Kristen Stewart Welcome to the Rileys online controversy
To date (Nov. 14, ’10), none of my posts has attracted as much attention – in sheer number of comments – as the one titled “Kristen Stewart Welcome to the Rileys Box Office Plummets.”
Kristen Stewart fans unwelcome Welcome to the Rileys post
Needless to say, the vast majority of the comments were negative. Among those, quite a few were unrelentingly abusive (all of which were duly deleted), including attacks on my character, my intelligence, and my manhood. One commenter went as far as to call for a boycott against Alt Film Guide and have it disseminated on Twitter.
Part of the reason for the barrage of attacks was a misconstrued joke (later deleted) about Kristen Stewart’s fans on Twitter. Some, however, were outraged simply because I dared to report the truth: the Jake Scott-directed melodrama Welcome to the Rileys, starring Stewart, James Gandolfini, and Melissa Leo, has bombed at the North American box office.
And before any ultra-sensitive soul perceives this post as an attack against Kristen Stewart fans, let me assure you that’s not the case at all.
Whether they’re young or old, black or white, dead or alive or zombiefied, every movie star, soccer player, rock singer, pulp novelist, American Idol competitor, serial killer, has his/her fans. Apart from the serial killer crowd, some of those admirers are sane; others are demented. That’s how it goes.
In fact, just yesterday I was called a “fucking faggot” because I stated that Harrison Ford’s box office pull isn’t what it used to be. Never mind the fact that it isn’t; Morning Glory is just the latest instance in a trend that began years ago. Psychos and assholes, however, couldn’t care less about facts.
Now, on the positive side my Welcome to the Rileys post also received some welcome attention from both Kristen Stewart fans and non-fans – e.g., Twitter account holders @Selene, @Puaena, and @tam, to name three belonging to either group. Those commenters took the trouble of challenging and/or questioning my and/or others’ assertions in a rational manner.
Clarifying the Kristen Stewart / Welcome to the Rileys box office issue
Although I didn’t – and still don’t – agree with every point they made (and I’m sure that goes both ways), they have forced me to delve deeper into the matter at hand.
After being in touch with @Selene on Twitter, I decided to write this post as an attempt to answer a few of their questions/remarks, while comparing the box office performance of Welcome to the Rileys to other similar movies.
Now, be forewarned: I don’t come up with specific reasons as to why Welcome to the Rileys has thus far failed in North America. I merely raise several possibilities.
Kristen Stewart as a pole dancer/sex worker in Jake Scott’s Welcome to the Rileys
@Puaena: I have an idea why it is underperforming. I think Kristen fans showed up as much as they could but the middling reviews probably didn’t bring in anything to build on that base. It didn’t really have a unique hook.
I’d say the Welcome to the Rileys’ “hook” was Kristen Stewart herself. Her name would – or so Goldwyn hoped – lure moviegoers at least on weekends no. 1 and no. 2. Press materials we received invariably focused on Stewart’s character; Stewart was also the focal point in interviews and numerous online pieces. See virginal Bella as a foul-mouthed stripper. That sort of appeal.
In fact, without Stewart Welcome to the Rileys would most likely have gone straight to video despite the presence of James Gandolfini and Melissa Leo, neither of whom, Emmy wins or Oscar nod notwithstanding, has Stewart’s name recognition.
The film lingered for a while without a distributor, until Apparition and Sony Worldwide bought it for a reported seven figures. That’s no small amount, especially in the current – on-life-support – indie market.
Apparition’s troubles following internal disagreements about the distribution of Stewart and Dakota Fanning’s The Runaways earlier this year, resulted in Samuel Goldwyn Films handling the Welcome to the Rileys release. Goldwyn (with Sony’s help?) had about five months (June-November) to plan the film’s distribution and marketing.
Too short a window? Not necessarily. In the most famous rags-to-riches Hollywood tale in recent memory, Fox Searchlight acquired Danny Boyle’s about-to-go-straight-to-DVD Slumdog Millionaire in August 2008, and, with the assistance of Warner Bros., released the film three months later. We all know what happened after that.
