EagleEye Tagged Articles at Cinematical

Seemingly needless to say, spoilers for the Shia LaBeouf techno-thriller Eagle Eye will soon follow.

Seriously, I don't want to hear any complaints. I done warned ya.

Alright then. So, as much as the film tested my suspension of disbelief in theaters -- which it did, in no small frequency -- I pretty much went with it and enjoyed it, though nothing says studio ex machina like the rah-rah happy ending in which Shia takes several bullets while thwarting an evil computer's elaborate assassination attempt on the President of the United States and his entire Cabinet, but magically manages to make it to Michelle Monaghan's son's birthday party after all, Guitar Hero make that Rock Band in hand (hey, now that bit rhymes!).

Well, according to the video after the jump, bootlegged borrowed from the recent DVD release, another ending was actually considered... and then written... and then filmed where the kids are playing the game before it freezes up and indicates that (duh-duh-DUH!) said evil computer is back online and coming after him, them, and maybe even YOU!

So ... which ending is sillier?

You may have noticed there was no release list this past Tuesday, as the big releases are all hitting shelves today (or yesterday or tomorrow -- it' seriously varies depending on store), and we're fully in the Christmas lull. Read on for today's handful of Hollywood films and 12/23 releases.

The Duchess
Ah, another film with Keira Knightley in period clothing. This time around, she's Georgiana, the Duchess of Devonshire, and she's a powerful woman reduced to love in secret under the reign of a rigid and mean husband (Ralph Fiennes). However, while Mr. Fiennes pulls off a chilling performance as the Duke of Devonshire, this period offers little of Georgiana's triumphs, much of her romantic turmoil, and not enough compelling cohesiveness to give her story a chance. Skip it.

Eagle Eye
First, DJ Caruso brought us Shia LaBeouf under house arrest in Disturbia. Now he's let Shia run around maniacally with Michelle Monaghan for Eagle Eye, as two innocent strangers become at the whim of a powerful phone caller who turns them into fugitives. This is one of those action flicks that did well in the box office, but didn't get a lot of critical love. Nevertheless, it's action to break up the holiday monotony, so Rent it.

The top two films at the box office this weekend couldn't be more different -- which might help explain why both had such strong starts. The third film in the Disney Channel's wholesome, wildly popular High School Musical franchise, and the first to hit theaters, had a $42 million debut, and will go on to be at least as wildly profitable as its predecessors. $30.5 million for Saw V is basically in line with its three immediate predecessors, all of which had first weekends between $31 and $33 million. The films' final grosses have been steadily declining since the second film, however, with the most recent entry dropping like a rock and managing only $63 million total. We'll see if that trend continues. I'd say, though, that this debut guarantees a sixth Saw for next Halloween. As Eric wrote yesterday, it is now the most lucrative horror franchise in film history.

The only other new wide release this weekend was Pride & Glory, which New Line more or less dumped. It did a predictably weak $6.3 million, good enough for fifth place.

Oliver Stone's W. took a big hit, as the people who needed to see it apparently saw it last weekend. It dropped nearly 50%, with a $25-28 million finish looking likely. Max Payne held up even worse after last week's strong debut. Meanwhile, two films from the early fall doldrums continue to emerge as success stories: Eagle Eye and Beverly Hills Chihuahua are both still hanging around, and both looking to reach $100 million before all is said and done.

In 20th place, Clint Eastwood's Changeling made a strong limited bow: half a million on fifteen screens, for $33,000 per screen. It goes wide next week. A bit further down, the annual rerelease of Tim Burton's A Nightmare Before Christmas 3-D couldn't do much business, ending up with $372,000 on almost 300 screens.

The full estimates after the jump.

Well, what do you know: I was right, sort of! Oliver Stone's W. didn't remotely flop. Its $10.6 million opening weekend on just over 2,000 screens is very respectable for a political, current-events-themed drama. In case you're just joining us, those have not been doing well. W. was a couple million away from matching the first weekend gross of the Scott-DiCaprio-Crowe offering Body of Lies (which fell to sixth place this week). Of course, conservative blogs are already spinning its (completely unsurprising) slip from second place on Friday to fourth for the weekend as some sort of referendum on Oliver Stone's politics. Fat chance.

There were other winners this weekend. $18 million is a good number for an inexpensive actioner like Max Payne, though if you think it underperformed a bit you're probably right. $11.1 million in semi-wide release for The Secret Life of Bees is gold. Beverly Hills Chihuahua continues to do well, approaching $70 million. Even Eagle Eye is still kicking down in fifth place; it'll just miss the $100 million mark.

