It was a crowded Easter weekend at the box office, as three new releases and a couple strong holdovers did battle over the frame. Opening on Thursday to take advantage of Good Friday (IE - no school!).
G.I. Joe: Retaliation opened with a relatively solid $51.7 million over the four-day frame, for a $41.2 million Fri-Sun gross. Any way you slice it, this is a slightly lower figure than the $54 million Fri-Sun debut of G.I. Joe: The Rise of Cobra back in August 2009. Yes that film opened in late summer but this film had 3D-enhanced ticket prices, so it's basically an even comparison. The sequel/reboot was scheduled to open in late June of last summer only to be pulled and rescheduled so that the film could be converted to 3D in order to theoretically boost foreign grosses. One can only wonder whether Paramount possibly cut off its nose to spite its face, sacrificing a prime summer slot when the buzz was hottest only to achieve an arguably lower debut than it might have achieved had it opened when intended. G.I. Joe: Retaliation probably won't cross $120 million in America, which in normal circumstances would be very bad. More likely, Paramount knowingly sacrificed domestic strength for international muscle, which is yet another sign of the times. The current worldwide total is estimated to be about $132 million, so it's nearly halfway to the first film's entire $300 million worldwide total. Assuming it has anything resembling legs, Paramount's risky bet may have paid off. The new film cost less ($130 million) and the first film ($175 million), so presuming the rescheduling didn't massively add to the marketing and distribution costs, equaling or surpassing the first film's total ($150 million domestic and $150 million international) still counts as a single if not a double depending on the overall result.
Essays, Reviews, Commentary, and Original Scholarship. A Film Blog that strives to be Art.
Sunday, March 31, 2013
Happy Easter from Mendelson's Memos (and a herd of killer rabbits heading this way)!
Yes, I'm Jewish and I married a Jew, but that hasn't stopped me from having to endure the various Christian holidays, specifically the commercialized portions. So off to Easter brunch I go this morning, which explains why my box office write-up is a slightly more succinct than usual (a good thing?). While I have a back-log of movies to catch up on at the moment (Room 237, The Man With the Iron Fists, etc.), I'm severely tempted to spent Easter night watching this absolutely classic for what seems to be the perfect occasion.
Scott Mendelson
Scott Mendelson
Friday, March 29, 2013
Brandon Peters's Evil Dead franchise retrospective part II: Evil Dead 2: Dead By Dawn (1987)
Brandon Peters has returned! Leading up to the April 5th release date of the new Evil Dead remake, Mr. Peters will be doing his voodoo with the Evil Dead series. He continues with a look at Evil Dead 2: Dead By Dawn. As only a casual Evil Dead fan, this was an extra-special treat as this isn't a film series that I've memorized by heart. This was as informative for me as I hope it will be for you. So without further ado...
Evil Dead 2: Dead By
Dawn
1987
Director: Sam Raimi
Starring: Bruce Campbell, Sarah Berry, Dan Hicks, Kassie
Wesley, Ted Raimi
Rated R
We just cut up our
girlfriend with a chainsaw. Does that
sound “fine”?
~Ash’s mirror image
The second installment of the Evil Dead trilogy is the bridge between the first film and Army of
Darkness in terms of tone. Whereas the
first film was a straight horror film, the 2nd adds a level of humor
while still able to maintain jumps, scares and intensity. This film is definitely one of the earlier
and most notable films in the splatstic sub-genre of horror. The film also
serves as pretty much a big budget remake of the first film.
Thursday, March 28, 2013
Movies I love more than anyone else: Meet the Robinsons.
This is the next entry of a reoccurring feature of sorts, spotlighting the movies that aren't just my favorites, but films that I probably hold in higher esteem than anyone else out there in the critical community. Next up is a film that celebrates its sixth-anniversary this Saturday. But I saw it six years ago today at a press screening. No, I'm not talking about Blades of Glory, but the inexplicably wonderful Meet the Robinsons. I walked into said press screening for this one knowing almost nothing about it, save for a few pieces of promotional art and something about musical 'wiseguy' frogs. I distinctly remember walking out of the press screening, my eyes more than a little watery, and immediately calling my wife to inform her that I had just wasted a Wednesday afternoon. I had just seen something truly special and she was going to have to accompany me for a repeat viewing as soon as possible.
