I think critics should start boycotting the yearly Christmas Family Comedy. It's amazing: these movies are never good. I can't think of another distinct subgenre with such a poor track record over the last decade. And of course, I went and saw Four Christmases, of my own free will. I'm an idiot.
In any event, it was silly of me to imply that Four Christmases didn't have the muscle to win the weekend; high-profile Christmas movies almost always do well. The $31.7 million three-day is one of the best openings ever for a movie of this kind; last year's Fred Claus, also starring Vince Vaughn, only managed $18.5 million in early November. Four Christmases even squeaked out Elf. Its five-day gross was an impressive $46.7 million.
Australia, on the other hand: oh boy. Baz Luhrmann's ultra-expensive, ultra-long epic made $20 million over the five days, which is less than inspiring -- especially considering it has now basically exited the Oscar race. Luhrmann's Moulin Rouge! only ended up with around $57 million at the end of its domestic run -- but it didn't cost $130 million, either. Transporter 3-- the weekend's best new offering, for my money -- did okay with $12.3 million over three days and $18.5 over five. The three-day is a slight decline from what Transporter 2 did three years ago, but overall I'd put them even. This franchise continues to be profitable.
Twilightfell considerably, which isn't too surprising given the rabid-fan phenomenon that packs theaters opening weekend. Around $160 million is looking like the endgame. Meanwhile, Bolt, facing no new kid-centric competition over the weekend, held up almost miraculously well, actually gaining slightly over the three-day weekend. The folks at Disney have surely turned last weekend's frown upside down.
Slots 10 and 11 on the weekend's chart are occupied by limited releases: Milk and Slumdog Millionaire, on 36 and 49 screens, respectively. Their success bodes well for their Oscar chances.
With his previous feature film Australian director Baz Luhrmann came within tasting distance of a Best Picture Oscar, as well as several other awards. Moulin Rouge!(2001) did win two, for Costume Design and Art Direction, but all the glory that year went to other things. He must have taken notes; The Lord of the Rings: The Fellowship of the Ring cleaned up in the technical categories with four Oscars, and Black Hawk Down took two more. Two serious, disease-of-the-week dramas won in the "upper" categories: A Beautiful Mind and Iris. The following year, Luhrmann must have watched while the jaunty Chicago won Best Picture, and Roman Polanski won Best Director for his lengthy Holocaust drama, The Pianist.
So Luhrmann set out to work on his fourth film, Australia. Maybe it started out once, many years ago, as a 90-minute pop-Western about driving cattle and saving the farm. This entire section is bright and quick and exciting -- and lots of fun. But then perhaps he decided that that just wasn't enough, or at least it's not enough for anyone who wants to win a great big Best Director trophy. So at the 90-minute mark, Australia more or less stops, transforms itself into a giant-sized World War II drama, complete with grayness, dropping bombs and angel choruses, and keeps going for another interminable hour. But is it enough to fool Academy voters?
Hancock As Thanksgiving approaches, we've got the wild superhero Hancock crashing into shelves. While it might have been led by mega-star Will Smith, it didn't get much love from critics and certainly bowed in the shadows of some old-school, established superheroes. That being said, it's still Will Smith and is said to have a powerful start that just falls flat. Teamed with a bunch of solid special features, it's worth a glimpse. Rent it.
Meet Dave And then there's Eddie Murphy. In his latest wacky film, Murphy gets to play a human spacecraft for a bunch of tiny aliens. The DVD holds the obligatory extras -- gag reel, deleted scenes, alternate ending -- but I'd still say Skip it, even if the box office still gives the dude love.
Freaks and Geeks Yearbook Edition No, this isn't a film. But considering the fact that this is Judd Apatow's baby, and starred the likes of big-screen names Linda Cardellini, John Francis Daley, James Franco, Samm Levine, Seth Rogen, and Jason Segel, it's certainly a great addition to any DVD shelf. Tons of extras, tons of fun. Buy it.
Other mainstream releases: Superman Doomsday, Space Chimps, Fred Claus
If a comedy troupe like Broken Lizard or The Whitest Kids U Know had made Lars and the Real Girl, it might have turned out like Happy Birthday Harris Malden, a sweet, funny, and very odd comedy about growing up and accepting reality. It's the work of a Philadelphia filmmaking quintet called Sweaty Robot, and the opening credits are no more specific than that: "Written and directed by Sweaty Robot." I like that. The film is about friendship, and it was made by a group of friends.
Granted, making a movie with a bunch of your friends isn't always a good idea -- Adam Sandler, I'm looking at you -- but Harris Malden benefits from Sweaty Robot's familiarity and camaraderie. While it has some jokes that probably only the guys themselves think are funny, the film is so good-natured and charming, almost innocent, that even when I wasn't laughing I was content. It's a movie that wants to be your pal, and hey, doggone it, what's not to like?
