Weekend Box Office (01/29/11): The Grey tops, while One For the Money and Man On a Ledge somewhat stumble.

In a somewhat refreshing turn of events, this weekend had three wide releases, all budgeted below $45 million and all technically geared towards adults.  And for the fourth straight weekend this month, an R-rated new release topped the box office yet again.  The top film of the weekend was Joe Carnahan's wilderness survival drama, The Grey.  The Liam Neeson vehicle, concerning plane crash survivors struggling to fend off death by various forms of nature (including wolves), opened with a solid $20 million.  Yes, that's slightly below the $21 million debut of Unknown and the $24 million debut of Taken around this time in 2011 and 2009, but those films were PG-13 while The Grey was rated R.  The picture scored a B- from Cinemascore, which is not surprising.  On one hand, it's a good movie, a thoughtful and introspective mediation on several men coming to terms with their forthcoming demise.  On the other hand, the film was sold as an action picture featuring Liam Neeson fighting wolves with his bare hands.  Without going into spoilers, that's not entirely accurate.  Still the film obviously has fans, as the picture scored a relatively rare 3x weekend multiplier.  Anyway, the film cost Open Road Films just $35 million, so this should be a solid moneymaker for the mini distributor even if the somewhat false advertising causes it to drop hard next weekend.

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Review: Tony Kaye's Detachment (2012) paints a grim picture of public education.

Detachment
2012
100 minutes
rated R
Opens in limited release on March 16th

by Scott Mendelson

Most of the ideas in Tony Kaye's Detachment are not revolutionary, especially not to anyone who has followed the last thirty years of debate regarding the public education system in America (Jonathan Kozel's many works of nonfiction come to mind).  And while the story is told in a style that sometimes veers in art-house cliche (sepia-toned flashbacks, first-person testimonial to an unseen listener, hand-held claustrophobia, etc), the picture is in the end devastating via its almost objective presentation of the issues at hand.  Sure, Kaye is saying, we know that public schools are underfunded, understaffed, and stuck with various federal mandates and (worst of all, argues Kaye) a deluge of unmotivated students whose parents only take an interest when it comes to rebutting disciplinary measures. But told through the eyes of a substitute teacher who is far more caring than he wants to be, the picture wonders why we're so accepting a system that doesn't seem to be all that successful for any number of American youths.

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Finding Nemo, Pixar's best film, gets a 3D trailer...

It's not my favorite Pixar film.  That honor goes, on a given day, to either Toy Story 2, Toy Story 3, or The Incredibles.  But Finding Nemo may be Pixar's most objectively perfect movie.  It is a distillation of the core Pixar theme: surviving in safety vs. living in danger.  It hits every emotional note and every comedic bit just right and works on two entirely different levels for kids and adults.  Kids find it funny as hell, while adults (especially parents I'd argue) find it moving as hell.  The film is just under nine years old, which means that there is an entire generation of young kids that doesn't even realize that the film has a prologue involving mass murder (a fact hilariously noted in an episode of The Simpsons last year, when Milhouse discovered the horror of the never-seen 'chapter 01' on his DVD).  Allison discovered the movie two years ago, it was the first full-length theatrical feature she ever sat down and watched with us, as well as the first film she wanted to watch multiple times (Allison being Allison, she almost immediately asked where Nemo's mommy was).  So I suppose the question is, will you see the 3D-converted version of Finding Nemo when it debuts in theaters on September 14th, 2012?  And if you have very young children, do you start the film on the first or second chapter when the kids want to watch it?

Scott Mendelson   

Review: Kill List (2012) is an experiment in genre-switch that fails to truly engage.

Kill List
2012
95 minutes
rated R

by Scott Mendelson

Ben Wheatly's Kill List suffers from the believe that it is far more clever and original than it actually is.  It earns points for not exactly beginning and ending in the same genre, but the journey is frankly not worth the destination.  The film is technically a dime-a-dozen crime story about a hit man trying to do a job under trying circumstances.  Where it goes in the third act I will not reveal (although don't look too closely at the poster), but the majority of the film is taken up by somewhat cliched characters and relatively unengaging drama  Only the uncommonly gruesome violence, delivered in a clinical and brutal fashion, serves to distinguish the picture.  Even the third-act turn, while somewhat organic and slightly clever, loses points for eventually ending in an almost identical fashion to another 'extreme' horror drama from last year.

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The lesson for this year's Oscar nominations? Don't be an R-rated film!

For a list of the complete nominations, go HERE.  As always, click on the movies with links for the original theatrical review.  I write a lot about the inexplicable trend of how the various year-end awards groups only consider 'appropriate' movies to be considered awards-material.  There is and always has been a certain disdain for populist entertainment, a trend that's only gotten worse as the independent film movement exploded in the early 1990s and the year-end Oscar bait-calender got more jam-packed over the last five weeks of the year.  Harry Potter and the Deathly Hallows part II may have received almost unanimously rave reviews (96% positive on Rotten Tomatoes), but it doesn't count because it was a big-budget fantasy drama that is considered 'popular' entertainment.  Bridesmaids may have been one of the most successful R-rated comedies of recent years, a well-reviewed (90% on Rotten Tomatoes) comedy that may have been a game-changer in terms of how mass-market female-driven entertainments are viewed in terms of their commercial potential.  But no, it's not a character-driven dramedy that's one of the best films of the year, it's just that 'women shit in a sink' movie, so it's not worthy.  But a drama with Tom Hanks and Sandra Bullock that's gasp... about 9/11?!  That's EXACTLY the kind of film that is supposed to be among the year's best, right?  And so it is that Extremely Loud and Incredibly Close, a film with a 48% positive ranking on Rotten Tomatoes and a 46% score on Metacritic is now considering by the Academy to be one of the nine best films of the year.