Wednesday, March 27, 2013
Review: G.I. Joe: Retaliation (2013) fixes what wasn't broken and breaks it possibly beyond repair.
G.I. Joe: Retaliation
2013
100 minutes
rated PG-13
2013
100 minutes
rated PG-13
by Scott Mendelson
It's no secret that I'm a fan of G.I. Joe: The Rise of Cobra (review). It's big, colorful, and filled with over-the-top action performed by larger-than-life heroes and villains. The first 90 minutes (I have issues with the finale) is basically, as I said back in 2009, what might happen if someone gave the 7-year old me to go play with my G.I. Joe action figures and gave me $175 million to spend on the resulting play-drama. But for whatever reason fan-boys and critics carped about the last picture, calling it too ridiculous and too silly for a, um, G.I. Joe movie. So now four years later, we have a somewhat stripped down and more 'realistic' sequel to Stephen Sommers's outlandish original. Jon Chu was under orders to make it cheaper and basically more 'grounded' than the last picture, and I suppose he has succeeded. G.I. Joe: Retaliation can best be described as G.I. Joe meets Act of Valor. I don't mean that as a compliment.
It's no secret that I'm a fan of G.I. Joe: The Rise of Cobra (review). It's big, colorful, and filled with over-the-top action performed by larger-than-life heroes and villains. The first 90 minutes (I have issues with the finale) is basically, as I said back in 2009, what might happen if someone gave the 7-year old me to go play with my G.I. Joe action figures and gave me $175 million to spend on the resulting play-drama. But for whatever reason fan-boys and critics carped about the last picture, calling it too ridiculous and too silly for a, um, G.I. Joe movie. So now four years later, we have a somewhat stripped down and more 'realistic' sequel to Stephen Sommers's outlandish original. Jon Chu was under orders to make it cheaper and basically more 'grounded' than the last picture, and I suppose he has succeeded. G.I. Joe: Retaliation can best be described as G.I. Joe meets Act of Valor. I don't mean that as a compliment.
The Wolverine gets two halfway decent trailers...
Scott Mendelson
Brandon Peters's Evil Dead franchise retrospective part II: The Evil Dead (1981)
Brandon Peters has returned! Leading up to the April 5th release date of the new Evil Dead remake, Mr. Peters will be doing his voodoo with the Evil Dead series. He continues with a look at The Evil Dead. As only a casual Evil Dead fan, this was an extra-special treat as this isn't a film series that I've memorized by heart. This was as informative for me as I hope it will be for you. So without further ado...
The Evil Dead
1981
Director: Sam Raimi
Assistant Editor: Joel Coen
Starring: Bruce Campbell, Ellen Sandweiss, Hal Delrich,
Betsy Baker, Sarah York
Rated R
Now the sun will be up
in an hour or so, and we can all get out of here together. You, me, Linda, Shelly.
Hmm... Well... not Shelly.
~Ash
Sam Raimi’s The Evil
Dead is one of the kings of cult classics and one of the best horror films
to grace the screen. A super low-budget
feature with the drive and ambition of one many times its budget, The Evil Dead holds its own and is able
to keep hold, not fall apart and stand the test of time. The film flies by with genuine scares, gore
effects and camera techniques truly feeling like a master learning his craft.
Tuesday, March 26, 2013
White House Down gets a conspiratorial trailer...
Well, color me intrigued. Sony is making smart choices here, selling this second Die Hard In the White House movie not as a pulpy action flick but as a large-scale disaster movie. It puts the film squarely in the realm of director Roland Emmerich and successfully differentiates itself from Olympus Has Fallen. Also of note, other than the larger scale seemingly on display (this is the more expensive version, natch), is the opposing narratives. While Olympus Has Fallen concerned a certain xenophobic 'scary foreigners will try to destroy America!' plot line, White House Down seems to be going for the more conspiracy-minded 'we did this to ourselves by betraying our morals' or what-have-you. It also teases plot twists and surprises beyond the action template, making viewers wonder what terrible secrets will be revealed and who and what actually caused the onscreen carnage. So yeah, I think the world is big enough for two White House-under siege movies. White House Down opens June 28th, 2013. As always, we'll see...