The weekend's only flop was such a foregone conclusion it can hardly be called a flop. Summit's Sex Drive opened to 9th place with $3.6 million. With no stars and no real marketing hook (choosing a picture of the protagonist in a donut suit as the film's main piece of branding probably wasn't the best thing), it could have been worse, and the thing will break even eventually.

The full estimates after the jump.

Eric D. Snider tried his best to trick me into watching Beverly Hills Chihuahua this week. It didn't work on me, but it worked on millions of Snider acolytes all over North America, who joined forces to give the talking-animals kidflick a strong $29 million, first-place debut. I didn't see it, as I say, so it would be wrong for me to bemoan the decline of civilization that this surely (if unsurprisingly) represents. Feel free to do so in the comments.

Nick & Norah's Infinite Playlist opened to $12 million and third place, which I'd have to say is okay for the low-profile, borderline-niche film. That number, though not terribly impressive, is actually a fair testament to Michael Cera's star power, since his presence was literally the only mass-marketable aspect of the movie. So the debut is at least a draw for Sony.

It was an interesting weekend in that there were several films opening in, or expanding into, semi-wide release. The biggest winner of that bunch has to be Religulous, Bill Maher's aggressively anti-faith documentary, which did $3.5 million on around 500 screens for $6,972 per screen. Given the preaching-to-the-relatively-small-choir quality of the film, I don't expect it to hold up too well in the weeks ahead, but this level of interest is a mild surprise. Facing off against Religulous ideologically was David Zucker's conservative spoof An American Carol which, according to the estimates, edged out Religulous with $3.8 million on over 1,600 screens.

Ed Harris's lightweight western Appaloosa expanded to roughly 1,000 screens and took in $5 million -- which is okay, but seems like a missed opportunity. Faring worse were Flash of Genius (1100 screens) and Blindness (1700), with $2.3 and $2 million respectively, both landing outside the top 10. The grim Blindness was a no-sale from the beginning, especially since the critics never got on board, but the unabashedly populist Flash of Genius underperformed. Maybe the ads emphasized windshield wipers too much.

A bit more plus the weekend's top 12 after the jump.

Wait, stop -- don't throw yourself out that window just yet! It may or may not be as bad as it looks/sounds. According to Slashfilm, one of their readers attended a Q&A session with one of the writers of Eagle Eye, which was hosted by Creative Screenwriting magazine. During said Q&A, the writer, Travis Wright, said that he and his partner John Glenn were working through "various treatments for a Blade Runner sequel over the last couple years." Apparently, they've been working alongside Blade Runner co-executive producer Bud Yorkin, and all of this has been done outside the studio system -- meaning this is in no way a done deal, only that these writers are trying to put together their best package in the hopes a studio will bite.

As of right now, Ridley Scott is nowhere near the project (although both guys are working on a Warriors remake for Tony Scott), and given the somewhat negative reaction to Eagle Eye, I imagine most fans will take a similar approach. In my opinion, Blade Runner is a film you don't touch and you don't sequel-ize, but perhaps I'm in the minority. Maybe there's a very cool way of doing it -- maybe I'm wrong, and maybe this is a project fans can get behind. What do you think? Blade Runner 2? Could it happen? Would you watch it?

Update: Eagle Eye co-writer John Glenn responded via email to this. Here's part of what he said: "There was a point where Travis and I were working with Bud Yorkin on a sequel to Blade Runner, but that was years back. It never got too far off the ground because the movie is so perfect, so the more we thought about it, the more uneasy we became with the idea. Anyway, just an note to clear the air." More over at Slashfilm.

Not a lot of people liked Eagle Eye (I thought it wasn't bad, myself), but at least it broke up the box office monotony a bit. Its $29.2 million finish is the highest weekend gross for any movie since the first weekend in August (The Dark Knight's third week at the top). A combination of strong marketing and Shia LaBeouf's draw probably did the trick for the film, which had a slew of bad reviews to overcome.

The Nicholas Sparks weeper Nights in Rodanthe took in $13.6 million for second place. That is actually almost precisely in line with Sparks' hit The Notebook, but that film hung around for weeks back in 2004, buoeyed by strong word-of-mouth. That seems unlikely for the more soap opera-ish Rodanthe.

Sneaking its way to fourth place on just over 800 screens is a movie called Fireproof, which you may not have run across unless you're a regular churchgoer. (We literally have not mentioned it here on Cinematical.) The Christian-themed movie starring Kirk Cameron had the second best per-screen average in the top 10, demonstrating the continued potency of marketing to religious audiences. Spike Lee's more obliquely religious Miracle at St. Anna, on the other hand, flopped with $3.5 million and 9th place.

