BAD EDUCATION - Potential SPOILERS

[jo]

The full list of movies which qualified for Best Picture Oscar has been released --

and it was so disappointing not to read BAD EDUCATION among the 344 of them


deadline.com/2019/12/oscars-best-picture-2019-eligible-movies-list-1202812121/


Of course, reading this reader response was somewhat comforting --

Anonymous
on December 17, 2019 4:19 pm
Oddly, while the NBA and NFL are still about individual excellence, the Academy Awards has regressed and become a Social Justice Clownshow, promoting quota-based nominations and awards.

Hope the producers/investors of this movie realize the great disappointment their $$$$$ action-decision has brought film fans!


Jo

[mamaleh]

It's especially disheartening when you consider that crap like PLAYING WITH FIRE got a theatrical release and of course died a quick death at the box office. BAD EDUCATION really should have had a week's run in theaters, as Netflix did for MARRIAGE STORY, before being relegated to HBO (Max). Bummer.

Ellen

[jo]

No specific mention of BAD EDUCATION (and their plans for it) -- but here's an interview the Head of HBO/HBO-MAX for insights on how they are shaping up their TV/Streaming business.


www.hollywoodreporter.com/news/bob-greenblatt-reveals-growth-strategy-hbo-max-streamer-he-pitched-nbc-1263871


Excerpts --

HBO and HBO Max: How do you distinguish the two?
They're separate, but that's the old way of thinking about it. They're ultimately going to live together, bundled next to each another in the same app. So, yes, they're separate departments but they'll coalesce into one unified experience.


Why are they different departments? And will they always be?

In five or 10 years, do we do more consolidation? I'm not sure. At the moment, HBO is the signature of the platform, and nothing is more important than keeping it intact. It has a slightly older, 40-plus audience, and we know what kinds of programming they do. But there's a lot they don't do.



So what is HBO Max?

Max is the rest of it. Kids all the way up to the young adults. And different genres, like YA or unscripted, which HBO largely doesn't do. We're trying really hard to assign the same quality level and curated feeling that HBO has. It'll never be 50,000 hours of programming. We're starting with 10,000. When you look at 50,000 or even more when you go to Amazon, I just don't know who that programming is reaching. We know statistically that 50 percent of usage in these platforms is through the 100 top titles. So, where are the other 50,000 titles? Who are they reaching?


Have the two divisions competed for a project?

We haven't yet, and we're trying to keep things separate enough that the town knows where to go. Although, this town is going to go where you can go, right? If HBO passes, you're going to go to HBO Max.



The lines seem to be blurrier in film, where, for instance, HBO Max and New Line, both owned by AT&T, competed for Olivia Wilde's next film. (New Line won.)

Right. Honestly, we're trying to figure out how important original movies are for the service and how many we should have. We know blockbusters are important, which we have thankfully through HBO. But even HBO has significantly reduced its number of original films. On the other hand, because we have Warner Bros. and New Line, and they want to make middle-range movies that don't work at the box office anymore, there's now a lot of dialogue about what they could make for us. We're just figuring out how many we need, should we consider a theatrical release, how do we window. We've bought five or six so far for this first year. Greg Berlanti is making a couple for us. Reese Witherspoon is doing a couple. There are a couple musicals that I might be working on that could be really cool. You knew I'd find a way to work those in. (Laughs.)

Jo's Note : Is BAD EDUCATION part of the 5-6 movies he mentions bought so far for the first year? Or is he just referring to WB actual film productions. Bad Education was bought from other producers/investors... REMINISCENCE's film distribution rights have been bought by Warner Bros ( and is now identified as a WB film) - let's hope it is intended for a theatrical release!





More Excerpts --

Take me through the decision to call the service HBO Max. Did you consider names without HBO in it?

We did a lot of research, and as great as HBO is, there are some negatives to it. It's higher price point and doesn't automatically include the whole family. You think it's an adult service. So there were those concerns we thought about. On the other hand, there's no greater brand we could come up with to [sell the] service and make it immediately recognizable and stand for something.


How do you alleviate concerns that this will tarnish the HBO brand?

I think it's more the press' concern than the public's, honestly. And the people at HBO are fine. But, look, the dirty little secret is that HBO has hit a ceiling. It can't grow. In a world where there's Netflix and Amazon, the only way to grow, I guarantee you, is to bundle it with something else that's going to lift it. And if that something else didn't exist in Max, HBO would be in a very precarious place. Everybody thought Dish would come running back [from a carriage dispute] when Game of Thrones came back on. And they went, "You know what? It's too expensive. We have other services and we have to lower the price point for our customer." That's going to happen more and more.


Warner Bros. has recently signed massive, cross-company deals with J.J. Abrams and Berlanti and has been part of heated bidding wars for others. Is there a ceiling, and how close are we to it?

We've let a few go. [David] Benioff and [D.B.] Weiss. [Lisa] Joy and [Jonathan] Nolan. We follow a different metric than a Netflix does. They don't necessarily have to show profit. We do. Go figure. (Laughs.) It's the job of Casey [Bloys, of HBO] and Kevin [Reilly, of HBO Max] to figure out who is the next Nolan and Joy. Nobody knew who they were four years ago. Now, you want to retain [talent] if you can, but once the market goes crazy, you've got to make a decision, and at a certain price point, we will step out.

[jo]

Given how many Jackman movies Warner Bros has released ( The Fountain, The Prestige, Prisoners, Pan) and soon - Bad Education ( thru HBO or is it HBO-MAX, part of Warner Media) and Reminiscence ( announced presumably for a WarnerBros theatrical release in 2020) -- it has become Hugh's defacto mother studio after FOX became part of Disney. Maybe he will be building that relationship further into the future -- hopefully, Warner Bros is discerning enough to give Hugh Jackman movies what it deserves in terms of exposure to the right film audiences, not just as fillers for its many components of Warner Media.

One word of caution -- Warner Bros is unlike FOX ( which had given full support to all HJ movies released under them - they even had a distribution deal for the defunct SEED production unit of Hugh Jackman). When The Fountain did not deliver at the box office, WB refused Aronofsky's request to make a Director's Cut. Ironically, the movie became a cult favorite and has now been hailed as arguably Aronofsky's best movie...PAN was also left high and dry ( not much post-release follow-ups). What about Bad Education ? Is it going to HB0-MAX? Or is it being shunted ( as rumors go ) to HBO proper, maybe to ensure an addition to its long list of EMMY awards? Interesting remark from the interview where he said that HBO is more for the adult market and HBO-MAX being intended to cater to younger demos - is Bad Education supposed to be demos-specific? Also, did they even think of giving it a qualifying run for Oscar awards potential, as Netflix and Amazon have provided its main film attractions eventually released thru streaming ( The Irishman, Roma, etc)… or is everything simply an exec's judgment on whether a film is good simply for profits or not??


