X-menTheLastStand Tagged Articles at Cinematical

It is of course impossible to say whether the much-discussed work print leak damaged Wolverine's box office take, nor whether Fox's cockamamie strategy of tacking on different mid-credits codas to different prints of the film helped matters. All we can conclude is that if piracy hurt, it didn't hurt that much (which really has been the refrain for the movie industry all along), since I don't think too many people will be unhappy with an $87 million first weekend. For those keeping score, that's well ahead of X-Men, marginally ahead of Bryan Singer's X2, and roughly $15 million behind Brett Ratner's X-Men: The Last Stand. Wolverine is not likely to hold up well, but it's hard to imagine a scenario where it doesn't get to $200 million domestic. And after all the angst, that's a victory.

One thing to consider is what this means for the straight action model of the comic book movie. I didn't dislike Wolverine like a lot of people did, but it undoubtedly did away with the nuance, intricacy and character focus that we've gotten used to seeing in major comic book adaptations. I bet it's much easier to make a Wolverine than a Iron Man or an X2 or a Watchmen, and it seems not to be much less financially rewarding.

I very much enjoyed not watching Ghosts of Girlfriends Past this weekend, and it seems so did a bunch of other people. The Matthew McConaughey romantic comedy picked up $15.3 million, which isn't bad, but puts the film way behind the last three identical Matthew McConaughey romantic comedies. And the 3D-animated Battle for Terra, while not a Delgo-level bust, couldn't break the top 10 and ended up with just over $1 million on around 1,200 screens. It's tough out there for animated features not bankrolled and marketed by huge studios.

The weekend's top 10 after the jump.

Love him or hate him, you've got to hand it to Brett Ratner for keeping his career in motion. Variety brings word that the hustling filmmaker plans to take his Rat Entertainment company from New Line, where it first settled in 1996, to a first-look deal with Paramount Pictures. Ratner says the departure of New Line execs Bob Shaye and Michael Lynne in February convinced him it was time to move on. At Paramount, Ratner will probably get bigger budgets and executives more receptive to his blockbuster-ready concepts. Stating the obvious, Ratner told Variety he "will not be pitching art films. I want to make major tentpole movies." You don't say?

Unless you're Scott Foundas, you probably balk at the idea of more Ratner movies populating the mainstream film scene, but the guy does fit the proper archetype of the classic Hollywood powerhouse. A modern day Sammy Glick, he knows how to make movies that bring out the audiences, whether or not they're any good. But maybe that determination means that, one day, Ratner will make a lot of great movies. His planned Hugh Hefner biopic sounds promising -- or at least, appropriate.

Still, that's a little ways off. Encouraged by his experience with X-Men: The Last Stand, Ratner decided he wanted to work on a new superhero franchise, so he's adapting Valiant Comics' Harbinger. Also in his queue: Beverly Hills Cop 4, The Incredible Shrinking Man and The Boys From Brazil. Do these projects get anyone excited? Anyone at all?