What to make of Twilight's $70.5 million bow? Well, it's not quite Harry Potter, whose first-weekend outings have ranged from $77 million to $102. But when you consider that Twilight is basically a niche film -- certainly it has a lot less cross-demographic appeal than Harry Potter -- its success starts to seem pretty remarkable. Are there any teenage girls who didn't see it this weekend? And what will happen to it next weekend? All the fans may have seen Twilight already -- then again, many of the die-hards may grace it with repeat viewings. Given the incessant shrieking at the screening I attended, that wouldn't surprise me.
Disney's Boltdidn't take despite favorable reviews. The studio continues to have trouble getting its non-Pixar animated features off the ground as tentpoles. Its best go was Chicken Little three years ago; Bolt looks to land about on par with Meet the Robinsons. Disappointing.
What else. Quantum of Solace remains on track to be the top-grossing Bond film of all time. Just below the top 10, Slumdog Millionaire is riding a deserved wave of great word-of-mouth to a $31,000 per-screen average on 32 screens. It'll continue to expand in the coming weeks, and should hit the top 10 before long.
The long wait is finally over, and one of this fall's most talked-about films hits theaters this weekend. Twilight reviews have been all over the board -- with some folks hating the fact that it's a watered-down, lovey-dovey vampire flick, while others feel its fans should be perfectly happy with it. Here are some comments from our readers so far:
"I'm am thoroughly outraged I wasted my money and time last night watching it. If I wasn't with my friends (and had my own car with me) I would have just left after the first 10 minutes. Very bad movie translation for what is a wonderful book." -- Melissa "Instead of being let down, I got much, MUCH more than I expected. I absolutely loved the movie. It was awesome! I felt that it still held true to the book, without screaming Smeyer in your face." -- Tricia "Robert Pattison is definitely a front-running contender for "most awkward acting of the year award." His acting made me cringe away in a stiffled laughter throughout the movie." -- Kelly
"Considering this is an attempt to cram a thick book raging with details onto the screen, I give it props. I was impressed!" -- Aly
After all the hoopla, we want to hear from you fans and non-fans: How was Twilight? How could it have been better? And what would you change about the sequel? Sound off below ...
Look, I know the drill. If any element of the Twilight movie varies even slightly from the way you pictured it in your head, then it is the worst film ever made and you hate it and Catherine Hardwicke has ruined your childhood. Or, alternatively, you've built up so much anticipation for the movie that you're going to love love LOVE it no matter what, even if it's bad, you don't care, you refuse to listen to any criticisms LA LA LA I CAN'T HEAR YOU. I know how it goes.
The book's most devoted fans are seeing the film anyway, so I guess I'm talking to everyone else -- those who haven't read the book, or who (like me) read it, mostly enjoyed it, then didn't give it another thought. Is the Twilight movie of any use to those people? Or, as a friend asked me, does it work purely as a vampire movie?
Oh, heavens, no. Noooooo. This is not a vampire movie. This is a somber teen romance that happens to have some vampires in it. Little attempt is made to establish the mythology of the bloodsuckers, and the supernatural elements are downplayed -- a wise move, since the special effects, when they are necessary, are at about the level you'd expect from a movie that is more focused on romance than sci-fi action.
All of which is in keeping with the tone of Stephenie Meyer's book, which is eight parts romance and two parts action/fantasy. That's why it's been such a phenomenal success with women, and why the male-dominated geek industry -- the Nerderati, if you will -- has been so skeptical of that success. "What?" they scoff. "A super-popular vampire book that we, as men, AREN'T interested in? Inconceivable! It must be terrible, and its popularity is probably being over-reported!"
I'm trying to muster up some enthusiasm for Disney's latest animated film, Bolt. It's cute. It has funny pigeons. My eight-year-old niece is going to like it, especially since Miley Cyrus is involved. It's the first non-Pixar Disney feature produced by John Lasseter, who directed the Toy Story movies and Cars. It's got Hollywood jokes in it, including a director voiced by James Lipton, and a comically pushy agent. And yet I never thrilled to the story or the characters; I wasn't half as amused as I'd been by Kung Fu Panda, a film for kids I saw earlier this year.
The story should sound familiar to anyone who grew up with Lassie movies or other animal-road-trip films, but with a Hollywood twist. The title character, a cute dog called Bolt (John Travolta), is fiercely attached to "his person," teenage Penny (Miley Cyrus). Bolt saves Penny's life on a regular basis as she and her dad are pursued by the evil Dr. Calico and his nasty cats ... or so he thinks. The truth is that Bolt is the star of a TV series, but the cast and crew are very careful not to let him know that he's not in real-life situations. So he believes he's a genetically engineered dog with laser eyes and amazing strength and a supersonic bark. When Bolt is separated from Penny and ends up halfway across the country on his own, for the first time he's in a world that isn't a soundstage or his trailer. Now, how will he get back to Penny?
