How much Star Wars is too much Star Wars?

Disney announced two days ago that their new plans, having previously purchased Lucasfilm for $4 billion, aren't just to make a new trilogy of Star Wars episodes, nor even to make a few spin-off films set in the same universe.  No, they are planning to make one Star Wars movie every single year, with off-shoot films alternating with official new 'episodes'.  How much Star Wars is too much Star Wars? The idea of a new trilogy of Star Wars films, set to debut ten years after the finale of the prequel trilogy, is perhaps also exciting, even as J.J. Abrams replacing George Lucas as the proverbial leader of this specific universe calls for cautious optimism (Is Star Wars without any real input from George Lucas really Star Wars?  Discuss...).  But how long will the casual fans remain excited about the prospect of new Star Wars films when they appear as frequently as Thanksgiving dinner for years and years on end?

Real Tragedy vs. Reel Tragedy: A History of Films Released in the Shadow of Non-Fiction Horror

For much of the last six months, many hardcore Star Trek fans have been somewhat annoyed that the upcoming Star Trek Into Darkness has been marketed as a somewhat generic grim-n-gritty 'dark sequel' focused not on space exploration but on Kirk and his crew pursuing a seemingly unstoppable super villain (Benedict Cumberbatch).  I've jokingly referred to the marketing as Skyfall Into The Dark Knight, but the irony is that Paramount may now be regretting their 'sell this to generic action fans' approach.  If, and this is a big "if", the perpetrator behind Monday's Boston Marathon attack turns out to be a domestic terrorist with a grudge against allegedly tyrannical government forces, how will Paramount handle their prime summer tent pole, which has been centered around a domestic terrorist with an apparent grudge against Starfleet blowing up populated areas?  This is sadly not the first time we've had this kind of discussion.  But it's worth noting that it's having to happen with increasing frequency.

Why Guillermo del Toro's 'Pacific Rim' Will Be a Bigger Hit if Summer 2013 is an Artistic Failure...

As I mentioned last week, the success of Guillermo del Toro's large-scale monsters vs. robots action tale Pacific Rim is at least partially predicated on how well-received the previous two months of summer films happen to be.  This summer will mark the ten year anniversary of Pirates of the Caribbean: Curse of the Black Pearl.  As most of you know, the Disney pirate adventure was a surprise of sorts, both in terms of its unexpected quality and its huge financial success.  The film was a proverbial dark horse of summer 2003, a film based on pirates (box office poison!) starring Johnny Depp (usually box office poison way back when) and based on a theme park ride.  On paper, the $130 million film was seemingly a recipe for disaster.  But two things happened that summer.  Pirates of the Caribbean: Curse of the Black Pearl was very good and a large portion of the May/June summer releases were not.  As such, by early July, summer movie audiences were primed for a would-be tent-pole that actually delivered the goods.  Gore Verbinski's pirate adventure was the one we were waiting for, and audiences responded accordingly with a $73 million five-day opening and a $303 million final domestic total.

Review: Tom Cruise's 'Oblivion' (2013) Presents a Beautiful Vision of the End of the World

I could easily spoil the vast majority of Oblivion merely by listing the various science fiction films from which it cribs.  From visual cues to plot beats and character arcs, it feels like a mash-up of the various high-profile science fiction thrillers from the last few decades.  But almost despite itself, the film works anyway as its own beast.  Yes the characters are thin and the screenplay doesn't have too much going on underneath the hood, but the film is an absolute visual delight.  Universal originally planned to release this film in America last Friday for an exclusive IMAX-only week-long engagement and it's easy to see why.  The film features absolutely fantastic special effects, yet offers the pleasure of being able to believe your eyes more often than not.  Director Joseph Kosinski's Oblivion may be a triumph of style over substance, but the picture *is* a triumph of style, with strong acting that helps overcome the lack of substance.  Sometimes visual imagination coupled with strong acting is enough.  The end of the world never looked so beautiful.

Why it may be a good thing if no films pass $1 billion in 2013...