Maybe with REMINISCENCE -- WB recognizes the value of Hugh Jackman and the successful Westworld team of Lisa Joy-Nolan & Jonathan Nolan … and will give it a fully-publicized theatrical release. It has not been announced officially as part of the 2020 WB release lineup, but maybe they are waiting for filming completion to decide if they can be ready for next year?

One last note -- ironic that the lead producer of BEETLEJUICE which is encouraging its fans to diss THE MUSIC MAN and its lead Hugh Jackman is WARNER BROS'S theatrical arm!

Jo

[jo]

This is very interesting and intriguing - where is BAD EDUCATION due to show?

Maybe I am reading too much into it -- but It doesn't categorically say that BAD EDUCATION is due to be shown to the public on HBO, or HBO-MAX... but even seems to suggest that it could even be screened elsewhere ( in cinemas, maybe?)...or is it just too much wishful thinking on my part? Even if does finds its first home on HBO or HBO-MAX, one could almost cry when an opportunity for more public appreciation may be missed for this film!

www.indiewire.com/2019/12/best-films-2020-already-seen-1202198521/

The 25 Best Films of 2020 We’ve Already Seen
2020 is coming up fast, and we’ve already caught a fair bit of the year's "new" films on the 2019 festival circuit and beyond — here are the best ones.

Kate Erbland
3 hours ago
@katerbland


While 2019 is nearly over, the next year is right around the corner. Luckily, a fair bit of the highlights from the upcoming 2020 release calendar have already screened on the 2019 festival circuit and beyond. From Kitty Green’s chilling “The Assistant” and Cory Finley’s TIFF breakout “Bad Education” to Michael Covino’s genre-freshening “The Climb” and Armando Iannucci’s unexpectedly warm-hearted “The Personal History of David Copperfield,” next year already has a hefty number of proven quantities to look forward to. (And, if you’re looking for some great films still in need of homes, we’ve got that covered, too.)

IndieWire has curated 25 titles worthy of anticipation and combined them all into a single guide, complete with release dates and review snippets that provide a sneak peak at several movies bound to be a part of the year-end conversation 12 months down the line.

(Jo's Note : That last phrase about " bound to be part of the year-end conversation 12 months down the line" is what sounds very intriguing to me! Do they know something we don't?)


“Bad Education” (TBD 2020)

The incredible magic trick of Cory Finley’s “Bad Education,” a diabolically smart true-life crime drama that stars Hugh Jackman in his best performance since “The Prestige,” is how it manages to balance that asymmetry in the most savage and softhearted of ways, inviting sympathy for the devil even after it convinces you why he should go to hell. Heavy with poisoned humor and as panoramic as Finley’s “Thoroughbreds” was laser-focused, “Bad Education” is in no hurry to reveal the full picture; watching the first hour of the movie, it’s hard to imagine how this seemingly benign story of suburban malfeasance could possibly explode into the biggest embezzlement scandal in the history of the American school system. But the pieces are there from the moment the film starts, buried just under the sand. Screenwriter Mike Makowsky — whose script is a well-calculated masterclass in narrative economy — takes us back to the Long Island high school where he was a student in 2002.

Read IndieWire’s full review here.

Will repost the full review by David Erlich, which has already been posted under " BAD EDUCATION : Official Reviews"


Even it the above may have erred in including BAD EDUCATION among those festival-circuit films awaiting 2020 release presumably in cinemas, the acknowledgement of how excellent the movie and Hugh Jackman's performance are gives us such a sense of loss that creativity has been sidelined by failure to acknowledge this product in the right venue and ambiance!

Jo

[jo]

Here's the full review --

Sept 9, 2019 19:04:05 GMT -5 jo said:

Wow - from David Ehrlich!

‘Bad Education’ Review: Hugh Jackman Is Brilliant in Diabolically Smart American Crime Story

Jackman plays the most human role of his career in Cory Finley's masterful crime drama about the biggest fraud in high school history.

David Ehrlich
1 hour ago
@davidehrlich


“Bad Education”

One of the more beautiful things about being an American is that it’s easy to justify your own success — at least to yourself. This is the land of opportunity, and people are taught from an early age that they get what they deserve, and they deserve what they get; if they weren’t, the injustice of it all might spoil the fun. You don’t necessarily have to earn your good fortune, you just have to believe you’re entitled to it. Needless to say, we are up to that challenge! And we’ll do whatever it takes to keep everything in its right place.

With that in mind, it’s strange that, as Americans, we still tell ourselves that corruption is usually a symptom of greed, as opposed (or in addition) to something that happens when people can’t afford to question their own worth. It’s a red, white, and blue twist on a universal kind of perceptual asymmetry: When you do something wrong, you think of an excuse — when someone else does something wrong, you think of a motive. The incredible magic trick of Cory Finley’s “Bad Education,” a diabolically smart true-life crime drama that stars Hugh Jackman in his best performance since “The Prestige,” is how it manages to balance that asymmetry in the most savage and softhearted of ways, inviting sympathy for the devil even after it convinces you why he should go to hell.


Heavy with poisoned humor and as panoramic as Finley’s “Thoroughbreds” was laser-focused, “Bad Education” is in no hurry to reveal the full picture; watching the first hour of the movie, it’s hard to imagine how this seemingly benign story of suburban malfeasance could possibly explode into the biggest embezzlement scandal in the history of the American school system. But the pieces are there from the moment the film starts, buried just under the sand. Screenwriter Mike Makowsky — whose script is a well-calculated masterclass in narrative economy — takes us back to the Long Island high school where he was a student in 2002.



From the looks of things, that seemed like a great time to go there. Facebook hasn’t been invented yet, college early-admission rates are soaring, and the cash-flush administration is about to pass a budget that allocates $7.5 million for a useless but presumably cool-looking “skybridge.” They’ve earned it. When “Bad Education” begins, Roslyn, New York, is the number-four school district in the entire country, and much of the credit for that belongs to the man, the myth, the legend — Dr. Frank Tassone (Jackman).