Scott Mendelson
Scott Mendelson
On the "morality" of cinematic action-movie massacres...
Monday, March 25, 2013
The Wolverine gets two hilariously terrible posters...
Scott Mendelson
Sunday, March 24, 2013
Weekend Box Office (03/24/13) part II: Olympus Has Fallen rises while Admission fails and Spring Breakers amuses.
Weekend Box Office (03/24/13) part I: The Croods isn't Dreamworks' comeback because they weren't in free-fall.
Saturday, March 23, 2013
Warner Bros. already has the ingredients for Justice League, and the keys to making it unique and groundbreaking...
Friday, March 22, 2013
Brandon Peters's Evil Dead franchise retrospective part I: Within the Woods (1978)
Brandon Peters has returned! Leading up to the April 5th release date of the new Evil Dead remake, Mr. Peters will be doing his voodoo with the Evil Dead series. He begins not with a retrospective review of the first Evil Dead film, because that would be too easy. No, first he's giving us a look at Within the Woods, the 1978 short film that Sam Raimi made in order to get funding for The Evil Dead. As only a casual Evil Dead fan, I've frankly never heard of this one, so this was as informative for me as I hope it will be for you. So without further ado...
Within The Woods
1978
Director: Sam Raimi
Starring: Ellen Sandweiss, Bruce Campbell, Scott Spiegel
Not Rated
You're only cursed by the evil spirits if you violate the
graves of the dead. We're just gonna be eating hotdogs.
~Bruce
Sam Raimi's desired vision for The Evil Dead could not come to fruition unless he had more money
than he could come up with himself. So,
in 1978, he decided to make a short film, as sort of a trailer to hope to scare
up the money to make the full film (yes, that was a pun, sometimes I just can't
help it). Raimi's movie premiered in
front of a midnight screening of Rocky
Horror Picture Show to a good reception and he was able to acquire most of
the his desired budget to make The Evil
Dead.
Thursday, March 21, 2013
Review: Olympus Has Fallen (2013) is violent and stupid, a 'direct-to-VHS Die Hard rip-off' on steroids.
Olympus Has Fallen
2013
120 minutes
Rated R
by Scott Mendelson
If taken at face-value, Antoine Fuqua's Olympus Has Fallen is pretty much morally indefensible. Written by Creighton Rothenberger and Katrin Benedikt, the film offers a level of jingoistic fear-mongering the likes of which are more commonly associated with a 1980s Chuck Norris vehicle and/or the likes of Cobra. It is astonishingly violent yet acts as if the safety of a single person is all that necessitates a happy ending. While the slightly similar 'president in peril' epic Air Force One at least implicitly asked what cost in lives should be spent to preserve the life on a man who happens to hold a certain elected office, Olympus Has Fallen has no such weighty ideas on its mind. It is not so much a Die Hard rip-off but a high-budget ($80 million) ode to the flurry of cheapie straight-to-VHS knock-offs that flourished in the late 1990s, complete with simplistic plotting and implausible levels of violence. It isn't terribly smart and it peaks in the first act, but damned if I didn't enjoy the picture nonetheless.
2013
120 minutes
Rated R
by Scott Mendelson
If taken at face-value, Antoine Fuqua's Olympus Has Fallen is pretty much morally indefensible. Written by Creighton Rothenberger and Katrin Benedikt, the film offers a level of jingoistic fear-mongering the likes of which are more commonly associated with a 1980s Chuck Norris vehicle and/or the likes of Cobra. It is astonishingly violent yet acts as if the safety of a single person is all that necessitates a happy ending. While the slightly similar 'president in peril' epic Air Force One at least implicitly asked what cost in lives should be spent to preserve the life on a man who happens to hold a certain elected office, Olympus Has Fallen has no such weighty ideas on its mind. It is not so much a Die Hard rip-off but a high-budget ($80 million) ode to the flurry of cheapie straight-to-VHS knock-offs that flourished in the late 1990s, complete with simplistic plotting and implausible levels of violence. It isn't terribly smart and it peaks in the first act, but damned if I didn't enjoy the picture nonetheless.