On a normal weekend, there are usually eight or nine new independent films opening in limited release, compared to three four wide releases. But for Thanksgiving, those numbers switch sides -- the multiplexes will be crowded with Twilights and Bolts and Transporters and Christmases and so forth, while the art houses have only a few new titles arriving.
In other words, there's not much to say in this week's Indie Spotlight, and there won't be any need for a Spotlight next week at all. So enjoy these few limited-release films opening today and next Wednesday: The Betrayal, I Can't Think Straight, Lake City, and Special.
The Betrayal (Nerakhoon) What it is: A documentary about a family that emigrated to the U.S. after the bombings in their native Laos that occurred during the Vietnam War. What they're saying: Wow -- all 12 reviews at Rotten Tomatoes are positive. "Lyrical, expansive, unbearably beautiful," etc. Where it's playing: New York City (IFC Center). More info: The official website has a list of release dates, most of which are several weeks hence.
Lake City What it is: A drama starring Troy Garity as a man who returns to his Southern home and his mom (Sissy Spacek) after a tragedy separated them for many years. What they're saying: Lake City is a lovely title, but the critics are saying it's all wet, or some other water-related metaphor. With 11 notices at Rotten Tomatoes, only one is positive, the rest indicating that despite Sissy Spacek's good performance, the movie is too serious, contrived, and banal. Where it's playing: New York City (Quad Cinema). More info: I can't find an official site anywhere.
Remarkably faithful to the spirit of its source material, the film version of Twilight crams most of the key episodes from Stephenie Meyer's novel into its breathless, 122-minute running time. Under the direction of Catherine Hardwicke (Thirteen), Twilight gallops along handsomely, showcasing the cloudy, misty beauty of its gorgeous Pacific Northwest forest locations; you can practically smell the pine trees and feel the crunch of fallen leaves beneath your feet. Using voice-over narration sparingly, screenwriter Melissa Rosenberg trots out all the major (and most of the minor) characters from the book, recounting the story in abbreviated fashion while demonstrating respect for Meyer's novel and its huge, faithful audience.
Twilight may not add up to much more than the sum of its parts, but those parts can be mighty entertaining, especially when handsome Edward (Robert Pattinson, oozing uncertain charm) is whooshing through the woods with plucky Bella (Kristen Stewart, self-assured and determined) on his back. Still, the romance at the heart of the book has been shorn of some of its heart in the translation to the big screen, sacrificed on the altar of a broader demographic. Readers of the book could feel somewhat shortchanged by the relentless emphasis on forward momentum rather than romantic fantasy; the flip side is that newcomers can enjoy the whirlwind pace and the brooding, ominous atmosphere, and everyone can revel in the spectacle of flying vampires playing a pinball version of sandlot baseball.
There was no hotter ticket at the Toronto International Film Festival in September than The Wrestler, Darren Aronofsky's new drama about a washed-up professional body-slammer played by Mickey Rourke. I vividly recall the press screening, where every seat in the fest's largest theater was occupied by eager journalists, many of whom had sworn they'd miss whatever other films they had to as long as they could see this one.
It paid off, too -- the acclaim for the film was nearly universal. (Read Cinematical's James Rocchi's rave review here.) Now, in advance of the film's limited release on Dec. 31 (just in time to qualify for Rourke's inevitable Oscar nomination), Fox Searchlight has released the first trailer. Variety has it, and we've got it here, at the end of this post.
The trailer is good in the sense that it accurately conveys the tone of the film: moody, reflective, and only partially set in the wrestling ring. Bruce Springsteen's theme song is a nice touch. We get a few glimpses of Marisa Tomei, who plays Rourke's stripper friend (you'll catch more than a glimpse of her in the movie itself, if you know what I mean), and Evan Rachel Wood as Rourke's estranged daughter. Their performances are terrific, too, as is Aronofsky's direction -- man, I really hope this gets the Oscar attention that everyone thinks it will. It deserves it.
What do you think of the trailer? Does it make you more or less interested in the film? Let us know in the comments.
It's beginning to look a lot like Twilight ... everywhere you go. Remember the other day when I told you about that so-called review embargo on Twilight? Yeah, well ... nice try. Seems most of the major outlets (mainly newspapers) have published reviews, and they're quite positive, with Entertainment Weekly giving the film a B and Roger Ebert giving it 2.5 out of 4 stars (I imagine that's a sideways thumb?). Cinematical will publish our first review (out of two) later on tonight, but in the meantime here's a whole bunch of Twilight stuff to keep you busy:
2000 shows are already sold out this weekend for Twilight, and folks are currently projecting an opening of $45-65 million. Did Summit Entertainment step in sh*t, or what? Here's an entertaining article from the LA Times' Patrick Goldstein on "How the big studios missed the boat on Twilight."