It’s rare to see people react to a superintendent like he’s — let’s go with a 2002-appropriate reference — one of the All-American Rejects, but it’s basically pandemonium whenever this guy appears before the PTA. And can you blame them? This is the guy who’s going to get their kids into Yale, even if he has to write all their recommendations himself (Frank never forgets a student). He’ll grant your son extra time on a test if you ask him nicely, he’ll join you for an extracurricular discussion about Dickens at an otherwise all-moms book club, and he won’t even embarrass you when you try to kiss him in the kitchen after everyone else has gone home. Besides, any man that handsome — he’s a dead ringer for P.T. Barnum! — is probably used to being flirted with by now, and there’s a tantalizing layer of sadness beneath that perfect head of slicked-back hair. Frank has been a widower for as long as anyone can remember, but he’s still never seen without his wedding ring.


This may not sound like a particularly engaging world, and “Bad Education” resists the temptation to sex it up for the sake of things, but Finley’s rigid compositions and Lyle Vincent’s gliding camera moves galvanize Frank’s administrative fiefdom with a sense of absolute purpose. The office is a well-oiled machine. Frank and assistant superintendent Pam Gluckin (an excellent Allison Janney, as if there’s any other kind) are a perfect twosome, even if she tantalizes him with the carbs she’s sworn off. Even the millionaire school board president (Ray Romano) is thrilled. God is in his heaven, and all is right with the world.

Except, it isn’t. And it’s not the leak in the high school’s hallway ceiling. Secret lives and brazen incongruities abound. In a film where even the most innocent scenes crackle with nervous energy and even frustrated erotic tension, a chance Las Vegas encounter between Frank and an old student (Rafael Casal) is electric with a where-else-could-this-be-going intensity. Your first inclination will probably be to pity Frank for feeling like he needs to live in the closet. Is this the mask that always seems like it’s about to slip off his face? Did his wife know when she was alive?



Meanwhile, back on the ranch, an intrepid student reporter (“Blockers” and “Hala” actress Geraldine Viswanathan, continuing to strike the right balance in every part she plays), is writing a story about the skybridge. That wouldn’t be a problem if Frank hadn’t encouraged her realize her full potential and not settle for a puff piece; it wouldn’t be a problem if Pam’s idiot son (hopelessly typecast “American Vandal” star Jimmy Tatro) hadn’t bought hardware supplies on the corporate card she’s been using to steal money from the school for years. Janney, who affects a hard Long Island accent that resists parody even during her funniest scenes, affects the part of a wounded lioness; survival is top priority, but it’s not that simple. Pam isn’t a sociopath, just someone with a warped perception of what’s best for everyone. And she’s about to be the victim of a generational reckoning that she never thought necessary.

She isn’t the only one. “Bad Education” always finds its way back to Frank, but Makowsky’s patient script has a knack for catching the superintendent unawares. Here is someone who doesn’t have the good sense to realize that he’s the main character of a movie; someone who thinks that he’s always just outside the eye of the storm. That misperception gives Jackman the space needed to be life-sized in a way that his “bigger” roles seldom have.

This is the most human performance he’s ever given, wrapped in translucent vanity and cut with finely sliced layers of doubt and denial. Whether locked in an oppressive close-up (the vibrating film stock reacting to even the most imperceptible muscle twitch) or trying to wrestle back control of Frank’s domain, Jackman always threads the needle between shock and showmanship. Through him, Frank seems both innocent and guilty at all times, and the actions he’s able to justify (good optics sometimes require bad choices!) steer him right into his blind spots. Early in the film, Frank tells a struggling lower schooler that he was also bad at math, and now look at him: He’s the guy who designs the math curriculum. The tragic thing about Frank — and the most brilliant thing about “Bad Education” — is that he honestly doesn’t understand why that might not add up.



“Bad Education” has some blind spots of its own, not least of which is a reluctance to dig into Frank’s stunted desire for upward mobility. He doesn’t want to be richer, but he still resents the fact that he makes a little bit more than a teacher’s salary while his boss is a multimillionaire; affluent local parents lean on Frank like every test their kids take is a matter of life and death, and they don’t even bother to say thank you once the college acceptance letters go out. “Bad Education” is appreciably embittered about teachers and on the school administrator’s behalf, but the film is doing so many different things — and juggling enough different tones to make Bong Joon-ho blush — that it has to squeeze the distance between its peaks and valleys. Michael Abels’ jangly, effective score sounds like a malfunctioning factory assembly line, and the disorder is such that Finley can’t spare the extra moment he needs to explore the relationship between the underpaid faculty and the wealthy community they serve.

However disappointing it might be that “Bad Education” is too delicate (and true) to really go wild and let Finley indulge in the flamboyance that made “Thoroughbreds” such a wicked treat, this is a young director who can see the whole chess game 20 moves in advance. Whatever compromises he makes are excused and then some by a remarkable third-act scene that defies every rule about conventional filmmaking — a wordless and shockingly moving dance number so human and desperate that it makes you take all your own judgments with a grain of salt. The “Nightshift” sequence from Claire Denis’ “35 Shots of Rum” may never be equalled, but Finley comes awfully close. Dr. Frank Tassone deserves what he gets, but — for at least one perfect moment — we’re all invited to wonder if he truly gets what he deserves.


Grade: B+

“Bad Education” premiered at the 2019 Toronto International Film Festival. It is currently seeking U.S. distribution.
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This Article is related to: Film, Reviews and tagged Bad Education, Hugh Jackman, Reviews, TIFF

[jo]

Indiewire lists the top offerings on HBO and HBO-MAX, including BAD EDUCATION --


www.indiewire.com/feature/hbo-series-2020-new-returning-shows-the-outsider-westworld-euphoria-1202199881/?fbclid=IwAR3f9BURnJSgmW4q4R-tWmf-TJTmRlImV9O3QY_jxL2ODnjjOVSu-2rICHc

20 HBO Original Programs to Be Excited About in 2020 — ‘The Outsider,’ ‘Perry Mason,’ and More
New originals from filmmakers Luca Guadagnino and Derek Cianfrance — plus new seasons of "Westworld" and "Euphoria" — highlight a pivotal year for HBO.


Having survived the end of “Game of Thrones” with buzzy new series like “Euphoria,” “Watchmen,” and “His Dark Materials,” in addition to well-watched new seasons of “Succession,” “Barry,” and “Big Little Lies,” HBO is preparing for its first post-Westeros year with a similar onslaught of exciting adaptations, enticing follow-ups, and shows skewing toward a younger demographic.

The latter point is perhaps more important than ever, given that 2020 marks another milestone for HBO: the debut of HBO Max, WarnerMedia’s all-in-one streaming platform that bundles its various networks (and their programs) in one app. HBO Max will have its own originals, but HBO is still the service’s crown jewel (as evidenced by those three telling letters right before “Max”). It’ll be up to the former Home Box Office as much as, if not more than, any other WarnerMedia network to drive subscriptions, and that’s harder to do without the No. 1 show in the world.



