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Jeffrey M. Anderson's 400 Screens, 400 Blows: X-ed Out

Filed under: Action, Independent, Sci-Fi & Fantasy, Brett Ratner, Comic/Superhero/Geek, Remakes and Sequels, 400 Screens, 400 Blows, Cinematical Indie

How is it that Brett Ratner's X-Men: The Last Stand -- which drops to below the 400-screen radar this week, playing on 332 screens with a gross nearing $233 million -- outgrossed the first two films? The movie is a vastly inferior sequel to Bryan Singer's excellent X2: X-Men United (2002), slammed together by a man who could be, in fact, the very definition of "hack director." He has made nothing but intellectual, artistic offenses with his films (Rush Hours 1-2, The Family Man, the truly dreadful Red Dragon and the should've-gone-straight-to-video After the Sunset), and yet has reaped millions and millions for Hollywood, with more zeroes at the end of his checks than the top half-dozen most talented filmmakers put together.

I'll do the math: Bryan Singer's first X-Men (2000) clocked in at about $157 million, and his second, even better film stopped at about $215 million. According to Lee's Movie Info, the average movie ticket price in 2000 was $5.39, and in 2002 it was $5.80. This year it's an estimated $6.56. That's 29 million tickets sold for the first movie, about 37 million for the second, and about 35.5 million for the third one. Yes, we can assume that lots of people saw the first couple on DVD -- but you have to account for a certain amount of word-of-mouth; wouldn't people tell their friends about how badly X-Men 3 sucked?

The first two installments focused on a specific emotional arc, a kind of outcast mentality accompanied by societal prejudice, as well as some very impressive action sequences. Not to mention that Magneto (Ian McKellen) and his band of outsiders represented a third party, stuck between the heroes and the evil legislators. Ratner dumped this entire balance, going with a brain-dead plot about a total-cure serum and a Dark Phoenix (Famke Janssen) who stares blankly ahead for about 45 minutes rather than kicking butt. Even the utterly fascinating Wolverine (Hugh Jackman) gets reduced to a black-and-white caricature.

Here's my guess: Even if friends tell friends not to see something bad, people are liable to go anyway, just so they can check it out for themselves. It's like that "Saturday Night Live" sketch in which someone (was it Jon Lovitz?) tells Tom Hanks that the milk is sour, and he tastes it anyway. There's something in our American, gung-ho personality that doesn't allow us to take anyone's word for anything -- which is why the blockbuster system works.

In other movies, I still haven't managed to see A Scanner Darkly (now on 219 screens) a second time, but I keep thinking about it. Another movie I want to see again is Robert Altman's A Prairie Home Companion (recently demoted to 298 screens), a screening of which our own James Rocchi walked out upon. I saw his point; the movie has some seriously awkward bits, notably Kevin Kline's unwise portrait of Guy Noir as a slapsticky oaf (on the radio show, Noir is played by Garrison Keillor, and he's the smartest guy in the room) and Virginia Madsen's avenging angel in a white overcoat. And in general, the plot about the show's swan song and a corporate entity buying the theater is a little routine. But Altman casts a really lovely, warm glow over the whole thing, perfectly capturing the comfy, Sunday afternoon nostalgia that makes the show a hit. Not to mention that Meryl Streep -- Is there a better performer on the planet? In history? -- gives another one of her grand slam turns as an aging singer with a stale, old love affair curdling at the back of her tongue. And Lindsay Lohan -- yes, Linsday Lohan -- stands her own ground as the singer's cynical, poetry-writing daughter.

Have I mentioned The Proposition lately? We're in the middle of a 30 year-slump as far as Westerns go, and here, unexpectedly, comes a very good one. Since 1976, there have been two great Westerns, Clint Eastwood's Unforgiven (1992) and Jim Jarmusch's Dead Man (1996) and a handful of good ones (Eastwood's The Outlaw Josey Wales, Sam Raimi's The Quick and the Dead, Kevin Costner's Open Range, etc.). (Television has more or less kept the Western alive, but that's another story.) The Proposition comes from Australia, and it's grimy, brutal, ambiguous and intelligent -- not to mention that Emily Watson plays perhaps the most rounded female character ever to appear in a Western. Last year's The Three Burials of Melquiades Estrada came by way of Mexico; maybe we need to look elsewhere to revive this most American of genres?

A couple of last mentions: See Terry Zwigoff's Art School Confidential (11 screens) while you can. It's one of the most underappreciated films in a year full of them. And I very much enjoyed two lightweight new movies, perfect summer stuff: Cédric Klapisch's Russian Dolls (6 screens) and Ryuhei Kitamura's Azumi (1 screen).

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