Just a few years ago, had I written a piece entitled "There are no films guaranteed to gross $1 billion this year", you likely would have laughed and said "Of course not!".  As recently as 2010, the idea that any movie could or would gross $1 billion in worldwide ticket sales was somewhat of a pipe dream.  From 1997 to 2006, there were just two films to reach that milestone, they being Titanic  (the biggest movie of all-time with a seemingly insurmountable $1.8 billion) and The Lord of the Rings: The Return of the King, the Oscar-winning chapter to what can be argued is the finest screen trilogy of our time (that's a debate for another day).  In 2006, we saw the powerhouse success of Pirates of the Caribbean: Dead Man's Chest which parlayed the unexpected popularity of the first film into an even larger haul for its sequel, breaking the domestic opening weekend record at the time ($135 million) and earning a massive $423 million in America and $642 million overseas.  In 2008, The Dark Knight pulled another "massively popular sequel to unexpectedly well-liked original" trick to the tune of $533 million in America (good for the second biggest grosser of all time in America, if only for a year) and just over $1 billion worldwide despite not playing in China due to that pesky "Chinese gangster hides Gotham mob money" subplot. 2009 saw James Cameron do that trick that James Cameron does yet again, with Avatar earning $1 billion worldwide in about seventeen days and going on to earn an eye-popping $2.7 billion.

Weekend Box Office: '42' Sets Record, 'Scary Movie 5' Bombs, 'Oblivion' Launches Overseas

Here's an odd statistic: Despite baseball being theoretically America's national past time and being the subject of any number of feature films over the decades, not a single baseball-themed film has ever opened at over $20 million.  Not until today that is, when the Jackie Robinson biopic 42 (review HERE) opened with a surprisingly robust $27.3 million.  Not only is that the biggest baseball opening weekend on record, it's the biggest baseball-themed opening weekend even when adjusted for inflation (in 2013 dollars, A League of Their Own has a debut of $26.6 million).  This is good news for the somewhat beleaguered Warner Bros, which has seen the disappointing returns for Bullet to the Head, Beautiful Creatures, and The Incredible Burt Wonderstone (all well under $25 million in domestic totals).  The film scored a rock-solid 3.0x weekend multiplier and a somewhat rare A+ score from the audience polling service CinemaScore.  The film played 52% male and 83% 25-and-older.  So yeah, the $38 million production is likely going to have long legs at least for the month of April with a trip over the $100 million mark a genuine possibility.

Why Guillermo del Toro's 'Pacific Rim' Will Be a Bigger Hit if Summer 2013 is an Artistic Failure

As I mentioned last week, the success of Guillermo del Toro's large-scale monsters vs. robots action tale Pacific Rim is at least partially predicated on how well-received the previous two months of summer films happen to be.  This summer will mark the ten year anniversary of Pirates of the Caribbean: Curse of the Black Pearl.  As most of you know, the Disney pirate adventure was a surprise of sorts, both in terms of its unexpected quality and its huge financial success.  The film was a proverbial dark horse of summer 2003, a film based on pirates (box office poison!) starring Johnny Depp (usually box office poison way back when) and based on a theme park ride.  On paper, the $130 million film was seemingly a recipe for disaster.  But two things happened that summer.  Pirates of the Caribbean: Curse of the Black Pearl was very good and a large portion of the May/June summer releases were not.  As such, by early July, summer movie audiences were primed for a would-be tent-pole that actually delivered the goods.  Gore Verbinski's pirate adventure was the one we were waiting for, and audiences responded accordingly with a $73 million five-day opening and a $303 million final domestic total.

Summer Movie Marketing Challenge: Tease, Don't Spoil!

Review: 42 (2013)

Writer/director Brian Helgeland's 42 is an openly earnest and sentimental bit of old-school hokum.  It is the kind of studio programmer biopic that was once a standard issue release, and it is absolutely successful in its respective goals.  It doesn't aim to be an all-encompassing epic of race relations in the 1940's, nor does it even strive to use the Jackie Robinson story as a grand statement on the eventual Civil Rights movement to come, even as its characters are all-too-aware of the color barrier being broken.  It masks a certain subtly and nuance beyond sweeping music and sometimes obvious monologues.  Released in April instead of October or November, it is surely not intended to win Oscars but merely to tell an educational story to a generation for whom its significance may have lessened over the years.

Can Fox And Dreamworks Combined Challenge Disney's Animation Empire?