So what will entice subscribers to keep HBO (or add HBO Max) to their ever-growing streaming library this year? 2020 offerings include “The Outsider,” a Stephen King adaptation from “The Night Of” creator Richard Price; “Avenue 5,” Armando Iannucci’s “Veep” follow-up; “The Undoing,” starring Hugh Grant and Nicole Kidman; “Bad Education,” HBO’s pricey TIFF film festival acquisition starring Hugh Jackman; “Perry Mason,” from producer Robert Downey Jr. and starring “The Americans” veteran Matthew Rhys, and don’t forget more new originals from indie film favorites Luca Guadagnino, Derek Cianfrance, Paolo Sorrentino. Meanwhile, plenty of fan favorite shows are returning, none more important than the rebooted “Westworld” Season 3, but additional entries like “Euphoria” Season 2, “Barry” Season 3, and “Succession” Season 3 cannot be undervalued.


Read on for more HBO series to look forward to in 2020, including an array of new and returning shows, limited series, docuseries, films, and more. With “House of Dragons” not expected until at least 2021, this likely won’t be the only year without a “Game of Thrones” series on the docket — but it might be the most important year for HBO.

“Bad Education”

“Bad Education”
TIFF
Release Date: TBA (expected in Spring 2020)
Cast: Hugh Jackman, Allison Janney, Ray Romano
Writer: Mike Makowsky
Director: Cory Finley

After a record-setting deal out of the Toronto International Film Festival last year, HBO has high hopes for director Cory Finley’s fact-based film. Based on the true story of the largest public-school embezzlement scandal in American history, “Bad Education” offers the broad appeal — and critically lauded performances — of Hugh Jackman and Allison Janney, which HBO will need to drive its pricey acquisition to high ratings and truckloads of awards. But the latter challenge is a difficult road these days. You have to go back to 2015 to find an HBO film that won the Best TV Movie Emmy (“Bessie”), and you have to go back two years further (to “Behind the Candelabra”) to find an HBO film that won an Emmy for its actors.....

Increased competition from streaming services and limited series have made it difficult for TV movies to get their due, but you better believe HBO wants to end that trend this year.

First, Bad Education is not a TV movie. It was originally intended for theatrical distribution, but like major movies being streamed these days, it was acquired at TIFF at a record-setting price to drive this year's HBO slate and/or HBO-MAX inaugural year!

Given that it was not intended as a TV movie ( with all its limitations), it is not quite accurate comparing it to the awards luck of an HBO film ( movies made originally for HBO, which usually have lower production values and more budgetary constraints, in terms of script quality, casting, cinematography and other aspects of filmmaking), as to cinematic quality and the chance for an award for the film and its actors!!!

Jo

[jo]

When will the release on TV/streaming going to be announced? And maybe a trailer?


Jo

[jo]

Here's the quoted review from the London Film Festival --

By: Rahul Patel 4th Oct 2019 Festivals, Film, Reviews

LFF REVIEW: “One of the most exciting films of the year” – ‘Bad Education’ (2019)
⭐⭐⭐⭐⭐



“A sparkling script in the hands of beguiling leads”

Bad Education dramatizes the largest embezzlement scandal in US public school history. In the early 2000s, New York’s Roslyn school district was shocked to discover that the adored superintendent, along with his deputy, had stolen millions of dollars of taxpayers’ money. Bad Education’s screenplay by Roslyn alumnus, Mike Makowsky, is masterfully composed. As the diabolical duo, Hugh Jackman and Allison Janney prove to be a perfect pair.

Just like Alexander Payne’s Election, Bad Education is centred on a school with amoral faculty. In Matthew Broderick’s stead is Jackman, who plays the exceedingly well-groomed Frank Tassone. His slicked back hair, sparkly eyes and perfectly pressed suits make him look the part of the acclaimed superintendent. Frank’s commitment to his job is boundless: he voluntarily runs a book club for pupils’ parents, and he can hold personal conversations with all his staff (à la Miranda Priestly, but without the help of two beautiful aides). Frank is lauded for his decade-long dedication to make the Roslyn district a top performing region.

The foundations of Bad Education bring to mind Jackman’s recent turn in The Frontrunner. Jason Reitman’s political drama recounted the rise and fall of a presidential hopeful. Both of Jackman’s characters had status and secrets, and both were ultimately thwarted by the press. In Frank’s case, however, it was the efforts of a meticulous student reporter, Rachel Bhargava (Geraldine Viswanathan), that toppled him.

Bad Education’s screenplay displays a similar attentiveness to that shown by Rachel. Makowsky’s script begins as a tight knot holding back a deluge of truths. Each passing page slowly unravels the threads in a delicate pace that lures viewers into the narrative. With the script’s well-placed twists, including the revelation concerning Frank’s double life, this is genuinely one of the most exciting films of the year.


As the white-collar criminal, Jackman puts on a superb performance and Janney matches his excellence. As Frank’s deputy Pam Gluckin, Janney is at the midway point between The West Wing’s C.J. Cregg and I, Tonya’s LaVona Golden; like Jackman, the severe consequences of her transgressive ambitions still induce empathy from onlookers.

If Jackman is Broderick, then replacing Tracy Flick as the thorn in the male lead’s side is student reporter Rachel Bhargava (Geraldine Viswanathan). A great burden is placed on Rachel when she must assess Frank and Pam’s crimes in the light of all the benefits they have brought to the district. It is in this conflict that director Cory Finley shows his skill. He understands the importance of the story in his hands. The dilemma of assessing the truth in the context of the potential negative fallout is portrayed in an exhilarating way. This is a serious story told in a funny, accessible tone – arguably the best approach in this situation.

At the helm of this glorious ship, Finley makes this a spiritual sequel to his directorial debut, Thoroughbreds. Both are sharply executed dark comedies with a diabolical duo at their core. Reteaming with cinematographer Lyle Vincent proves a smart choice. Vincent’s camerawork is effortless and unimposing, and the grainy texture of the film anchors Bad Education both in the early 2000s and as a true story. Completing the brilliant cast are Ray Romano and Rafael Casal, who are memorable without being a distraction from the core tale.


Bad Education received its TIFF premiere during the same week as Makowski’s high school reunion. It is awkwardly poetic that there are people who still wish the whole ordeal would disappear. Fortunately, Makowski knows that this was a story worth retelling. I agree.

