Eugene Novikov
-
Cinematical Seven: Movies That Start Fights
Filed under: Horror, Independent, Sci-Fi & Fantasy, New Releases, Cinematical Seven
I've been meaning to purchase and wear this t-shirt since I learned of its existence a couple of months ago, but I figured I'd better let the Twilight: New Moon hysteria die down first. It would appear, after all, that openly declaring one's hostility toward the Twilight franchise on one's person, even with a statement as unquestionably correct as "Vampires Don't Sparkle," is just asking for trouble. You do not want to mess with a gaggle of rabid Robert Pattinson fans.
I do not hate the Twilight franchise, actually, though I would like to suggest that the Twilighteers may live to regret sinking so much time and emotion into something so utterly banal. But I seem to be one of the few who occupy the middle ground. Twilight might be the most divisive love-it-or-hate-it phenomenon of the last few years. Not everyone adores Harry Potter, but most people have at least a grudging respect for it; Twilight has as many haters as fawning admirers.
You gotta admit that if you can use a movie to start an argument, it's at least good for something. Here are seven other movies that seem to disproportionately divide the moviegoing population into adoring fans and angry detractors.
1. Titanic - To get the obvious out of the way. It's amazing to me how often people make offhand derisive mentions of Titanic, as if its awfulness were well-established and self-evident. As with Twilight, of course, the surprisingly widespread disdain of this movie is a backlash against its army of obsessive partisans (and from a similar demographic to boot) -- the folks who showed up on local news shows in 1997 bragging about having seen it 16 times in the theater, etc. The fact that Titanic is a fantastic film -- and not really (or at least not only) for the reasons many of its fans think -- tends to get lost in the shuffle, sadly.
Weekend Box Office: '2012' Feeds Appetite for Destruction
Filed under: New Releases, Box Office
Occasionally you'll hear a movie branded as "criticproof," which I take to be a derisive term implying that the masses will flock even though the movie in question is garbage If there's an entire genre that may now get described as "criticproof" it's the disaster movie. No amount of bad reviews could keep people away from watching Roland Emmerich destroy the world anew in 2012, which made $65 million domestically and $225 million worldwide. The domestic numbers are comparable to The Day After Tomorrow which, among other things, ran 40 minutes shorter. The foreign numbers are even stronger. Those who've seen the movie shouldn't be surprised. Think of it what you will (it's probably my favorite Emmerich film, which is not saying a lot), but it's pretty incomparable as special effects spectacle.2012 had the box office pretty well to itself this weekend. Its only new competition in even semi-wide release was Pirate Radio, which largely flopped despite the enthusiastic pimping of the Love Actually connection -- under $3 million on 880 screens. Faring better was Precious, which expanded to just under 200 screens and earned $6 million. With Precious and Paranormal Activity, this is proving to be a good season for slow roll-out platform releases; Precious seems to be doing a nice job of building awards buzz, too.
As expected, A Christmas Carol turned out to be durable, still running way ahead of The Polar Express, and looking to get a bump from the Thanksgiving holiday in a couple weeks. Look for this one to stick around the top 5 for a little while. On the other hand, the reign of 2012 meant big hits for the holdover genre films, including The Fourth Kind, The Box, and Paranormal Activity.
The box office chart after the jump.
Weekend Box Office: 'Christmas Carol' and 'Precious' Bow Big
Filed under: New Releases, Box Office
I was considering a title pun on Richard Kelly getting Box-ed out -- which works on multiple levels!! -- but I couldn't pull the trigger. That, though, is my main concern this weekend, to be honest: I am heartbroken (though not surprised) that Kelly's wonderful, hugely ambitious sci-fi flick couldn't get a foothold at the box office. People at my Thursday night screening thought they had seen one of the worst movies ever, which I guess is what happens when you're led to expect harmless PG-13 horror and get something so radically different. I also suspect that Donnie Darko would have been similarly received had it opened on 2,600 screens instead of building its cult cred in mini-release and on DVD. Anyway, The Boxearned $7.9 million -- not a total disaster for a $25 million movie, but not exactly a resume-builder for Kelly to the extent he has commercial ambitions. It was roundly defeated by the rest of the weekend's newcomers, most notably A Christmas Carol, which took first place with $31 million. That may not seem like a lot, but note that Zemeckis's The Polar Express opened to even less on its way to $180 million. I predict that A Christmas Carol, which looks wonderful on IMAX 3-D, will hold up well.
The weekend's other big winner was Precious, which Lionsgate pushed to an impressive $100,000 per-screen average on 18 screens. Even accounting for the very limited release, that's pretty strong; Brokeback Mountain-like numbers ($80-90 million) are probably within reach.
More, and the weekend top 10, after the jump.