Disney unleashes the terrific opening credit sequence from Oz: The Great And Powerful. Watch it now (or whenever)!
The best thing I can say about the 3D work in Oz: The Great and Powerful is that I could tell, even in my 2D screening, that it probably looked spectacular in 3D. Anyway, Disney has released the terrific opening credit sequence for our viewing pleasure. Obviously it's spoiler-free. Yes, I'm basically killing time until I get the chance to finish my Olympus Has Fallen review, but so be it.
Scott Mendelson
Scott Mendelson
Star Trek Into Darkness gets another weirdly generic trailer.
Isn't Star Trek supposed to be about star trekking? Ya know, exploring strange new worlds, seeking new life and new civilizations, and possibly going where no man has gone before? This may look like a decent action thriller, but it also feels like a painfully generic adventure that happens to be painted in Star Trek paint. Benadict Cumberbatch shows up, Cumberbatch commits several acts of terrorism, Kirk goes after Cumberbatch. I sincerely hope there is more to the story than that and there may very well be. But what we've seen so far suggests the film boldly going where any number of sequels have gone before. And, if I may, why oh why couldn't Paramount wait until next weekend to debut this with G.I. Joe: Retaliation? Anyway, Star Trek Into Darkness opens May 15th in IMAX 3D and May 17th elsewhere domestically. As always, we'll see...
Scott Mendelson
Scott Mendelson
Wednesday, March 20, 2013
Die Hard's oddest legacy: cheap action films...
Tuesday, March 19, 2013
Iron Man 3 gets a photoshop poster spectacular!
I was holding off on posting those lovely character posters for Iron Man 3 because I wanted to put them all in one post, with the presumption that Rebecca Hall would get her own poster as well. Alas, Hall is a no-go both for her own poster as well as even getting billing on the main IMAX poster. That is a bit odd as her character in "Extremis" is basically a co-lead while Guy Pearce's scientist um... it's a small part in the original comic book arc. I'll let others discuss the usual gender boilerplate here (expanding the guy's role while seemingly minimizing the female character's role, keeping the women on the poster to no more than one, etc.), and merely point out that this is basically a giant mash-up of several prior character posters smushed into one image, which may remind fans of the Batman Forever poster campaign from 1995 (with the five character posters copied and pasted into the theatrical one-sheet). At least no one is unleashing exploding farts like the last time around... Anyway, since they are apparently done for now, I'm including the rest of the solid Iron Man 3 posters after the jump, including the general theatrical one-sheet. Iron Man 3 opens overseas on April 25th and April 26th but not until May 3rd in America. As always, we'll see.
Scott Mendelson
Scott Mendelson
Monday, March 18, 2013
Accidental ground-breaker: Batman & Robin (1997) catches the bad guy at the half-way point...
Sunday, March 17, 2013
Weekend Box Office: Oz tops twice, The Call tops Burt Wonderstone, and Spring Breakers explodes in limited release.
Saturday, March 16, 2013
Review: The Call (2013) is much better than you were expecting, at least for the first hour.
The Call
201395 minutes
Rated R
by Scott Mendelson
For the first hour or so of The Call, you'll think you're watching a new B-movie classic. The picture is staged as a typical 'special location' thriller. We get a solid prologue, a decent chunk of the movie set during the actual situation we paid to see, and then, as must always be a the case, a finale set away from the prime location. Speed had to eventually leave the bus, Shoot to Kill had to eventually get out of the mountains, and Red Eye couldn't just end on that plane. It's how a film like this handles the eventual disembarking that determines its overall success. Sadly, The Call blows the dismount by a considerable margin, trading plausible real-world tension for generic genre cliches. But up until that time, it is a superior thriller, and a successful return to the somewhat lost art of what Roger Ebert liked to call the bruised-forearm movie. For the first 2/3, The Call is a nearly perfect example of what it's trying to be.
Friday, March 15, 2013
On the 10th anniversary of the Iraq invasion, why we do praise the converted over the initially right?