With HBO’s recent, pricey acquisition of the distribution rights, Bad Education will eventually premiere on television. Given the TV Academy’s record for awarding anti-heroes, the film can expect to take home a statuette or two at next year’s Emmy Awards.


After all this glowing praise, Bad Education’s finest accomplishment might be getting Hugh Jackman to convincingly play someone who shies away from a dance. Eventually he joins his partner on the dancefloor, as Moby’s ‘In This World’ soundtracks Frank’s final moments in his lavish life.


Dir: Corey Finley
Prod: Fred Berger, Brian Kavanaugh-Jones, Julia Lebedev, Mike Makowsky, Oren Moverman, Eddie Vaisman
Cast: Hugh Jackman, Allison Janney, Ray Romano, Geraldine Viswanathan, Rafael Casal, Alex Wolff
Release date: TBC by HBO


Editor’s Picks
LFF REVIEW: “One of the most exciting films of the year” – ‘Bad Education’ (2019)

[jo]

There's been no word as to where and when BAD EDUCATION will be released, presumably as a streamed movie on HBO-MAX?

In a recent study -- it seems that movies have so much better chance of being watched on a streaming service IF it has had a theatrical release!


collider.com/streaming-movies-more-likely-to-be-watched-if-they-had-a-theatrical-release/

Streaming Movies More Likely to Be Watched If They Had a Theatrical Release, Study Finds
by Gregory Lawrence February 6, 2020


Netflix vs. movie theaters? While some film folks may view the narrative of how contemporary audiences consume content as being this simplistic, the truth is much more knotty and complicated. And a recent study put out by Ernst & Young and the National Association of Theatre Owners (via Variety) finds that the relationship between streaming and theatrical content is much more symbiotic than first imagined. The study finds that, in fact, streaming movies are more likely to be watched if the title also received a theatrical release.

Of the over 2,000 respondents of the study (funded by, it should be noted, an organization with an ostensible vested interest in making movie theaters look good), 62% said they’d be more likely to stream a movie if they knew it was also in theaters, with only 3% saying they were less likely to stream a movie also theatrically released. In fact, folks who regularly visited the movie theater during the year (nine times or more) streamed more content at home than those who visited the theater less times during the year. In other words, as Phil Contrino, director of media and research at NATO, puts it: “It’s just lazy to say younger viewers are abandoning movies… The disruption talk is overstated.” To me, this doesn’t feel like “disruption” at all — it feels like a straight up conclusion that people who see movies in theaters also see movies at home.


Contrino further opined that “a theatrical release creates more of a conversation,” and I tend to agree. With so much content available so readily at our streaming fingertips, knowing that a title made enough of a splash to merit a theatrical release helps cut through the clutter instantly. Even if you don’t want to go through the effort of finding the one theater in your town playing Marriage Story or The Irishman, you’ll know it’s worth streaming. Contrino went on to say that “the coming launch of all these streaming services means it’s only going to get harder for something to break through. Success in movie theaters is one of the top ways for content to stand out.”

This study may have a great effect on Netflix’s business practices moving forward — not to mention their rivals, both established and new to the market. For some time, Netflix straight up eschewed any theatrical releases, until the acclaimed filmmakers producing content for them (like Martin Scorsese or Alfonso Cuaron) insisted on the company providing some kind of exhibition, however brief. In fact, the exhibitions offered by Netflix were still too brief for many major chains, who have a practice of only carrying films meant for streaming if they’re given a traditional three-month exclusivity window in theaters. Will Netflix, bolstered by this data, change their plans soon? It’s too early to say just yet, but it does look like we will all, indeed, still be watching.


For more on the streaming battles, check out HBO Max and Warner Media’s plans to produce original content of quality. Plus: here’s our favorite Netflix fantasy and sci-fi shows.

Is it too late for Warner Media or HBO to schedule a theatrical release for BAD EDUCATION? And then to add the movie as a major streaming offering much later on?

Or is this becoming a nightmare as to the fate of a well-praised movie, both as a film and for its lead actors?

This is very sad, if the movie suffers because of the $$$ bait that HBO offered to its film producers! And also because Endeavor/WME and CAA failed to attract other buyers to compete with the HBO offer!




Jo

[jo]

Translated from Spanish by GOOGLE --

Bad education, the movie with Hugh Jackman that has bought HBO, will be released in cinemas in Spain in March?

[jo]

Earlier while browsing at the IMDB site of Bad EDUCATION, I have been intrigued by this info on Corporate Credits --

Distributors

Film & TV House (2019) (Non-US) (all media) (multi-territory)
GEM Entertainment (2018) (Non-US) (all media) (multi-territory)
HBO Max (2020) (USA) (video) (VOD)

I thought initially that the first 2 distributors for Non-USA territory were with reference to the film's appearance in film festivals in Toronto, London, and Poland.

Could it be that overseas fans may actually have a chance to see the movie on the big screen?


I thought all the while that HBO had purchased the entire worldwide distribution rights to the movie. Will check that out.


Jo

[jo]

This is what I found out that may help clarify the matter of type of screening for Bad Education --

variety.com/2019/film/markets-festivals/hugh-jackman-bad-education-1203339068/

HBO will air the feature globally where it has networks and streaming services. CAA Media Finance and Endeavor Content brokered the “Bad Education” deal. Deadline first reported the sale.

It seems VARIETY simply quoted the original report from Deadline.com --

The WarnerMedia-owned company will air the feature globally where it has networks and streaming services.

Did HBO acquire the exclusive rights to all the screenings( whether via streaming, via TV networks or theatrical screenings)? Or do the 2 other film distributors earlier mentioned still have rights to show the movie in a cinema overseas?


Jo

[jo]

IMDB has confirmed the theatrical release ( in cinemas) of Bad Education on March 6, 2020 --

www.imdb.com/title/tt8206668/releaseinfo?ref_=tt_dt_dt

Btw, there is an HBO channel in Spain.



Fingers crossed the theatrical screening reaches a former colony of Spain (raises hand!!)


Jo

[jo]

It looks like the Spain deal was announced before HBO bought the film rights.


www.elseptimoarte.net/noticias/actualidad/primeras-imagenes-de-bad-education-y-blackbird-36224.html


The article is dated August 2, 2019.


Per Google translation --

The films 'Bad Education' and 'Blackbird' will be presented at the next Toronto International Film Festival, which will be held from September 5 to 15 and marks the kick-off of the awards race.

The announcement is accompanied by the release of the first images of both films, which will reach Spanish cinemas by DeAPlaneta in early 2020.