A bit below the top 10, in semi-wide release, the Chuck Palahniuk adaptation Choke performed unspectacularly with $1.3 million on 435 screens. Still further down you'll find one of the year's most undignified crash-and-burns: Neil Burger's The Lucky Ones, about three soldiers returned from Iraq, which landed in 25th place with $208,000 on 425 screens, for $489 per screen. Ouch.

Find the full weekend estimates after the jump.

• Legendary actor Paul Newman passes away at the age of 83.
• Cinematical sits down with Daniel Craig and Marc Forster to discuss Quantum of Solace. What happened to the line, "Bond, James Bond?" Check out these new images from the film. Oh, and James Bond doesn't think he'll ever seduce a man.
• Could Steven Spielberg direct Superman?
• Exclusives: Images from Steven Seagal's Kill Switch. First poster for Clint Eastwood's Changeling. New poster for Charlie Kaufman's Synecdoche, New York. Trailer for The Pleasure of Being Robbed.
• Fan Made: Holy hottie Hellgirl! Cozy up to some nifty Star Wars slippers. What do the economic bailout and The Dark Knight have in common? Look out ... it's Angelina Jolie: The Doll.
• Odd News: From Wanted to ... Moby Dick? American Psycho: The Musical? Awesome! Someone wants a Lethal Weapon 5 ... but who?
  
• Countdown: Five Fall/Winter Trailers to Watch, Four Casting Choices for Brett Ratner's Batman, Three Awesome Movie-Related T-Shirts to Buy, Two Photos of Tim Burton's Alice in Wonderland ... and one week in review!
• Cinematical Seven: Top Movies Within Movies Since 2000, and Sex Addicts on the Silver Screen.
• Fan Rant: Leave Keira Knightley's skinniness alone!
• They're Back: Captain Jack, Ghostbusters, I Am Legend prequel, Cars 2 gets an earlier release
• Insert Caption: How to Lose Friends and Alienate People
• Interviews: Gary Cole and Spike Lee
• Reviews: Eagle Eye, Nights in Rodanthe, Choke, Miracle at St. Anna
• And finally ... Cinematical hits up Fantastic Fest.

Unsurprisingly, the Samuel L. Jackson thriller Lakeview Terrace won box office honors last weekend with a solid $15 mil. Of the week's two wild cars, one fizzled (Ghost Town), while the other prospered (Igor). Lesson learned: Never underestimate adorable hunchbacks.

1. Lakeview Terrace - $15.0 million
2. Burn After Reading - $11. 0 million
3. My Best Friend's Girl - $8.2 million
4. Igor - $7.8 million
5. Righteous Kill - $7.4 million

This week's openings:

Eagle Eye
What It's About: Shia LaBeouf is forced to do all sorts of nasty things by an unfriendly cell phone caller.
Why It Might Do Well: LaBeouf is insanely popular, and so is talking on your cell phone wherever you go (including screenings of Eagle Eye).
Why It Might Not: Reviews have not been kind, but most PG-13 LaBeouf fans could probably care less.
Number of Theaters: 3,300
Prediction: $26 million

When two people walk away from a high-speed car crash with nary a scratch on them, you know you're watching an action movie. When an innocent, ordinary citizen is suddenly thrust into the middle of a national security crisis, you know you're watching a paranoid conspiracy thriller. When both these conditions have been met, nothing makes much sense, and things go "boom!" every 8-10 minutes, you know you're watching Eagle Eye.

Re-teaming star Shia LaBeouf and director D.J. Caruso from last year's immensely popular, faux-Hitchcockian Disturbia, Eagle Eye, which had a special screening at Fantastic Fest with Caruso in attendance, might welcome comparisons to The Man Who Knew Too Much or The Wrong Man but is actually closer in spirit to The Net, Irwin Winkler's 1995 attempt to wrestle with identity theft and other perils of the information age. Like that movie, Eagle Eye exploits the all too common fear of technology, but shoves the premise way past common sense, positing a world in which an anonymous voice on a cell phone holds the power of life and death over complete strangers.

With this role, LaBeouf ascends definitively into the Hollywood firmament of stars. While this may be good news for his legion of young fans and his accountant, it's bad news for the moral possibilities of the character he plays. Looking like Seth Rogen's younger brother with a scruffy beard and threadbare clothes, Jerry Shaw is a prodigal son living on the cheap in Chicago. He's devastated when he learns that his twin brother has been killed in an accident, but reconciliation with his stern father (William Sadler) is impossible.