I think it's terrific that Republican Senator Rob Portman of Ohio has come out in support of gay marriage. I think it's notable that he came to this conclusion after his 21-year old son came out of the closet, as the more would-be homophobes are forced to actually put a human face on the theoretical 'other' of homosexuality the faster this remaining prejudice will go away. One of the major cornerstones to doing away with institutionalized racism was the white World War II soldiers who served alongside African-American soldiers and realized that they weren't lesser creatures. But this news story ties into something that frankly I was going to write about on Tuesday to commemorate the ten-year anniversary of the Iraq invasion. In short, those in the mainstream media, especially in the beltway press, seem to reserve a level of respect for those who once were blind but now can see.
Thursday, March 14, 2013
How I learned to stop worrying & love the Veronica Mars film.
30,000 people donated an average of $64 during a several hour period yesterday, and thus we will be getting a Veronica Mars movie sometime next summer. Creator Rob Thomas and star Kristen Bell used Kickstarter to basically prove to Warner Bros. that there is indeed an interest in a continuation of the cult detective drama that ran for three low-rated seasons on the CW back in 2004-2007. The deal was basically to raise $2 million in a month and Warner Bros. would agree to distribute and market the film, giving it a limited theatrical release and the various home-viewing options. They hit their target at 5:55 pm this evening. I made a bitchy joke earlier in the day about raising money to find domestic 'food insecurity' among American children by calling such an initiative 'Save Firefly!' or something to that effect. My first instincts were ones of priorities and what this said about our 'entitlement culture'. Upon reflection (I purposely didn't write anything immediately), I'm still not sure how I feel about this. This is indeed very interesting, it may even be *news*. But is it good news overall?
Wednesday, March 13, 2013
Review: The Incredible Burt Wonderstone (2013) will make your laughter and interest disappear.
The Incredible Burt Wonderstone
2013
100 minutes
rated PG-13
by Scott Mendelson
Among its many other faults, The Incredible Burt Wonderstone makes a solid case for the old 'television is better than the movies' argument. The film is written by four different screenwriters all swimming in television writing experience and directed by a man who has directed almost nothing but television since 1990 and all of their various television projects are likely, by default, better than this film. It features two actresses (Olivia Wilde and Gillian Jacobs) who did shine or are currently shining in well-developed three-dimensional roles on episodic television and uses them here merely as props for the boys to screw or ogle. It contains a script seemingly written by committee that features less wit and smarts than any one of the 38 episodes of 30 Rock by director Don Scardino. But putting aside the film vs. TV debate, The Incredible Burt Wonderstone is an inexplicable missed opportunity, showcasing subject matter that isn't the least bit timely and highlighting the unmerited 'redemption' of a pointlessly horrible human being whose downfall is completely his own fault. More importantly, save for Jim Carrey's supporting turn and a few grace notes along the way, it isn't very funny.
2013
100 minutes
rated PG-13
by Scott Mendelson
Among its many other faults, The Incredible Burt Wonderstone makes a solid case for the old 'television is better than the movies' argument. The film is written by four different screenwriters all swimming in television writing experience and directed by a man who has directed almost nothing but television since 1990 and all of their various television projects are likely, by default, better than this film. It features two actresses (Olivia Wilde and Gillian Jacobs) who did shine or are currently shining in well-developed three-dimensional roles on episodic television and uses them here merely as props for the boys to screw or ogle. It contains a script seemingly written by committee that features less wit and smarts than any one of the 38 episodes of 30 Rock by director Don Scardino. But putting aside the film vs. TV debate, The Incredible Burt Wonderstone is an inexplicable missed opportunity, showcasing subject matter that isn't the least bit timely and highlighting the unmerited 'redemption' of a pointlessly horrible human being whose downfall is completely his own fault. More importantly, save for Jim Carrey's supporting turn and a few grace notes along the way, it isn't very funny.
Watch/Discuss: Kick Ass 2 gets a red-band trailer.