Also, from another link --

Two major European media groups – DeAgostini and Planeta – joined forces in the year 2000 to create DeAPlaneta, an independent distributor that focuses on the acquisition and distribution of fictional films for cinema and television and occupies a leading position in the Spanish cinematographic sector.

The DeAPlaneta catalogue ranges from commercial hits such as El médico, Saw and Planet 51 to films of great prestige such as Sufragistas, Agosto and La dama de oro, as well as winners of Oscars in the category of Best Film such as 12 años de esclavitud, El discurso del rey, El pianista and En tierra hostil. It is also the distributor of adventure films such as El secreto de los hermanos Grimm, with Matt Damon and Heath Ledger, and La última legión, with Oscar winner Colin Firth, plus the psychological thriller starring Sandra Bullock, Premonition and The Host, the new adaptation of the author of the Crepúsculo saga, Stephenie Meyer.

It looks like the film distributor moved in fast on a chance to distribute BAD EDUCATION! The deal with HBO was not announced till after the Toronto International Film Festival.

I wonder if this film distributor has the rights outside of Spain?


Jo

[jo]

Jackman films are popular in Spain.


More recent films (per Box Office Mojo) --

The Greatest Showman : $ 8 milllion-plus
Logan : $ 7 million-plus
Les Misérables : $ 11 million-plus
Days of Future Past - $ 9 million-plus
Real Steel : $ 5 million-plus
Prisoners : $ 3 million

[jo]

Vamos a Espana!


LOL -- Sounds like the war cry of my favorite tenista : " Vamos, Rafa!"

[jo]

[jo]

It looks like the news/media release re the working and cooperative relationships announced recently for WarnerMedia (between the studio Warner Bros and the streaming service HBO-MAX) has raised eyebrows instead of being viewed as welcome news ( because a new film unit within HBO-MAX has been created...and given what Disney has done to the legacy studio FOX). Also, will HBO-MAX be the dumping ground for movies that WarnerBros has produced but does not think may be good enough for theatrical screening?

www.hollywoodreporter.com/news/warner-bros-warner-max-is-at-t-setting-up-a-sibling-rivalry-1278846

I really couldn't care less about the politics.

But -- in all the discussions ( including the mention of some movies intended for either Warner Bros or HBO-MAX) -- nowhere is BAD EDUCATION even mentioned. No hint on why they picked it up at an expensive price. They even say that "In The Heights" ( film adaptation of LMManuel musical) could be a hit for WB...but no mention on why a movie such as Bad Education could not have been a release for WB itself.

Was the pricey acquisition of Bad Education simply a hasty decision to up the game of the streamers versus the conventional moviemakers within WarnerMedia? But why ignore it now? Especially so that it was a well-praised movie and could have drawn awards attention, if it had been released thru Warner Bros itself??

It's now mid-February and nobody has ever seen even a hint of a teaser or trailer. If that is supposed to help build the subscription base for HBO-MAX, why does it seem that it is not being given any attention at all!

Hope I would be proved wrong here … and maybe they are just holding off the promotional activities at the starting block ( HBO-MAX will launch in May...but there have been rumors of a release via HBO itself in March)? However, the release of the movie in Spain ( which would be a public release and not a film festival entry) on March 6 may make the HBO/HBO-MAX launch of BAD EDUCATION seem less attractive as an exclusive feature!

Jo

[hughmanity]

The point you make about the purchase is very interesting, and like you I certainly hope this was not the case...however unfortunately as time passes it wouldn't shock me.  Jackman fans took pride in the excellent reviews of the film and his performance; this continues to be a source of frustration for me.  We only saw just a glimpse on that HBO highlight reel, and since then, crickets.
And why do I have a nagging doubt about the eventual release of Warner property REMINISCENCE--about this studio doing it full justice? Is it the little pessimist in me?  Sure hope I am proven wrong.

Feb 12, 2020 16:55:44 GMT -5 jo said:

It looks like the news/media release re the working and cooperative relationships announced recently for WarnerMedia (between the studio Warner Bros and the streaming service HBO-MAX) has raised eyebrows instead of being viewed as welcome news ( because a new film unit within HBO-MAX has been created...and given what Disney has done to the legacy studio FOX). Also, will HBO-MAX be the dumping ground for movies that WarnerBros has produced but does not think may be good enough for theatrical screening?

www.hollywoodreporter.com/news/warner-bros-warner-max-is-at-t-setting-up-a-sibling-rivalry-1278846

I really couldn't care less about the politics.

But -- in all the discussions ( including the mention of some movies intended for either Warner Bros or HBO-MAX) -- nowhere is BAD EDUCATION even mentioned. No hint on why they picked it up at an expensive price. They even say that "In The Heights" ( film adaptation of LMManuel musical) could be a hit for WB...but no mention on why a movie such as Bad Education could not have been a release for WB itself.

Was the pricey acquisition of Bad Education simply a hasty decision to up the game of the streamers versus the conventional moviemakers within WarnerMedia? But why ignore it now? Especially so that it was a well-praised movie and could have drawn awards attention, if it had been released thru Warner Bros itself??

It's now mid-February and nobody has ever seen even a hint of a teaser or trailer. If that is supposed to help build the subscription base for HBO-MAX, why does it seem that it is not being given any attention at all!

Hope I would be proved wrong here … and maybe they are just holding off the promotional activities at the starting block ( HBO-MAX will launch in May...but there have been rumors of a release via HBO itself in March)? However, the release of the movie in Spain ( which would be a public release and not a film festival entry) on March 6 may make the HBO/HBO-MAX launch of BAD EDUCATION seem less attractive as an exclusive feature!

Jo

[jo]

Feb 12, 2020 17:23:36 GMT -5 hughmanity said:

The point you make about the purchase is very interesting, and like you I certainly hope this was not the case...however unfortunately as time passes it wouldn't shock me.  Jackman fans took pride in the excellent reviews of the film and his performance; this continues to be a source of frustration for me.  We only saw just a glimpse on that HBO highlight reel, and since then, crickets.
And why do I have a nagging doubt about the eventual release of Warner property REMINISCENCE--about this studio doing it full justice? Is it the little pessimist in me?  Sure hope I am proven wrong.

Feb 12, 2020 16:55:44 GMT -5 jo said:

>
>
>
Jo

I am not apprehensive at all about the acquisition of the film distribution rights of REMINISCENCE by Warner Bros.