What made the difference?
For one, as one commenter pointed out, the amount of money spent on promoting a movie matters enormously. Although I don’t have figures at hand, it’s clear that Fox Searchlight’s marketing campaign for Slumdog Millionaire was much more generous than Samuel Goldwyn’s for Welcome to the Rileys.
Additionally, Slumdog Millionaire‘s reviews were infinitely more enthusiastic than those for Welcome to the Rileys. For “small” films, that can make a hell of a difference. And in Slumdog Millionaire‘s particular case, there were all the awards-season trophies that culminated on a Best Picture Oscar win.
But isn’t it ridiculous to compare Slumdog Millionaire to Welcome to the Rileys?
Following its worldwide box office success, yes. Had Slumdog Millionaire gone straight to DVD back in late 2008, no. In other words, it’s “ridiculous” because Slumdog Millionaire performed uncommonly well.
Anyhow, below are some – however modest – “success stories” among indies released in 2010:
James Gandolfini tries to rescue Kristen Stewart in Jake Scott’s Welcome to the Rileys
Distributed by Sony Pictures Classics in North America, Nicole Holofcener’s Please Give features no stars, unusual “hooks,” or box office gimmicks. Even so, this extremely well-received R-rated comedy-drama (82 percent approval rating among Rotten Tomatoes‘ top critics) took in $118,000 at only five theaters when it opened last spring. Its per-theater average was a remarkable $23,695.
Considering how well it opened, Please Give added 21 theaters on weekend no. 2: it jumped 104 percent, grossing another $241k or $9,275 per site. (The per-theater average drop is normal, as, all things being equal, the fewer the number of theaters showing a movie, the higher the per-theater average should be.)
Please Give went on to peak at $4.03 million domestically.
Another example: Lisa Cholodenko’s The Kids Are All Right – an R-rated dramatic comedy starring Annette Bening, Julianne Moore, and Mark Ruffalo – has taken in $20.8 million domestically. The debut weekend of this Focus Features release remains 2010’s best in terms of per-theater average, a whopping $70,282 at 7 locations, or a total of $491,000.
The Kids Are All Right has an astounding 96 percent approval rating among Rotten Tomatoes‘ top critics, and both Annette Bening and Julianne Moore (and to a lesser extent Mark Ruffalo) have been touted as potential Academy Award nominees.
As an aside: @tam, here I agree with @Selene. Despite its thematic differences, Cholodenko’s film not only can but should be compared to Welcome to the Rileys. Both are R-rated, both star “name” – but not necessarily box office – performers, both opened at Sundance, both had similar budgets. That’s when the differences – target audience, reviews, awards buzz – become significant as to why one did well financially whereas the other didn’t.
Here’s a third example: Fox Searchlight’s well-received R-rated comedy Cyrus (74 percent among Rotten Tomatoes‘ top critics), which opened in June with $181,000 at 4 theaters, or $45,429 per site. Cyrus, which doesn’t feature any major stars – John C. Reilly, Jonah Hill, Marisa Tomei, Catherine Keener – went on to gross $7.46 million domestically.
Another one: Sundance Film Festival winner Winter’s Bone, which debuted with $85,000 at 4 theaters in June. Distributed by Roadside Attractions, Debra Granik’s dark, R-rated drama averaged $21,199 per location.
Thanks to highly positive reviews (96 percent among Rotten Tomatoes‘ top critics) and encouraging audience reception, the following weekend Winter’s Bone expanded to 39 theaters. It jumped 314 percent, grossing $351k while averaging a solid $9,008 per location.
Another example, from my previous post on Welcome to the Rileys:
Back in August, Goldwyn’s [PG-rated] Mao’s Last Dancer, without any awards-season buzz or major stars, took in $199,657 at 33 theaters, or $6,050 per theater on its official 1st weekend in the United States. (It had opened in May in Canada.) The following weekend, after the addition of 42 locations, Mao’s Last Dancer actually jumped more than 50 percent. It has gone on to gross $4.55 million in North America. Its biggest drop-off rate (after opening in the US) was 30.6 percent following the loss of 16 theaters.
