1. Split $25.7M/$77.4M
2. A Dog's Purpose $18.2M
3. Hidden Figures $14.0M/$104.0M
4. Resident Evil: The Final Chapter $13.6M
5. La La Land $12.2M/$106.7M
6. xXx: Return of Xander Cage $8.6M/$33.8M
7. Sing $6.4M/$257.6M
8. Rogue One $5.3M/$520.2M
9. Monster Trucks $4.2M/$28.2M
10. Gold $3.5M
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Person to Person
Director: Dustin Guy Defa (Bad Fever)
Cast: Michael Cera, Tavi Gevinson, Abbi Jacobson, Philip Baker Hall, Bene Coopersmith, George Sample III
Synopsis: During a single day in New York City, a variety of characters grapple with the mundane, the unexpected, and the larger questions permeating their lives. An investigative reporter struggles with her first day on the job, despite help from her misguided boss; a rebellious teen attempts to balance her feminist ideals with other desires; and a young man seeks to reconcile with his ex-girlfriend, even as her brother threatens revenge. Meanwhile, an avid music lover traverses the city in search of a rare record for his vinyl collection.
Running Time: 84 Minutes (plus 8-10 minutes of trailers)
No free passes or daily deals, but discount cards o.k.
Enjoyable Throwback Ensemble Comedy
by John DeFore
A proudly analog day-in-the-life comedy whose ensemble members scatter across New York City without stepping on each other's toes, Dustin Guy Defa's Person to Person looks and feels (in a good way) like something that might have played Sundance 20 or more years ago. Investing the least in its biggest names (Michael Cera and Abbi Jacobson), the picture identifies beautifully with marginal characters who, in a mid-2000s Sundance film, would have been milked ruthlessly for quirk value. Focused on amiable local color instead of escalating laughs, it will find many fans on the fest circuit and deserves its moment in art houses.
Defa made an earlier short by the same title, only loosely related to this feature. The main carryover is Bene Coopersmith, an untrained actor who in real life founded a small record store in Red Hook, Brooklyn. Though not graced with a traditional thesp's looks, Coopersmith has a self-conscious charisma that justifies the repeat casting; his Benny is a solid guy in a shaky world.
The movie opens as Benny, a jazz buff and sometime record dealer, receives a phone call offering him a rare piece of Charlie Parker wax. Donning a spiffy shirt whose questionable appropriateness will dog him throughout the film, Benny heads out for the score, but not before urging his depressed houseguest Ray (George Sample III) to get off the couch and go for a walk. Elsewhere, youth style journalist Tavi Gevinson plays Wendy, a pixie-cut misanthrope angst-ing her way through a day that threatens, against her will, to introduce her to a boy nice enough to date.
Contrary to expectations, these three characters have little if anything to do with what might be called the main plot, in which a crime reporter (Cera) brings a trainee (Jacobson) along in an attempt to find out whether a woman has killed her husband or simply come home to the scene of his suicide. From the reporters' workplace to the behavior of cops on the case to the noir-ready widow, everybody in this storyline seems to be playing his role through a couple of layers of ironic detachment — an intentional off-kilterness, surely, given the other storylines' realism. The exception is Philip Baker Hall's Jimmy, a watch repairman who may possess a key piece of evidence in the murder investigation: Unwilling to participate in whodunit shenanigans, Jimmy maintains a dignified silence when questioned by Jacobson's nervous Claire.
That mystery may seem destined for bumbling-detective hijinks, but the movie maintains a gentle vibe throughout, its pitch rising only in a single amusing chase scene involving a con man and a wronged record collector. As a result, small acts of generosity or emotional openness are more satisfying than they might have been otherwise. Benny the record collector never voices those tired arguments about vinyl's "warmth" capturing nuances digital recordings miss, but that won't keep celluloid lovers from seeing this Kodak-shot picture (beautifully lensed by Ashley Connor) as an illustration of the movie version of that sentiment: This film, looking so little like its indie contemporaries, nurtures our appreciation of small details, emotional accomplishments most films would breeze right past or bring too sharply into focus.