*The lineup of producers --

Produced by :
Michael De Luca
...
producer
Lisa Joy
...
producer
D. Scott Lumpkin
...
executive producer
Jonathan Nolan
...
producer
Aaron Ryder
…

producer include some names such as Michael De Luca ( check out his filmography credits : www.imdb.com/name/nm0006894/?ref_=ttfc_fc_cr2), Aaron Ryder( associated with Chris Nolan) and of course the Nolans (Director Lisa Joy and husband Jonathan Logan). Jonathan is the co-scriptwriter and brother of Chris Nolan. Chris has directed many films which had major successes for Warner Bros ( Dark Knight et al, Dunkirk, Inception, Interstellar, The Prestige, etc) plus Lisa/Jonathan had some very good  and profitable working relationship with HBO on the Westworld TV series. It is a passion project for Lisa ( it is very likely she will fight tooth and nail for the movie to be given a theatrical screening). The movie is a Black List selection. Hugh himself has done a few movies with Warner Bros himself ( including PRISONERS).


*The producers of Bad Education do not have the same powerful list of names - and they were probably there simply as an investment, not for any artistic motivation. Cory Finley is a very promising young director and his scriptwriter Mike Makowsky, another young filmmaker, show excellent promise -- but they do not have the same clout as the NOLANS!


I could be wrong -- but the fact that the film distribution rights drew a lot of strong interest among studios ( unlike Bad Education - which did not get any interest when it was first shopped at Cannes...and even at Toronto, with only HBO showing strong interest) and for which Warner Bros came out ahead is a good indication that REMINISCENCE could be a strong project.

My complaint with Warner Bros is that they do not always do a good job of promoting a movie. Prisoners was a gem but it was not released as it should have been. They also once refused Darren Aronofsky to do Director's Commentary after The Fountain did not do well at the box office. They also had a gem in The Prestige ( it was a modest #1 at the box office) but did not publicize it well enough. PAN did get some good promotion but they failed to convince critics and audience that a retelling of the Peter Pan tale was well worth it!

Sometimes they do very well, but sheer luck -- they promoted the heck out of JOKER -- look where it got them! A billion $ at the box office worldwide and an Oscar for Joaquin Phoenix!


Jo

[luzie]

Feb 12, 2020 17:23:36 GMT -5 hughmanity said:

The point you make about the purchase is very interesting, and like you I certainly hope this was not the case...however unfortunately as time passes it wouldn't shock me.  Jackman fans took pride in the excellent reviews of the film and his performance; this continues to be a source of frustration for me.  We only saw just a glimpse on that HBO highlight reel, and since then, crickets.
And why do I have a nagging doubt about the eventual release of Warner property REMINISCENCE--about this studio doing it full justice? Is it the little pessimist in me?  Sure hope I am proven wrong.

I kind of agree with you. What has happened with Bad Education is a real shame anyway. Secretly I was still hoping that it might be perhaps shown at the upcoming Berlinale after all, but nope!
And I also have my doubts about Reminiscence - not only about the release but also about the movie itself. At this stage it wouldn't surprise me if it would end up straight on their streaming service without a (worldwide) theatrical release - or without proper promos! After I've seen negative remarks about the script somewhere last year, my already excisting skeptisism was only growing. Lisa Joy may have a Nolan connection, but she is NOT Christopher Nolan. Sure I also hope I am proven wrong. We will see ...

[jo]

Michael de Luca, one of the youngest production presidents ( together with Scott Rudin, Irving Thalberg, Don Simpson) was once president for production of Dreamworks, is a well-known producer and considered one of the movers and shakers in Hollywood. (Social Network written by Aaron Sorkin and very famous movie as it told the story of the founding of Facebook /Fifty Shades et al based on the bestseller/Moneyball with Brad Pitt/Captain Phillips with Tom Hanks - just take at the long list of movies and other projects he has produced - www.imdb.com/name/nm0006894/?ref_=nmbio_bio_nm ) and I think he will add his influence to pulling for a theatrical release of the movie. Aaron Ryder was a co-producer for The Prestige and also has a good list of production projects ( Arrival/Donnie Darko, etc).

It is not just Lisa Joy but her husband ( co-producer and presumably an informal adviser to wife Lisa on the screenplay) is a co-scriptwriter of Chris Nolan and has co-written WB projects like The Dark Knight et al, The Prestige, Memento - so he does have filmmaking credentials with WB.

Lisa's pull on her own is the success of WESTWORLD. The couple however has just signed a $ 150 million deal with Amazon to produce certain projects for Prime Video ( variety.com/2019/tv/news/jonathan-nolan-lisa-joy-amazon-overall-deal-1203181858/ ) but will continue to work on their HBO Westworld TV series( which HBO would want to continue to keep ties with creative talent - given how both studios and streamers are running after fresh inputs for their releases).

I have read the first draft of the script -- it is an exciting, albeit unusual and new type of storytelling. I think its main appeal could be the sci-fi aspect as well as the physical conflict between antagonists ( which could appeal to the male demos) but also has the romantic aspect ( albeit dramatic and not "a romance-novel" type) that could attract the female demos. It could be an unusual role for Hugh - look at how he looked always dishevelled in the on-set-photos that have been leaked. I think that the opportunity to get some close-up set photos ( just as we got glimpses for Logan and Les Misérables when they were filming) must have been a deliberate move to leak advance publicity for the movie. Could have been the producers move...or even the distributor's move.

One thing that may work for Lisa Joy, assuming that the movie turns out to be well-made and performances are very noteworthy -- she would be one of only a handful of current women directors in the Hollywood scene. Given the Me-Too movement and how it has this year shown the spotlight on Greta Gurwig, a new lady director talent will be a most welcome event in politically-conscious Hollywood!

All things considered - while this may not be tentpole like JOKER or other comic-book type of movie -- it combines many aspects that puts it in the mature and welcome entertainment fare.

Of course -- do read the many articles on the advent of the streaming age and the impact on films, especially of an indie nature. ( See Understanding the Film Business & Streaming Services). This one is particularly interesting --

www.indiewire.com/2020/02/netflix-why-irishman-was-shut-out-at-the-oscars-1202210415/

True - streaming, especially pushed by cost-conscious studios and distributors, will make its mark... but certain movies will continue to appeal if seen on the big screen without distractions

Jo

[jo]

HBO-MAX has released a teaser/trailer on what's in store when it opens its streaming service in May --

www.youtube.com/watch?v=eASkqrwdg7Y

I've watched it 3 times … and did not see BAD EDUCATION as part of the initial offerings.