Get More:
I'm not allowed to post my The Incredible Burt Wonderstone review quite yet, but I will say that this film and the one opening Friday marks an interesting turn for Jim Carrey, theoretically eschewing the pure star vehicle in favor of broadly comic "I'm just here to be funny" supporting turns. Since Carrey never really had that portion of his career where he slowly broke into lead vehicles (like for example Will Ferrell), this is pretty new territory for him and something I look forward to as we near the 20th anniversary of Ace Ventura: Pet Detective next January (congrats - you're old). Anyway, the rest of the trailer seems fine, although I can't help wondering if this will be a classic case of 'rooting against action', where we want to maintain the happy ending of the first film, with Dave living happily with his father and dating Katie (who happily is returning) while young Mindy gets the childhood she was previously denied.
Tuesday, March 12, 2013
Speculation: Disney's "Avengers" endgame for the current round of live-action Fairy Tale Theatre?
See it early? See it at midnight? See it on DVD? On how we see movies and how those choices affect our critical analysis.
Sunday, March 10, 2013
Weekend Box Office: Oz: The Great and Powerful summons $80 million, with all signs pointing towards a leggy run.
Saturday, March 9, 2013
Star Trek Into Darkness gets an action-packed new trailer.
The only spoiler bit is at around 1:02, where Captain Pike has some facial scars that I don't recall him having at the end of the first Star Trek (he was of course seriously injured, but I don't recall scarring). Perhaps Pike gets those scars when Cumberbatch escapes from his glass prison at the halfway mark, because "He planned to get caught the whole time!". Otherwise, this is a quick (78 seconds) and breezy action-packed trailer. It's nice that they aren't focusing as much on Benedict Cumberbatch's mystery villain (I have a theory on that, broached by a friend of mine and backed up by what we've seen thus far, but I'm not sharing in case I'm right) and also showing off that the film isn't all gloom and misery this time around. The initial trailers tried to sell the film as a generic 'dark sequel' or The Dark Knight meets Skyfall meets Revenge of the Sith. This new trailer plays in the Return of the Jedi/Tron sandbox with phasers set for swashbuckling adventure.
The good news/bad news regarding the decidedly un-feminist female characters in Oz: The Great and Powerful.
Unfortunately pretty much everything I feared about Oz: The Great and Powerful, right from the second trailer, turned out to be true, at least from a gender perspective. It is indeed about three seemingly powerful women sitting around and waiting for a random man who fell out of the sky to not only attempt to save Oz but, more importantly, shape all three of their respective destinies. The film also equates beauty with virtue in a rather explicit fashion, with somewhat laughable scenes of Rachel Weisz's Evanora complaining of jealousy over Michelle Williams 'pretty face' seemingly oblivious to the fact that said evil witch is played by *Rachel Weisz* (spoiler: Rachel Weisz is insanely hot). It's not just that Mila Kunis and Michelle Williams play seemingly strong female characters who constantly yap about needing some prophesied male wizard to swoop down and save their asses. The biggest problem in the film is that it allows its feeble and somewhat selfish male hero to basically define them and their actions.
Friday, March 8, 2013
Dumb parent worries: Will my kid get spooked by PG-13 trailers like After Earth in front of PG-rated movies like Oz?
I made an offhand joke a couple days ago about all of the big summer release trailers being dropped online and presumably into theater this week. I'm taking my daughter to see Oz: The Great and Powerful tonight and I'm curious to see which trailers are attached to PG-rated Disney family adventure. Obviously The Hangover part III is probably not going to make an appearance. But what about the more mainstream PG-13 entertainments like Iron Man 3 or After Earth? So will the first 15-20 minutes or so of my daughter's moviegoing experience consist of a series of trailers for big summer releases that she can't see? Will I have to explain that "No, sweetie, *this* Iron Man movie is for adults." I've had to do that before, like when when she spotted the DVD of Snow White and the Huntsman at Best Buy, and I always feel like an idiot when doing so. The other thought that comes to mind is a 12 year old news story, one which I gave little thought to at the time.
Oz: The Great and Powerful earns $2 million at 10pm/midnight.