Jake Gyllenhaal Joins Duncan Jones for 'Source Code'
Filed under: Sci-Fi & Fantasy, Casting
I'm not sure what happened to Escape from the Deep, the World War II submarine thriller which was supposed to be the next project for Moon's Duncan Jones, or Mute (his other original sci-fi film). The news today, though, is even more exciting: it seems that instead of tackling historical fiction, Jones will go back to the well for some more heady science-fiction with Source Code. If the title sounds familiar, it's because the project has been floating around for over two years; last year, Shane Abbess (of the Australian pseudo-religious horror film Gabriel) was set to direct. Source Code was written by Ben Ripley (Species III!), with a once-over by Billy Ray -- a master of the thoughtful genre film. In it, a character is forced relive a train bombing from the point of view of a stranger until he can figure out who's responsible. Jake Gyllenhaal is in negotiations to play the soldier protagonist, or perhaps the third party he inhabits. It's not clear if this is a "conventional" time-travel story or something more akin to Groundhog Day.
Jones is also attached to another sci-fi project called Mute, which he is writing and which he discusses briefly here. Source Code is supposed to start filming early next year, which will probably put the other film (not to mention Escape from the Deep) on the back burner. Meanwhile, awards speculation is starting to simmer around Moon, and especially the richly deserving Sam Rockwell. I'll believe that when I see it -- but Jones' debut showed such remarkable promise that I'm awaiting his next film with bated breath.
Weekend Box Office: Long Live the King of Pop
Filed under: New Releases, Box Office
Michael Jackson's This is It was the only new wide release this weekend, and essentially had the box office to itself. This may seem weird, but this is as it should be -- and it has more to do with Halloween falling on a Saturday than with any show of respect for the King of Pop. Predictably, This is It won the weekend, grossing $21.3 million for a total of $32.5 million since its Wednesday opening. That's a good number, and monumental for a documentary, though it is also an instance where the studio's hype machine may have led people astray.Those who read the breathless press releases about the trumped-up advance ticket sales frenzy surrounding This Is It may be disappointed (or in any case surprised) by these figures. But over $30 million in five days for a concert documentary is nothing to sneeze at -- and I don't think that expecting much more was reasonable. (As a footnote, too, the movie made nearly $70 million outside of North America -- which also makes sense.)
The Boondock Saints II: All Saints Day bowed on 68 screens and grossed just under half a million in 16th place, which isn't bad, really -- confirming the small cult following for Boondock Saints that everyone already knew existed. Among holdovers, Paranormal Activity continued to add screens, and continued to hold up well -- it should break $100 million by this time next week. Saw VI and Where the Wild Things Are both suffered drops over 60%; Wild Things will top out around $70 million (pretty good for an art film), while Saw VI will wind up making around (or just over) half of the next lowest grosser in the franchise. Will the next one go straight to DVD? (Probably not, but it might be time to start asking the question.)
The full top 10 after the jump.
How 'Saw' Got Its Groove Back ... If Not at the Box Office
Filed under: Horror, New Releases, Box Office, Contests, Remakes and Sequels
This one is for the increasingly few of you who have steadfastly stuck with the Saw franchise through thick-and-thin in the aughts. The opening weekend numbers for Saw VI are the weakest since the first film, mostly thanks to some stiff competition from breakout hit Paranormal Activity. But box-office returns aren't everything. So: what'd you think?
I wrote this little piece before the release of Saw V last year, in the mode of a frustrated fan hoping for a revitalized franchise. It didn't happen; Saw V was boring and incomprehensible, and I was ready to skip the sixth film altogether. Then it got some decent reviews, and I thought what the hell. I'm glad I did. Saw VI, which sees editor Kevin Greutert take over directing duties, is easily the best Saw movie since the third. That may not be the most enthusiastic bit of praise I've ever issued, but miracle of miracles: the fifth sequel to a half-decent horror flick is legitimately pretty good. Here's how I think Saw got some of its bite back:
- Thriller momentum. For the first time in three years, a Saw movie is exciting, in an old-fashioned what-happens-next sort of way. There are creative traps a-plenty -- some of the most ingenious ones in the series, for those who are into that sort of thing -- but the film doesn't depend on them: it has a semblance of a protagonist, and a story that moves forward, and draws you in, and makes the 90 minutes feel like less. Which is related to my next point, namely:
Weekend Box Office: 'Paranormal Activity' Wins Weekend Horrorfest
Filed under: New Releases, Box Office
Is the Saw bubble finally deflating for good? The sixth installment of the mainstay franchise played second fiddle to the still-surging Paranormal Activity this weekend, grossing only $14.8 million dollars -- less than half the bow of the previous four installments, and lower even than the original 2004 film. The competition from the plucky indie horror film likely has something to do with Saw VI's disappointing returns, waning interest is probably involved as well. Paranormal Activity, for its part, claimed the top spot for the first time in its impressive five-week run, hanging on to its momentum in its first weekend of legitimate wide release. The Paranormal/Saw horror combo left the weekend's other newcomers floundering. Summit's Astro Boy didn't have the marketing muscle it needed, while Amelia was hurt by bad reviews and a lack of studio enthusiasm. But the weekend's real disappointment is Cirque du Freak: The Vampire's Assistant, an obvious attempt by Universal to kick-start a new kiddie fantasy franchise, and a far, far bigger (albeit cheaper) fizzle than The Golden Compass. The Weitz brothers should no longer be permitted to work in this genre.