 

During the summer of 2013, there will be six animated (or live-action/animated hybrid) entries.  At a glance, it would seem like healthy competition as each of the major current players are offering an official entry into the summer box office sweepstakes.  You've got 20th Century Fox taking a shot at proving they can do more than Ice Age sequels, delivering the somewhat on-the-nose-titled Epic over Memorial Day weekend.  Pixar unleashes their official summer entry, the Monsters Inc. prequel Monsters University on June 21st.  Universal delivers its trump card with Despicable Me 2 over July 4th weekend while Dreamworks releases its snail-racing comedy Turbo on July 17th, a frankly unusual release date for them, but no matter.  Sony delivers The Smurfs 2 on July 31st while Disney offers up the previously straight-to-DVD entry Planes on August 9th.

Paramount And MGM Did Everything Right With 'G.I. Joe: Retaliation' (Except Make A Good Movie).

It's no secret that I didn't much care of G.I. Joe: Retaliation when I saw it at the All-Media screening just under two weeks ago. Heck, I'm one of maybe ten critics on the planet who actually preferred Stephen Summers's first (and I'd argue, underrated) G.I. Joe picture from summer 2009. But despite my personal preferences, the film is a solid hit worldwide, ushering in an almost immediate green-light for G.I. Joe 3.  Paramount did a few very smart things during the production of this Jon Chu-helmed sequel. In fact, other than the fact that it's not a very good movie (arguably the hardest variable to plan on, natch), Paramount Pictures and MGM's handling of G.I. Joe: Retaliation may be a primer on how to successfully launch a tentpole film in today's marketplace.  First of all, that much-debated nine-month delay from June 2012 to March 2013 turned out to be the right call.  Aside from the obvious 10-20% bump in ticket prices per 3D-ticket sold, overseas audiences went for the 3D, and the delay in order to convert the film to 3D is partially responsible for its strong $232 million-and-counting worldwide total, or already within reach of the $300 million that Rise of Cobra earned altogether.

Scott Mendelson goes to Forbes! A word about the future...

I was going to write this on Thursday, but then Roger Ebert died and I just didn't have it in me.  So I apologize to those who follow this blog but not my social media outlets and have no idea where I've been since Thursday.  Long-story short, I have been hired to write about box office and marketing for Forbes.  It's not a king's ransom, but it's a token amount of extra money to do what I've been doing purely for fun for five years going.  The "bad" news is two-fold.  First of all, the pieces that go on Forbes are exclusive to Forbes for five days, so if you're wondering where my weekend box office column is, it's right here.  Now certain pieces, like the first two I wrote for the site, aren't quite as time-sensitive and thus can be republished here in a week's time.  For those who don't want to go to Forbes to read my work (although I wish you would, since I get extra commission based on traffic), I will do my best to republish the work here in good time.  The other "bad" news is that this means that I will be altering my focus just a bit.

Roger Ebert has died. But cinema is more alive than ever...

If the film critic has any kind of noble purpose, it is to shine a light on the good and the unexpectedly great in film.  No one gets into film criticism because they hate movies.  We got into this because we love the cinema and we love the singular experience of watching great movies.  If we have any kind of noble goal, it is to highlight what we love, even if its a minority opinion and even if it opens us up to ridicule from our peers.  If we have a social good, it is in highlighting the great movies that may have slipped under the radar.  It is in highlighting the little-seen independent film that desperately needs the publicity to stand out alongside its peers. It is also in highlighting the genuine artistry found in mainstream studio pictures, especially in a time when so many film scholars are all-too willing to write off every would-be 'big movie' and thus declare that cinema is dead.  Cinema is not dead.  Cinema is as alive as it's ever been.

Scott Mendelson: On seeing Jurassic Park 20 years ago...

I'll make this simple.  My first theatrical viewing of Jurassic Park remains, without question, the best theatrical movie going experience of my life. It encapsulated pretty much everything good about the theatrical experience, including any number of elements that are perhaps non-replicable in today's film culture.  The viewing was an unexpected advance-night screening, back before every movie opened on Thursday at 12:00 am, if not 10:00 pm or earlier.  Jurassic Park had a whole slate of advance screenings on Thursday the 10th of June, starting at I believe 8:00 pm.  I had presumed I would be seeing it sometime that weekend, but my mother informed me that my dad was coming home from a business trip and he was picking me up in time for a 10:00 pm screening.  Obviously excited, I hurriedly rushed to finish the original Michael Crichton novel that I had been blazing through.  We got to the theater early enough and the auditorium, as well as the auditoriums around us, were absolutely jammed packed.  Everyone was excited to be there, but nobody really knew what they were in for.