Note that none of the aforementioned movies – all but Mao’s Last Dancer with budgets ranging from $2-7 million – were “blockbusters,” even by indie standards. Back in 2005, for instance, Focus Features’ Brokeback Mountain collected $83 million in the U.S. and Canada. The Kids Are All Right‘s box office performance pales in comparison.
Even so, considering the competition from Netflix/VOD/pay-per-view they all did relatively well – most notably The Kids Are All Right – in a market that has become nearly hostile to character-driven, “adult” movies, whether dramas or comedies, without the backing of a multi-millionaire marketing campaign (e.g., David Fincher’s The Social Network).
For Please Give, Cyrus, Winter’s Bone, and The Kids Are All Right, the “hooks” were the positive reviews and potential awards-season buzz. In fact, due to those two factors distributors may have felt inclined to spend more money pushing those films than they would have otherwise. After all, “winner of…” and/or “nominated for …” not only help at the box office, but look good on DVD/Blu-ray covers as well.
For the Australian-made Mao’s Last Dancer (budget approx. US$24.7 million today; but that actually depends on the rate exchange when the movie was produced), the initial “hook” was the fact that Bruce Beresford’s film was based on a well-known book.
Note: Positive reviews and/or the presence of one or more stars in a movie do help at the box office – but they are no guarantee of success. Annette Bening-Naomi Watts’ Mother and Child, Zach Galifianakis’ It’s Kind of a Funny Story, and Oscar winner Philip Seymour Hoffman’s Jack Goes Boating, to name three, have all underperformed.
Kristen Stewart in Jake Scott’s Welcome to the Rileys
Now, for comparison’s sake:
On its debut weekend Welcome to the Rileys earned $42,000 at 10 theaters in New York, Los Angeles, and Boston – or less than half of what Please Give collected at half the number of venues. Rileys’ per-theater take was a paltry $4,215.
On its second weekend, also at 10 theaters, Jake Scott’s film was down 56 percent, bringing in only $18k and averaging a dismal $1,826. To date (not including this weekend), Welcome to the Rileys has collected $87,000.
Why show the movie in those three cities? Simple. Los Angeles and New York are the United States’ cultural centers. That’s where edgier movies (or “edgier-wannabe” movies) usually do well and, in regard to marketing and audience awareness, that’s where the bulk of the American media and people “in the business” are located.
Boston, for its part, is a major university town (or rather, metropolis).
But ultimately, the decision to use Kristen Stewart as a “hook” – the film’s jigsaw-puzzle-like poster notwithstanding – didn’t work out. Yet, how else would Welcome to the Rileys have lured moviegoers?
With a mediocre 44 percent positive rating among Rotten Tomatoes‘ top critics, Samuel Goldwyn Films obviously couldn’t rely on overwhelmingly positive reviews to push its release.
Despite many (though hardly unanimous) critical thumbs-up for the film’s performers, awards-season buzz has been at best middling.
Welcome to the Rileys, for instance, was nowhere to be found among the 2010 Gotham Award nominees. It may be shortlisted at the Spirit Awards, as membership (and voting) is open to the public, but that’s no guarantee it’ll get mentioned elsewhere. [Correction: The Spirit Award nominees are selected by a handful of committees. The winners are chosen by Film Independent members. Membership is open to the public.]
James Gandolfini may have been wildly popular on cable TV’s The Sopranos, but he has absolutely no box office track record on the big screen. True, Gandolfini has been in several mid-sized box office performers (some would call them “disappointments,” e.g., The Taking of Pelham 1 2 3, Where the Wild Things Are), but none in which he was the actual draw.
Melissa Leo may be an excellent performer; one with a Best Actress Academy Award nomination in her resume. But since when is Melissa Leo a box office attraction?
Neither director Jake Scott nor screenwriter Ken Hixon is well known.
