockabout road-trip comedy: It has been, at heart, a boys’ pig-out, a playpen of testosterone at the megaplex. Sure, we have “chick flicks,” but that (demeaning) term implies that they’re an exception, a side course in the great popcorn smorgasboard.

No more. With New Moon, the Twilight series is now officially as sweeping a juggernaut on the big screen as it ever was between book covers. And that gives the core audience it represents — teenage girls — a new power and prevalence. Inevitably, such evolutions in clout are accompanied by a resentful counter-reaction. For if power is gained, then somewhere else (hello, young men!) it must be lost. ..The key to New Moon’s appeal, of course, is that a lack of consummation is built into the movie’s very premise, and so the sexiness, as it was in the ’50s, has to emerge almost entirely from the atmosphere, and from the interplay of those faces. And that, more than anything, is what makes this a picture dominated, in spirit, by a new kind of girl power. Mock me all you want (and from the haters, I expect nothing less), but the reason I believe that the big-screen success of the Twilight saga bodes well for the future of Hollywood movies is that the teenage girls who are lining up to see New Moon are asserting, in an almost innocent way, their allegiance to a much older form of pop moviemaking: the narcotic potency of mood, story, and romantic suggestion over the constant visual wham-pow! of action, effects, and packaged sensation. It’s not that New Moon has none of that stuff. It’s that the movie uses fantasy to liberate, rather than to steamroll, its emotions. That’s what makes it a new-style, feminine-driven brand of popcorn, one that’s more than welcome at a moment when the other kind — the boys’ kind — has grown more than a bit stale.”

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