Scott Mendelson
Thursday, March 7, 2013
M. Night Shayamalan's After Earth gets a second promising trailer.
Cautious optimism is the phrase here. This looks good. This looks like a solid and visually creative piece of big-budget science-fiction. Will Smith generally doesn't make awful movies. Jaden Smith held his own three years ago against an Oscar-worthy Jackie Chan in The Karate Kid. And M. Night Shyamalan? Well, one can only hope that this seemingly work-for-hire project allow him to find his groove again, especially with Will Smith in the producer's chair able and willing to tell him "no". I know I say this a lot, but I still believe in M. Night Shyamalan. The Sixth Sense and Unbreakable are two of the best films of the last fifteen years. Signs is top-notch popcorn entertainment and even The Village and Lady in the Water have things worth noting (potent political subtexts and a powerful musical score in the former, a haunting Paul Giamatti performance in the other). But come what may, even if After Earth turns out to be another miss, even if Shayamalan never makes another good movie again, so be it. M. Night Shayamalan made The Sixth Sense and Unbreakable. Nobody can take that away from him. Anyway, After Earth opens on June 7th, in IMAX no less. As always, we'll see.
Scott Mendelson
Scott Mendelson
Review: Dead Man Down (2013) shoots itself in the foot with a moronic and wrongheaded finale.
Dead Man Down
2013
110 minutes
rated R
by Scott Mendelson
Up until the very end of the picture, Dead Man Down is a mostly serviceable crime drama. It has fine work from Colin Farrell and Noomi Rapace along with worthwhile supporting turns by Terrance Howard and the always appreciated Domonic Cooper. It doesn't set out to turn heads or reinvent the wheel, but it tells its grim story of revenge and tortured romance with just enough aplomb to merit a casual viewing. But oh that ending... I have no idea what screenwriter J.H. Wyman or director Niels Arden Opley were thinking and I can theoretically give them the benefit of the doubt that they just couldn't decide on a thoughtful finale. I'd like to think they just gave up and went on 'bad screenwriting autopilot'. It's frightening to think that these two professionals thought that the last reel constituted a worthwhile conclusion to their otherwise worthwhile yarn. It's tough to review a movie where your biggest gripe involves the very end without actually revealing what happens at the end, so maybe we'll get to that later.
2013
110 minutes
rated R
by Scott Mendelson
Up until the very end of the picture, Dead Man Down is a mostly serviceable crime drama. It has fine work from Colin Farrell and Noomi Rapace along with worthwhile supporting turns by Terrance Howard and the always appreciated Domonic Cooper. It doesn't set out to turn heads or reinvent the wheel, but it tells its grim story of revenge and tortured romance with just enough aplomb to merit a casual viewing. But oh that ending... I have no idea what screenwriter J.H. Wyman or director Niels Arden Opley were thinking and I can theoretically give them the benefit of the doubt that they just couldn't decide on a thoughtful finale. I'd like to think they just gave up and went on 'bad screenwriting autopilot'. It's frightening to think that these two professionals thought that the last reel constituted a worthwhile conclusion to their otherwise worthwhile yarn. It's tough to review a movie where your biggest gripe involves the very end without actually revealing what happens at the end, so maybe we'll get to that later.
The Hangover III gets a promising, if potentially misleading trailer.
It's tempting to be somewhat intrigued by the darker tone of this initial teaser for The Hangover part III. But let us recall that the first act or so of The Hangover part II teased a proverbial Heart of Darkness journey only to cop out during its second half into a tiresome retread of the first film. Still, if this is really the series finale, then Todd Phillips arguably has complete creative freedom to make whatever movie he wants, including the kind of movie that I'd argue he wanted to make last time around. Still, this does look a little better than the last film and John Gooddman's inclusion is promising (I'd argue Paul Giamatti was the best thing about the last time around). Three final thoughts. First of all, the final gag is a genuine winner. Seocnd of all, what exactly is the logic of Warner Bros. not waiting a week and attaching this to their The Incredible Burt Wonderstone? Did they rush it out so they could attach it to prints of Oz: The Great and Poweful? Finally, I can only hope (foolishly I know) that Warner Bros. chooses not to cut any more trailers for this picture, as I can't imagine anyone not knowing whether or not they want to see the movie at this point regardless. Let's hope they keep whatever surprises the film has in store out of the marketing for as long as they can. The Hangover part III opens Memorial Day weekend. As always, we'll see.
Scott Mendelson
PS - I love the poster they dropped yesterday. I hope whomever drew that Enemy Mine poster back in 1985 gets royalties.