Thus, what better way to push Welcome to the Rileys than to focus on its best-known performer, who might then guarantee at least one or two solid weekends (which could then justify a wider release)?
(It’s funny: One infuriated Stewart fan wrote me asserting that Goldwyn’s marketing campaign focused on Stewart because of her talent as an actress; as if a) she was Welcome to the Rileys’ only talented cast member b) talent = box office success. The Jackass crowd must be laughing their jack-asses off.)
Using Box Office Mojo’s $7.95 ticket-price average for 2010 – which is actually quite low when we’re talking about expensive markets like New York, Los Angeles, and Boston – approximately 5,300 moviegoers bought tickets for Welcome to the Rileys on weekend no. 1; 2,300 on weekend no. 2.
Before I proceed: I’m not sure if most people are aware that “art movie houses” in the United States are almost a thing of the past, even in the major cultural centers. In Los Angeles, where such venues have become nearly extinct, Welcome to the Rileys played at the ArcLight cinemas. In terms of accessibility, you can’t get much more audience-friendly than that.
Now, a number of irate fans wrote me insisting that the Kristen Stewart crowd fully supported the movie at the locations where Welcome to the Rileys played.
So, let’s pretend that all those people who watched Welcome to the Rileys on its first two weekends were Kristen Stewart admirers. Does that mean Stewart fans in those three metropolitan areas with a combined population of about 40 million people total only 7,600?
If not – and I’m sure Stewart’s fan base is considerably larger than that – why did so few people show up for Welcome to the Rileys? That is the puzzle.
And that’s why I came up with that much-accursed Twitter joke, though, in all fairness, to the best of my knowledge Welcome to the Rileys never became a “trending topic” on Twitter – unlike Scott Pilgrim vs. the World, another egregious box office disappointment (especially considering the generally good reviews).
Kristen Stewart, Welcome to the Rileys
In my view, there are various possibilities as to why Kristen Stewart (for those who agree with me that Goldwyn used her as a “hook”) failed as a box office magnet. I have them listed below as questions that I adapted from my previous post on the subject.
The questions center on Stewart because as far as I can tell (see reasons elsewhere in this post), that was how Welcome to the Rileys – which lacked strong reviews and/or awards-season buzz – was sold.
As a “name,” Stewart would theoretically have lured patrons in even if only to check out Bella Swan in skimpy clothing and saying “fucking” ten times per sentence. Clearly, the public-at-large couldn’t care less, but what about the fans?
Were Kristen Stewart’s fans unaware the movie was playing (in other words, the problem lay with Samuel Goldwyn’s marketing approach)? Were they put off by the negative reviews? Did they find the film’s theme unappealing? Were they too young to go without a parent or “guardian”? Do they want to see Stewart only as Bella Swan or facsimile?
Of course, hindsight is always 20/20. Pundits can affirm that Welcome to the Rileys flopped for this reason or that reason. Yet, only a thorough investigation – interviews with the moviegoing public, concrete data on money spent on marketing and the chosen venues, etc. – will reveal the true cause(s) for Welcome to the Rileys’ below-par box office performance.
Also inspired by some of the comments posted on the Welcome to the Rileys articles, in the not-too-distant future I’ll write a post on what may happen with the careers of the three Twilight Saga alumni: Stewart, Robert Pattinson, and Taylor Lautner.
Many have predicted a dire professional future for all three – especially the first two. Even though that’s certainly a possibility, I beg to differ.
Welcome to the Rileys, by the way, has already disappeared from New York, Los Angeles, and Boston. It’s currently playing in secondary (and even smaller) markets: Austin, New Orleans (where the movie is set), Portland (Oregon), Scottsdale, Palm Springs, Camarillo, and Santa Ana.
A silver lining: Welcome to the Rileys will surely do better on DVD. The Runaways has sold more than 200k copies, pulling in $3.9 million according to The Numbers.
James Gandolfini, Kristen Stewart Welcome to the Rileys picture: Samuel Goldwyn Films.