Despite what appears to be positive feedback, Twilight is only running at 39% over at Rotten Tomatoes, though it's still early. Here's a quote from Variety's negative review: "A disappointingly anemic tale of forbidden love that should satiate the pre-converted but will bewilder and underwhelm viewers who haven't devoured Stephenie Meyer's bestselling juvie chick-lit franchise."
And finally, check out an interview with Robert Pattinson and Kristen Stewart from this morning's Today Show below.
The Internets are saving independent film again! Often the biggest dilemma for small-time filmmakers is that distributing their movies, whether in theaters or on DVD, costs too much money. So we're seeing more and more films skip theaters, skip DVD, and go straight to the Internet, where movie downloads are becoming increasingly common.
The latest development is that a company called Cinetic Rights Management is releasing its catalog of indie films through Amazon's Video on Demand service and its CreateSpace DVD on Demand system. The arrangement will allow customers to rent or buy digital copies of films that aren't available anywhere else, many of which are just as worthy of being seen as the ones that were lucky enough to get theatrical distribution. (And that often really is the only difference between a movie that makes it to theaters and one that doesn't: luck.)
The new arrangement launches today with the featured title On Broadway (pictured), a gentle comedy about a Boston man who writes and stages a play in the back of his pub. The cast includes Eliza Dushku, Will Arnett, and New Kid on the Block Joey McIntyre.
For a franchise that's more than 45 years old, Bond is on one hell of a kick. Ever since Pierce Brosnan took over in 1995, every James Bond film has grossed more than the last, and that trend will continue with Quantum of Solace. The awkwardly-titled 22nd film in the franchise beat the previous Bond opening weekend record -- held, actually, by Die Another Day, which was eventually passed by Casino Royale later in its release -- by, oh, $23 million. Quantum's $70.4 million bow is also the third highest opening of 2008, behind only Iron Man, Indiana Jones and the Kingdom of the Crystal Skull and The Dark Knight.
And that, actually, is pretty much all there is to report for the wide releases, since Quantum of Solace scared everyone else off the date. Last weekend's winners, Madagascar: Escape 2 Africa and Role Models both held up well, with the former pulling ahead of Wall-E. The Secret Life of Bees hangs around at #8, proving to be a fall sleeper. Saw V will, as expected, finish just behind its immediate predecessor.
On page 11 of the current issue of Entertainment Weekly, next to an article about the Oscar race, there is this brief item:
"Earning some of the harshest reviews of the year, The Boy in the Striped Pajamas is officially the first Holocaust movie that won't have a shot at winning an Oscar."
What?
First of all, it's not even true. There have been several Holocaust movies that never had a serious chance at an Oscar. Robin Williams' loathsome Jakob the Liar comes to mind. (Whoops, EWliked that one.) But I get that EW is exaggerating for the sake of a joke about how Holocaust movies "always" get Oscar attention. Fair enough.
The more baffling assertion is that The Boy in the Striped Pajamas is "earning some of the harshest reviews of the year." It has gotten a few very scathing reviews, that's true -- but they comprise a very small minority. The film has a 64% Fresh rating at Rotten Tomatoes, with an average score of 6.2 out of 10. Saying it's earning some of the harshest reviews of the year while failing to mention the overwhelming majority that aren't harsh is like saying "some people" hate ice cream. It might be true, but it's misleading when you're looking at the big picture.
And are the harsh ones really that harsh? I tend to think the fiery excoriations of Disaster Movie and Witless Protection were much harsher, though I guess that's a matter of opinion.
I think critics should start boycotting the yearly Christmas Family Comedy. It's amazing: these movies are never good. I can't think of another distinct subgenre with such a poor track record over the last decade. And of course, I went and saw Four Christmases, of my own free will. I'm an idiot.
What to make of .jpg)
On a normal weekend, there are usually eight or nine new independent films opening in limited release, compared to three four wide releases. But for Thanksgiving, those numbers switch sides -- the multiplexes will be crowded with Twilights and Bolts and Transporters and Christmases and so forth, while the art houses have only a few new titles arriving. 
.jpg)
The Internets are saving independent film again! Often the biggest dilemma for small-time filmmakers is that distributing their movies, whether in theaters or on DVD, costs too much money. So we're seeing more and more films skip theaters, skip DVD, and go straight to the Internet, where movie downloads are becoming increasingly common. 
For a franchise that's more than 45 years old, Bond is on one hell of a kick. Ever since Pierce Brosnan took over in 1995, every James Bond film has grossed more than the last, and that trend will continue with 
On page 11 of the current issue of Entertainment Weekly, next to an article about the Oscar race, there is this brief item: 