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Weekend Box Office (01/22/11): Underworld: Awakenings and Red Tails score. while Extremely Loud & Incredibly Close and Haywire falter slightly.

 Like clockwork, the fourth entry in the ongoing Underworld franchise debuted in the third weekend of January to take the top spot at the box office with a $20 million+ debut.  While the original opened in September of 2003, the rest of the films have all used the mid-January berth every three years.  As so it is that Underworld: Awakenings (trailer) debuted with $25.4 million this weekend.  In pure numbers, that's the second biggest debut of the series, behind the $30 million opening of Underworld: Evolution back in 2006.  But in terms of inflation/tickets sold/etc, it's actually a bit under the $22 million debut ($28 million adjusted for inflation) of the original Underworld.  Considering the last entry, Rise of the Lycans, was a stripped-down prequel lacking franchise star Kate Beckinsale, it's arguably more fair to compare this fourth entry to the first two films in the series.  As such, it's slightly lacking. The budget was $70 million (way up from parts 1 and 3, which cost just #22 million and $35 million respectively, and a bit up from the second film's $50 million budget) and the film had a theoretical 3D price-bump, yet the results weren't even up to the series's peak.  Still, Sony is playing a different game this time around...

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Pet Peeve of the day: Attention action filmmakers - security guards are people too!

As a whole, Contraband is a pretty unremarkable would-be thriller.  There is almost no real action, and much of the middle act is a series of monotonous scenes of Kate Beckinsale being threatened and/or beaten by Giovanni Ribisi.  While Ribisi's character felt the need to continually antagonize Mark Wahlberg's family after Wahlberg has already agreed to do the crime in question is to be debated, since you'd think you wouldn't want to antagonize the professional criminal who is being entrusted with your precious cargo.  Anyway, Wahlberg is the classic 'former criminal gone straight' archetype, complete with a loving wife and kids.  If I my spoil the not-so shocking ending of the picture (...SPOILER WARNING...), Contraband ends on a mostly happy note, with Wahlberg having gotten away with the crime, protected his family (including his imperiled brother-in-law), and scored a large amount of capital for himself and his crew.  And even though Wahlberg's character is actually an accessory to a mid-film heist that ends in the wanton murder of about half-a-dozen people, he's still an okay guy.  After all, they were just security guards.

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Review: Red Tails (2012) is a low-key, mostly entertaining history lesson/B-movie.

Red Tails
2012
120 minutes
rated PG-13

by Scott Mendelson

The strongest aspect of director Anthony Hemingway and producer George Lucas's Red Tails is that it lives in a somewhat Utopian film industry where African-American dramas aren't all that big of a deal.  The picture may have an unfair burden of proving the bankability of larger-budget ($58 million) genre fare revolving entirely around African Americans, but you don't see that sweat onscreen.  It treats itself not like a test case, or a passion project for one of the more financially successful independent filmmakers of our age, but merely a B-movie action drama that involves actors like Cuba Cooding Jr. Terrence Howard, and David Oyelowo.  Red Tails may be (unfortunately) an anomaly, but those behind and in front of the camera treat this as if it were one of many minority-led historical dramas that open each month at the local multiplex.

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The Hunger Games gets a (seemingly) final theatrical one-sheet.

This looks like the final poster and official theatrical one-sheet.  The tagline operates both in relation to the story and Lionsgate's optimistic box office predictions.  This one, arguably one of the higher-profile films of the Spring, drops two months from Monday.  I hope Lionsgate has the courage not to cut another trailer, since their first teaser does a splendid job of not giving away the whole picture.  Anyway, as always, we'll see...

Scott Mendelson

Chuck Norris is not the cause, merely an alibi. The irony of a PG-13 Expendables II.

This story broke yesterday (I first read it yesterday morning at Collider), but since it was based on a translation of an interview that actor Chuck Norris gave to a Polish magazine, I thought I'd wait to make sure it wasn't a mistranslation.  But Sylvester Stallone has confirmed to Ain't It Cool News that The Expendables II will indeed be PG-13, although his explanation doesn't specifically blame Mr. Norris.  To wit, here, translated into English, is the 'offending' portion of Chuck Norris's interview:

"In Expendables 2, there was a lot of vulgar dialogue in the screenplay. For this reason, many young people wouldn’t be able to watch this. But I don’t play in movies like this,” Norris explained. “Due to that I said I won’t be a part of that if the hardcore language is not erased. Producers accepted my conditions and the movie will be classified in the category of PG-13."

And here is Sly Stallone's confirmation:

"Harry (Knowles), the film is fantastic with Van Damme turning in an inspired performance... Our final battle is one for the ages. The PG13 rumor is true, but before your readers pass judgement, trust me when I say this film is LARGE in every way and delivers on every level. This movie touches on many emotions which we want to share with the broadest audience possible, BUT, fear not, this Barbeque of Grand scale Ass Bashing will not leave anyone hungry..."

What is strange about this is not that Stallone and his band of 80s and 2000s action stars are catering to the whims of one very over-the-hill action icon, or that Norris thinks that hearing profanity is more harmful to youngsters than watching over-the-top violence (in a pre-Sopranos/24 era, Walker: Texas Ranger was once considered the most violent show on television).  No what's strange is that the first Expendables, judging on the theatrical cut, was clearly intended to be a PG-13 in the first place.  Watching the film back in August 2010, I distinctly remember thinking that this was an awfully soft R, and that up until a certain third-act action sequence involving Stallone with a knife, it appeared that there wasn't going to be all that much R-rated violence at all.  Stallone and company waffled back and forth prior to the film's release about its rating, and I am still convinced to this day that it was always intended to be a PG-13 movie.

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