Welcome to the Rileys, directed by Jake Scott, and starring James Gandolfini, Kristen Stewart, and Melissa Leo, opened last Wednesday on 73 screens in France. (Image: James Gandolfini gives Kristen Stewart a fatherly kiss in Welcome to the Rileys.)
Distributed by Bac Films, Welcome to the Rileys landed in 24th place on the French box office chart. During its first five days, the psychological family drama took in $158,000. According to local exhibitors, approximately 20-25k tickets were sold.
Coincidentally, that same weekend Unstoppable, directed by Jake Scott’s uncle Tony Scott, also opened in France. I won’t make any box office comparisons, as that would be quite absurd. Unstoppable stars Chris Pine, Denzel Washington, and Rosario Dawson.
In the US, at most in 10 theaters at a time, Welcome to the Rileys has grossed (up to November 14) $107,000.
Also worth noting, Welcome to the Rileys was screened at the Sundance Film Festival earlier this year, and had some trouble finding a domestic distributor. (See also: Welcome to the Rileys gets a new distributor.)
Welcome to the Rileys: French vs. North American box office
June 19, 2013, update: According to figures found at Box Office Mojo, Welcome to the Rileys earned almost as much in France as it did in North America: $158,484 vs. $158,898. For the mathematically challenged, that’s a difference of $414.
Welcome to the Rileys cast
Besides James Gandolfini (The Sopranos, In the Loop), Kristen Stewart (The Runaways, New Moon), and Melissa Leo (Everybody’s Fine, Best Actress Academy Award nominee for Frozen River), the Welcome to the Rileys cast features Ally Sheedy, Joe Chrest, Tiffany Coty, Eisa Davis, and Lance E. Nichols. Ken Hixon, who also has a small role in the film, wrote the screenplay.
James Gandolfini kissing Kristen Stewart in Welcome to the Rileys photo: Samuel Goldwyn Films.
Oct. 31, ’10, update: Reviews for Jake Scott’s Welcome to the Rileys have been mixed. Among Rotten Tomatoes’ “top critics,” this Ken Hixon-written psychological drama starring James Gandolfini, Kristen Stewart, and Melissa Leo has a mediocre 41 percent “fresh” score.
That sort of critical reception has clearly affected Welcome to the Rileys at the domestic box office. After all, unlike big-budget trash, small indies can sink or swim depending on their reviews.
Despite the presence of the Twilight Saga‘s fearlessly virginal Bella Swan as a foul-mouthed stripper/pole dancer/sex worker, Welcome to the Rileys collected only $45,000 at 10 locations, or a disappointing $4,500 per-theater average as per studio estimates.
All things being equal, the fewer the number of theaters, the higher the per-theater average.
For comparison’s sake (in terms of per-theater averages, not themes): another new entry this weekend, The Girl Who Kicked the Hornet’s Nest, the second sequel to The Girl with the Dragon Tattoo, scored $950,000 at 153 venues. That translates into a good (though hardly outstanding) $5,980 per theater. Noomi Rapace reprises her role as Lisbeth Salander.
Another comparison: The Yellow Handkerchief, which also features Kristen Stewart, collected $37,000 at 7 venues on its first weekend out last March. The low-budget drama’s eventual domestic total was a dismal $318,000.
Back in 2007, at only 4 theaters, Into the Wild, the film that began Stewart’s ascension, pulled in $212,000, or a sensational $53,110 per location. Generally solid reviews helped to catapult the Sean Penn-directed drama into awards season territory and acceptable box office grosses of around $18 million in the U.S. and Canada, plus a solid $37.9 million internationally.
Another early 2010 release, The Runaways, starring Stewart and Dakota Fanning, drew $805,000 at 244 theaters, averaging $3,299 per site. The $10 million rock biopic cumed at a highly disappointing $3.57 million domestically and collected only a little over $1 million overseas.
And finally, last year James Gandolfini’s British-made In the Loop brought in $192k on its debut weekend, averaging $23,983 at 8 theaters. Propelled by excellent reviews and several awards for its screenplay, Armando Iannucci’s political satire went on to gross $2.38 million domestically and another $5.39 million internationally. (Without all that critical/awards help it would have sunk without a trace.)