Scott Mendelson
PS - I love the poster they dropped yesterday. I hope whomever drew that Enemy Mine poster back in 1985 gets royalties.
Wednesday, March 6, 2013
Skyfall director Sam Mendes will not be helming the next 007 adventure. Why Martin Campbell should return to the fold...
Okay, so Sam Mendes is officially out. There was rumbling over the last few weeks that Sam Mendes would actual But as of today, Mendes politely bowed out of the running. He will not return to helm the next James Bond picture following his phenomenally successful Skyfall. I'm sure I will be but one of a million people offering their thoughts on who should helm the next 007 picture. It's tempting to once again half-jokingly offer up Terrance Malick, Warner Herzog, Sophia Coppola, and Michael Haneke as go-to picks. But the choice is obvious. The name is Campbell, Martin Campbell. He directed two of the very best 007 pictures of the post-Connery era, if not outright ever (it's no secret where I stand on this... Goldfinger can suck it). He revitalized the franchise twice with two different Bond actors in the last 18 years. The stain of Green Lantern leaves him in a position of 'needing a hit', and there is no reason to presume he won't knock it out of the park for a third time. But more importantly, doing the follow-up to Skyfall gives Campbell a new set of tools to play with in the 007 sandbox. This time he'll just get to play with few restraints, without the burden of franchise rebirth.
Tuesday, March 5, 2013
Pity... Universal cancels Oblivion's early IMAX release.
Bigger isn't always better. Why Hansel and Gretel: Witch Hunters may represent the future of big-scale studio movies.
Iron Man 3 gets a final and frankly terrific trailer...
I'll add commentary later today. But for the moment, this looks like a pretty terrific action thriller that just happens to be a superhero threequel. It's good to see that the bad guy isn't just targeting Stark this time around, and this may in fact dive head-first into the politics that the second film only skirted around. Could this finally break the curse of the comic book part 3? Share your thoughts below...
Scott Mendelson
Scott Mendelson
Monday, March 4, 2013
Holy sh*t!! Harrison Ford signs on for Anchorman 2...
If you watched Conan O'Brian over the years, you know that Mr. Ford is actually a pretty funny guy. He has a droll and rather deadpan sense of humor that generally came out best on O'Brian's couch, probably because Conan never pried into his private life. He's made no secret of his desire to do comedy and I've spent the last 15 years or so wondering why he never got that call from the Farrely Bros or whatever dominant comic filmmakers were occupying the industry at a given moment. Hell, the serio-comedic melodramas of Judd Apatow would be a perfect fit for someone like Ford. But it appears that the call has finally been made and answered, because Ford is in fact joining the cast of Anchorman 2: The Legend Continues.
The lesson of Jack the Giant Slayer: Delaying failure and fixing the unfix-able is expensive and often counter-productive.
Sunday, March 3, 2013
Weekend Box Office part II: Stoker scores in limited while three wide newbies tank.
Weekend Box Office part I: Fee Fi Fo Flop: Jack (the Giant Slayer) bombs harder than even John Carter.
Friday, March 1, 2013
Movie stars aren't an endangered species, they are more vital than ever in the $200 million fantasy tentpole era.
There are $200 million fantasy spectaculars opening within two weeks of each other at the moment. If the $400,000 10pm/midnight figures for Jack the Giant Slayer is any indication, Warner Bros. is about to have its very own John Carter/Battleship ($25 million debut, $65 million finish, around $250 million worldwide at best). Conversely Walt Disney has let the embargo wall fall for its Sam Raimi-helmed Oz: The Great and Powerful, which is allegedly tracking to open at around $75 million. There are a number of reasons why Sam Raimi's fairy tale-redux is prime to perform better than Bryan Singer's such attempt. For one thing, I can take my daughter to the one that isn't PG-13 and doesn't involve giants biting peoples' heads off and/or setting them on fire. Also helping is the strength and confidence of Disney's marketing versus Warner's "we know we laid a financial egg" trepidation. But perhaps most importantly, Oz: The Great and Powerful has actual movie stars. What? I thought the era of the movie star was gone and the proverbial movie star was a relic of a bygone era? Well... it's actually only half-true.