Where the Wild Things Are took a honking 55% hit in its second weekend, a victim of being an art film in mainstream guise. Law Abiding Citizen fared a little better -- it's now Overture's highest-grossing film.
The full top 11 after the jump.
Weekend Box Office: 'Wild Things' a Hit with Grown-ups
Filed under: New Releases, Box Office
All the hand-wringing over whether or not Where the Wild Things Are is "for children," or "kid-tested, mother-approved," or whatever, turned out to be mostly academic: the kids didn't go. And the movie cleaned up anyway. According to figures cited by this David Germain piece in the AP, parents with kids made up only 27% of the $32.5 million Wild Things earned this weekend. The prevalence of adults (who I gather grew up on the book, unlike the current generation of tykes) probably bodes well, or at least better, for the box office staying power of the divisive, challenging film. Gerard Butler's Law Abiding Citizen opened to $21.3 million in second place -- the highest ever opening gross for young distributor Overture. That may have been at the expense of Screen Gems' The Stepfather, the unscreened, bloodless PG-13 horror remake that debuted in fifth place with $12.3 million. That's still not bad given the total lack of expensive name-brand talent involved.
Paranormal Activity continued its slow roll-out charge, adding 600 screens (760 total) and adding $20 million to its gross. (That's around $26,000 per screen.) How much the idiotic "we-won't-open-in-your-city-unless-you-go-online-and-DEMAND-it" shtick had to do with this is debatable. (Would the movie have made even more had Paramount just held the film back and then put it into wide release this weekend?) But the "breakout hit" label is difficult to resist at this point. Good job everybody.
Down at number 21, the omnibus New York, I Love You goes on the probably-should-have-kept-it-in-the-arthouses category. Its predecessor-of-sorts, Paris Je T'aime, expanded to around 200 screens rather than starting there, and did considerably better than New York will, foreign language handicap and all.
The full top 10 after the jump.
New Shyamalan Project Traps You in an Elevator. With Satan.
Filed under: Horror, Thrillers, RumorMonger, Scripts
What is Devil? It's a new movie directed by the Dowdle Brothers (the skillful Quarantine) with a script by Brian Nelson (30 Days of Night, Hard Candy) from a story by M. Night Shyamalan (uh... well, you know). It is also the coolest high concept I've heard in a long time. The plot of the Shyamalan-produced project was tightly under wraps, but some online sleuthing by Slashfilm this weekend uncovered some hints, including possibly the greatest log line of all time.The logline: "A group of people are trapped in an elevator, and one of them is the devil."
Right off the bat I should say that I have an almost irrational affection for movies that take Satan seriously as a walking, talking character. (As opposed to a tormenting spirit a la The Exorcist, which is also cool, but a whole different animal.) When The Devil's Advocate came out, I was obsessed with it for months. And I always find myself willing to tolerate a lot of crap from movies like End of Days for the same reason. My biases also include a love for claustrophobic little thrillers with a psychological bent. (This one almost sounds like something dreamed up by David Mamet.) And have I mentioned that getting stuck in an elevator is a long-standing phobia of mine?
I'm also a Shyamalan apologist, and his involvement in this isn't surprising: like all of his films, Devil is conceptually brilliant. It's the execution that's in question. The linked Slashfilm post reveals a few more details, none of them as interesting as that ridiculously beguiling conceit, which might be a bad sign.
Discuss: Is 'The Invention of Lying' Just an Atheist Screed?
Filed under: Comedy, New Releases, Movie Marketing, Politics
Ricky Gervais's The Invention of Lying is taking hits in some places -- and earning praise in some other places -- for sneaking an unabashedly atheistic message inside a fairly conventional rom-com structure. I agree that the movie is astonishingly gutsy in this respect: in a country where a politician cannot publicly avow a lack of belief, a movie that declares religion to be a sham to comfort the gullible got a major distributor and a 2,000+ screen release how? (The obvious counterpoint is Bill Maher's Religulous, but that was a niche documentary that preached to the choir and was honestly marketed as anti-clerical; The Invention of Lying is a mainstream comedy whose ads did not contain a hint of where it was heading.) But is Gervais's movie really as anti-religious as it seems?
Consider that Gervais's portrayal of a world without religion is hardly utopian. His Mark Bellison lives in a shallow, blatantly classist society, obsessed with material wealth and physical appearance. His quest for romantic companionship is consistently undermined by his portliness and his "snub nose" -- obstacles in most civilizations, to be sure, but here the grounds for denying him sex and companionship are downright eerie. It's not just that the beautiful, successful Anna McDoogles (Jennifer Garner) isn't physically attracted to him. It's that, she tells him time and again, the two of them are not an optimal "genetic match." Mark's hunky colleague (Rob Lowe), on the other hand, is a far better "genetic match" -- and thus a better mate despite being, by all accounts, a huge douchebag.
Black Friday Movie Deals: Best Buy
Sex and Nudity Don't Draw You to the Movies?
What Makes a Real Vampire?
Robert Downey Jr. Wants to Retire?
Jaycee Dugard's Horrific Story to Get a Sleazy Adaptation
_thumbnail.jpg)