Considering its tentative debut and the lack of critical support, it doesn’t seem likely that Welcome to the Rileys will have a long (or wide) life at the North American box office.
Photo: Samuel Goldwyn Films
Welcome to the Rileys screenwriter Ken Hixon and producer Giovanni Agnelli are supposed to be present for a q&a following the 4:30 p.m. Saturday screening at ArcLight Hollywood on Sunset Boulevard.
On Friday, Agnelli apparently tweeted that Kristen Stewart was going to be present at the screening as well, but he later issued the following statement – er… tweet:
I really messed up guys! I misunderstood some information :( Kristen is NOT coming to theater tomorrow night. I’m SO sorry!!!
Agnelli added the following:
Guys, I feel like a total idiot. It was a request for her to appear and I thought it was a confirmation.
Give me 30 seconds to cover my face before you start punching…
At this stage, it’s unclear whether Kristen Stewart’s disappointed fans actually gave the Welcome to the Rileys producer the requested 30 seconds.
So, if Agnelli shows up for the ArcLight q&a with a few broken ribs and his head covered in bandages, blame it on Team Kristen’s toughies.
Also at the ArcLight on Saturday: After the 7:30pm screening of Wild Target, Q&A with director Jonathan Lynn; after the 7:35pm screening of Waiting for ‘Superman’, Q&A with producer Lesley Chilcott.
Photo: Samuel Goldwyn Films.
James Gandolfini proposes to Kristen Stewart in this scene from Jake Scott’s Welcome to the Rileys, which first surfaced on New York magazine’s Vulture blog.
Gandolfini’s proposal is all chaste. His character is a bereaved, well-intended father whose daughter has died, and he now wants to rescue Stewart’s pole dancer/stripper/sex worker from a life of dancing, stripping, and sex-working.
He’ll give her $100 a day if he can stay at her place, supposedly because he doesn’t like hotel rooms. “No pussy?” Stewart asks her soon-to-be surrogate daddy, before adding, “And I don’t do anal, either, just so you know.”
Welcome to the Rileys, which also features Melissa Leo, will open in New York, Los Angeles, and Boston on Oct. 29.
In the clip above, Kristen Stewart talks about dressing up as a “full-on Dracula” for four Halloweens in a row while talking with Jay Leno on The Tonight Show, which will be aired tonight.
Stewart is currently promoting the upcoming release of Jake Scott’s Welcome to the Rileys, which was screened at Sundance earlier this year. In this psychological family drama, Stewart plays a foul-mouthed pole dancer/sex worker who is “adopted” by married couple James Gandolfini and Melissa Leo.
Welcome to the Rileys opens in New York, Los Angeles, and Boston on Oct. 29.
Kristen Stewart chats up with Jay Leno in this brief clip from The Tonight Show. Stewart was there to talk about her upcoming movie Welcome to the Rileys, which could well bring her quite a bit of buzz throughout awards season.
Unfortunately, in this initial clip (part II to be posted shortly) Leno mostly talks about nothing, a bad habit that plagues the vast majority of talk shows.
Stewart is asked if she likes New Orleans, where she’d been shooting Walter Salles’ On the Road; how she feels about her new blond hair; if she ate sea food in Louisiana; and if she’s ever seen a naked man older than Terry Bradshaw.
Painful stuff, mostly. But there’s a curious bit about the Hollywood Cemetery, where movies are screened sometimes, and, even more interesting, Stewart’s thoughts on Dennis Hopper’s Easy Rider (1969), itself in some way or other inspired by On the Road:
“I really liked it. I mean … it’s nice to watch people be free and independent and, you know, and do things that people think aren’t ‘normal.’"
Answering Leno’s question on whether she found anything “daring” in Easy Rider:
“I guess the drug thing … but other than that it’s just … knowing the fact that you don’t have a direction and knowing that‘s your direction, and being, ‘Yeah, that’s my direction. Leave me alone.’"
