New York Times entertainment reporters Brooks Barnes and Michael Cieply reviewed the year at the box office on Monday, another record year of almost $11 billion spent on movie tickets.
The top five grossing movies were all sequels (or in the case of “Monsters University,” a prequel), but the article got a little weird when they called it a “tough year for the good-behavior watchdogs of popular culture,” but only talked about scenes with smoking and guns!
Others can comment on the entirely of the Sunday New York Times story by Serge F. Kovaleski and Brooks Barnes (used in Monday's print edition) about Nakoula Basseley Nakoula, the maker of the infamous "Innocence of Muslims" YouTube trailer the authors characterize as a "film" a dozen times in their write-up. Nakoula has now been in jail for two months.
I'm only going to comment on the following two sentences from the writeup which follow the jump:
Taking a strange, hostile stand toward free expression, the journalists at the New York Times assumed an amateurish YouTube video sparked deadly riots in the Muslim world, and asked the imprisoned director if he had any regrets for making the movie.
Monday's front-page report from Los Angeles came from Serge Kovaleski and Brooks Barnes and appeared in print under the guilt-assuming headline "From Man Who Insulted Muhammad, No Regret." The headline on the front of nytimes.com: "After Fueling Deadly Protests, No Regret."
Appearing on the front of the New York Times Arts section Tuesday interviewing Pixar founder and “Cars 2” director John Lasseter, Hollywood reporter Brooks Barnes indulged in his preoccupation with political correctness on screen and in movie studios: “It Wasn’t a Wreck, Not Really.”
The "wreck" in question was the critical opprobrium foisted upon the "Cars" sequel, which Lasseter directed. He defended the movie, the only true critical flop from the innovative animated movie studio. But Barnes wanted to talk quotas.
The New York Times certainly doesn’t have dazzled stars in its eyes when it writes about Mel Gibson. What could have been a standard weekend-box-office-receipts piece by Brooks Barnes on Monday sounded like an attack piece:
LOS ANGELES - And the blue money just keeps rolling in.
The much-hyped return to the multiplex of Mel Gibson, whose drunken and anti-Semitic outburst in 2006 turned him into a Hollywood pariah, proved no threat to James Cameron's "Avatar," which was No. 1 at the weekend box office for the seventh weekend in a row and passed the $2 billion mark globally.
Two sentences later, Barnes added:
Heading into the weekend, box office analysts were unsure what to expect from Mr. Gibson's crime thriller "Edge of Darkness." Had moviegoers forgotten his rant and the subsequent tabloid brush fire? Many people in the movie business still harbor raw feelings about it.