Unless they are going to publicize it separately …

what is happening here



Jo

[jo]

Looking back - interesting article from Variety before the HBO deal for BAD EDUCATION was announced --


variety.com/2019/film/markets-festivals/bad-education-toronto-film-festival-market-1203337593/

Excerpts--

“Bad Education,” a dramedy starring Hugh Jackman as the embezzling superintendent of district of schools in Long Island, N.Y., was set to be this year’s “I, Tonya.” The movie has the same biting tone, shifting between comedy and tragedy. It received strong reviews out of the Toronto Film Festival. And like “I, Tonya,” it even co-stars Allison Janney, this time playing a corrupt school administrator instead of the heartless matriarch to Tonya Harding.

But while “I, Tonya” soared out of Toronto two years ago, landing a fast distribution deal with Neon to the tune of $5 million, “Bad Education” has yet to stick the same landing. The movie debuted at TIFF on Sept. 8 to a jam-packed Sunday screening, running up against showings of high-profile films such as “A Beautiful Day in the Neighborhood,” with Tom Hanks as Mr. Rogers; “Hustlers,” carried by Constance Wu and Jennifer Lopez; and “Jojo Rabbit,” an edgy comedy about a German boy during World War II whose imaginary best friend is a whimsical version of Adolph Hitler.

Despite highly favorable reaction, “Bad Education” did not leave the festival with a deal. Eight days later, it’s still wading through deep negotiations involving multiple players with no clear head of the class. The delay could put its prospects for next year’s Oscars in question. Every day counts: The Academy Awards telecast has been moved up to early February. If Jackman and Janney are indeed eligible for acting trophies in a few months, their campaigning days are numbered. Jackman’s window to work the circuit is even slimmer, as he’s about to start production on Lisa Joy’s sci-fi love story “Reminiscence” at Warner Bros.


As Toronto has come to a close, many buyers, sellers and producers are wondering how much trickier the quickly transforming movie market has gotten since a success like “I, Tonya.”

“Bad Education” is hardly alone in a club of (still) orphaned festival indies. Distributors are more reticent to shell out top dollar, even with the names of big actors attached. “The Friend,” a dramedy with Casey Affleck and Dakota Johnson; “Citizen K,” Alex Gibney’s documentary about a Russian plutocrat who runs afoul of Putin, and “Blackbird,” with Susan Sarandon and Kate Winslet, are still looking for studio homes. “The Friend” suffered from mediocre reviews as it negotiates with a possible domestic distributor (STX has international), but many of these other films scored solid notices from critics, something that in prior years would have resulted in big sales.

“It’s too early to tell if sales activity has decreased, but it’s definitely shifted in that people are being slower,” said Vanessa Saal, managing director sales and distribution at Protagonist Pictures, the maker of “How to Build a Girl” and “Sound of Metal.” “We’re closing some deals, but it’s taking three days whereas in the past it would have taken 24 hours.”

But that also has led to some questions about whether Toronto is now the most effective market to sell an indie film. As opposed to Sundance, which kicks off the year, most distributors have set their schedules through the final months of 2019. And given packed release calendars and the challenges of the independent film market, which continues to struggle to attract audiences against counterprogramming powerhouse streamers and their forthcoming competitors, the incentive to gamble on a festival favorite in September might be too daunting.


Privately, sources say, the sales agencies for “Bad Education” considered screening the film at some point in the summer to distributors in hopes of scoring a lucrative deal setting an early awards agenda. The film’s producers pushed back against that strategy, opting instead to roll the dice in Toronto, according to one knowledgeable insider. Another person close to the deal disputed this, saying the agencies wanted heat from the premiere to fuel spending.

Neither CAA, Endeavor or a spokesperson for the producers commented on the matter.


A deal is said to be close if not imminent, but it is unclear if the pact will be in the neighborhood of the $20 million deal for global rights that the agents were initially looking to land. Numerous bidders showed interest in the film but only on the condition they could release the film next year, directly in opposition to filmmakers hopes for gold trophies. Jackman would presently find himself squaring off against the likes of Leonardo DiCaprio (“Once Upon a Time…in Hollywood”), Jonathan Pryce (“The Two Popes”), Adam Driver (“Marriage Story”), Michael B. Jordan (“Just Mercy”) and Joaquin Phoenix (“Joker”).


Another crushing reality is that studios are still smarting from their Sundance Film Festival experiences with the Mindy Kaling comedy “Late Night,” the critical favorite “Brittany Runs a Marathon” and Bruce Springsteen-themed “Blinded by the Light.” That left many players wary of getting into a bidding frenzy, as experts predicted would happen when Variety looked at the market at the beginning of TIFF.

“It’s a money losing proposition to get into an auction over a movie where you pay too much,” Sony Pictures Classics chief Michael Barker told Variety in a video interview at the festival’s midpoint. He added, “We will not pursue a film unless we feel we have a road map for it to be successful.”

Tom Bernard, who co-heads the indie label, said that quality was a problem. “If you had ten great movies here, they’d go for large amounts of money,” he argued.




To be sure, some films did manage to snag distribution pacts, albeit at modest prices. Sony Pictures Classics picked up the art heist thriller “The Burnt Orange Heresy,” starring Claes Bang and Mick Jagger, as well as “Lyrebird,” a drama that looks at Nazi art thefts; Amazon snagged “Sound of Metal”; and Bryce Dallas Howard’s documentary “Dads” sold to Apple. Other films, such as the Bruce Springsteen documentary “Western Stars” and Armando Iannucci’s “The Personal History of David Copperfield,” went to Warner Bros. and Fox Searchlight before the festival kicked off. That robbed the market of more of its sizzle.

For the industry, this year’s Toronto was mostly notable for providing a venue to catch up on movies missed at Telluride (“Judy”), Venice (“Joker”) or Cannes (“Parasite”). Or launching a film that already had distribution — such as STX generating buzz for “Hustlers” the week before it debuted to a strong $33 million at the domestic box office.
A shortage of late night bidding wars has one upside — one well-rested agent noted that both sellers and buyers were able to get some sleep. That may put all parties in an urgent spending mood come Sundance.

It looks like there was internal squabbling on the strategy on when to market the movie to distributors.

Maybe both the sales agents and the producers should have ironed out their sales strategy first before going to the market?

The producers may have the $$$ in the pockets ( and this may have been their ultimate goal) but it looks like the creative team and the lead actors were left without anything much except to become a streamed movie rather than be hailed in a cinema!


On the other hand -- could WarnerBros itself be thinking of now releasing BAD EDUCATION in cinemas - hence the lack of current mention or lack of starting publicity as part of the HBO-MAX inaugural offerings? Or even offering the movie on a turnaround basis to those who were interested to release it in 2020?

Maybe very wild speculation on my part...

But the real story on the release of BAD EDUCTION is now running like a mystery movie!


Jo