July 4th weekend is typically reserved for huge blockbuster releases, particularly those starring Will Smith and/or showcasing America as a force not to be messed with (against aliens or the British). Very, very rarely does an independent release even bother trying to go up against the studios during the big holiday. For example, the only option for an American indie we have this weekend is IFC’s wrong-holidayed I Hate Valentine’s Day, which is uneventfully the second Nia Vardalos movie in a month. And this year we don’t even have the usual sort of event movie debuting on July 4th weekend. There’s just Public Enemies and Ice Age: Dawn of the Dinosaurs. Boring.
Isn’t it ironic that independent films can’t open on Independence Day? It would make sense for there to be a number of good U.S.-produced indies opening this week, going up against the big guys with their American spirit (including their disregard for broad, worldwide marketability) and evidence of the American Dream come true. Wondering if there have ever been great independents released at this time of year, we took at look at the last 30 years of cinema and found only a few significant titles.
See what little (American) films bucked the 4th of July weekend release system after the jump:
…Read more
Fox Searchlight, the distributor that tends to get the most bang for its Sundance buck, has picked up worldwide rights to Max Mayer’s romantic film Adam with intent for a 2009 theatrical release. Other big deals of the past 24 hours include Sony Classics’ acquisition of North American rights to the blaxploitation tribute Black Dynamite and Magnolia’s pickup of worldwide rights to Lynn Shelton’s comedy Humpday, which will get a VOD release a month prior to its debut in theaters this summer.
Check out our Sundance Deals chart for the full scoop on these three deals and the rest of the acquisitions as of this morning.
The Sundance Film Festival had it’s first major deal go down Saturday night as young distributor Senator Entertainment (in a co-venture with Sony Pictures Worldwide) picked up North American rights to Antoine Fuqua’s admittedly unfinished Brooklyn’s Finest for a price tag of less than $5 million (with a marketing commitment of $10 million).
Other acquisitions made just before and since the festival began include the following:
All these pickups have been added to SpoutBlog’s Sundance Deals chart, which will continue to be updated throughout the festival. So remember to keep checking back and bookmark the post if you haven’t yet.
Here’s our running tally of each of the distribution deals announced just before, throughout the course of, and just after the 2009 Sundance Film Festival. We will update this post whenever new information comes in, so bookmark it and keep checking back for the newest latest.
Sundance doesn’t technically end until Sunday, but I’m already half-way home from Park City, where the general sense last night seemed to be that the bulk of the buyers weren’t exactly in a hurry to close deals before closing night. But as our deal chart shows, Sony Classics managed to sneak in two quick, six-figure buys at the end of the week, first nabbing the contentious Frozen River, then closing the pick up of the Duplass Brothers’ mumble-horror comedy Baghead late last night. Check out the full chart here.
Not content to let IFC walk off the Croisette as the big buying ballers of Cannes 2008, Sony Pictures Classics 