Jay Leno finally gets to talk about Welcome to the Rileys in part II of the interview.
Kristen Stewart explains the plot of the movie directed by Jake Scott and written by Ken Hixon, which Stewart describes as a “character-driven” piece.
She adds that the film was shot at real strip clubs in New Orleans, so Jay Leno can add his own bit about his experiences at strip clubs and VIP rooms, only to come up with the moralizing remark that such a club is “ultimately a very depressing place.”
After blaming drug use for the downfall of the PG-rated strip clubs of yore, Leno asks Stewart to introduce a clip in which James Gandolfini’s family man gives Stewart’s foul-mouthed pole dancer/sex worker a lesson in morals and etiquette.
Welcome to the Rileys opens in New York, Los Angeles, and Boston on Oct. 29.
Kristen Stewart chats with MTV’s Josh Horowitz about Welcome to the Rileys, a drama directed by Jake Scott, and in which Stewart plays a pole dancer/sex worker “adopted” by Melissa Leo and James Gandolfini, who, as per Horowitz, doesn’t like doing interviews.
Among the highlights of the interview are Stewart bluntly remarking that “I thought this movie was gonna do nothing, basically,” and that she found working with James Gandolfini “oddly comforting” – in that she knew her on-screen partner would deliver a good performance.
When Horowitz reminds Stewart that she once said she would “kill” a guy looking at a girl “the wrong way” – which “wrong way” went unexplained – Stewart clarifies that she was probably feeling “spunky” the day she vowed bloody murder. She adds that what she had meant to say was that she had become extremely sensitive about “those things.”
But the real highlight of the interview is Stewart’s genuine laughter when she says, “I can’t lie about that,” after Horowitz asks her if she knows what “Krisbians” are.
Among the other goodies in the interview are Stewart’s assertion that she’d like to star in an action movie such as Wanted (she’d been mentioned as the possible lead in Wanted 2), and her assessment of her shortcomings as an actress in Welcome to the Rileys (filmed shortly after Twilight), adding that “I feel like I’ve gotten better with every movie.”
Stripping – which she doesn’t do on camera in Welcome to the Rileys – was “naturally found.”
I skipped the part in which Horowitz asks Stewart if she got to cook for the On the Road cast and crew.
And here’s wondering what Kristen Stewart gay (male) fans are called. Gaytens? Gaywarts?
Welcome to the Rileys opens in New York, Los Angeles, and Boston next Friday, Oct. 29.
Heavily madeup prostitute with a bruised heart has her money stolen by some asshole who wanted to fuck her up the ass. She starts screaming hysterically, using expletives the way most people use “kinda like,” and even gets to throw a shoe at an onlooker. If that ain’t Oscar bait material, I don’t know what is.
In a weak year for female performances, if there were a heavy push for Kristen Stewart’s expletive-machine / pole dancer / sex worker in Jake Scott’s Welcome to the Rileys, which opens tomorrow in Boston, New York, and Los Angeles, Stewart could indeed get shortlisted for the Best Actress Oscar.
As is – Nicole Kidman, Noomi Rapace, Annette Bening, Julianne Moore, Sally Hawkins, and about ten other strong possibilities – Stewart’s chances are all but nil even though she, trademark mannerisms notwithstanding, totally outacts James Gandolfini in the clip above. (Personally, my favorite moment is when she throws the shoe at the motel manager.)
Well, things could go a different way if US critics come to the realization they just love the Twilight Saga star. That’s not impossible, but when you have Kidman, Rapace, Bening, etc. etc., it seems quite unlikely.
But if a Kristen Stewart nomination were to happen, the Academy should probably select a PG clip for the awards ceremony – in case there is such a thing in Welcome to the Rileys.
Else, half of Stewart’s dialogue (written by Ken Hixon) would have to be bleeped out lest the Oscarcast become a corrupting influence in American homes.
Warning: This is an R-rated clip. Before watching it, make sure to clear the room of any children, pets, and potted plants.
Clip via ropeofsilicon.com