Guest Review: Evil Dead (2013) is a solid horror remake...

Evil Dead

2013

92 minutes

Rated R

Evil Dead is a surprisingly faithful yet reimagined retread of the legendary Sam Raimi film that pushes the limits of commercial theatrical wide release horror films.  This is a horror film that isn't afraid or ashamed to be one.  With a intense, blood-drenched finale that should leave a packed theater cheering, Evil Dead falls on the side of good remakes.

The story of this iteration of Evil Dead surrounds a girl, Mia (Jane Levy), who is being taken out to an old abandoned secluded cabin, once owned by her family, to hopefully detox her current drug problem.  Along the way to assist, are 2 of her friends and her brother with his girlfriend.  Upon exploring a smell in the basement, Eric (Lou Taylor Pucci) and David (Shiloh Fernandez) find a ritualistic set of dead cats and the Book of the Dead.  After reading some passages, wild things begin to happen to Mia.  Should her friends believe the things she says or is it her trying to escape cold turkey detox?

Brandon Peters ranks the Evil Dead films...

RANKING THE EVIL DEAD

Well, this is the shortest rankings I’ve done so far.  If I did French Connection or John Carter, there could be shorter ones.  I really love the Evil Dead franchise.  I think it’s a perfect trilogy as is right now.  All three films are great on their own level.  I’m not against additional films in the series or the remake that’s being done.  The remake has a heavy hand from Sam Raimi AND Bruce Campbell, so I trust it.  And the fact that they both WANTED to do the remake is encouraging.  My only worry is that it’s a good film, but I’m hoping its not overhyped.  There’s a lot of crazy praise happening for it.  I feel I’m someone pretty well versed in horror/desensitized, so it takes a lot to genuinely scare me.  And you got to make your over the top gore count for narrative and character to give it that impact you want from me.  I’m excited for it though, I really am.

Now…lets RANK

Brandon Peters's Evil Dead franchise retrospective part V: Drag Me to Hell (2009)

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 bonus look at Drag Me To Hell. For those who want my original theatrical review, go HERE. Otherwise, without further ado...

Drag Me To Hell

2009

Director: Sam Raimi

Starring:  Alison Lohman, Justin Long, David Paymer, Lorna Raver, Dileep Rao

Rated PG-13 (I watched the Unrated cut)

You tricked me, you black-hearted who-o-o-o-o-ore! You b-i-i-i-i-i-i-i-itch!

                        ~Goat

If you’re question why I covered this film in my EVIL DEAD retrospective series, then you’ve never seen Drag Me To Hell.  And if you haven’t seen Drag Me To Hell, stop reading, go out and Netflix or BUY it (it's like $5 at Fry’s).  You've been missing out on one of the best horror films of the previous decade. 

R.L. Shaffer: On seeing Jurassic Park 20 years ago...

This is the second of a handful of essays regarding your first (and second and/or third) viewing of
Jurassic Park twenty summers ago, as we brace ourselves for the film's 3D IMAX rerelease this Friday.  I'm sure every single one of my readers has such a memory so feel free to share them in the comments section below.

Memories of Jurassic Park:

By R.L Shaffer

I was a mere 12 years old when I first visited Jurassic Park.

From the very first teaser (seen above) I was hooked. As a self-professed lover of dinosaurs (or dino-sars as Jeff Goldblum's Ian Malcolm pronounced it), it would be my duty to see any film about these mysterious creatures. I didn't know what I was going to get, either, but if director Steven Spielberg was going to take me there, I was more than willing to enjoy the ride.

Brandon Peters's Evil Dead franchise retrospective part IV: Army of Darkness (1992)

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 Army of Darkness. 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...

Army of Darkness

1992

Director: Sam Raimi

Starring: Bruce Campbell, Embeth Davidtz, Ian Abercrombie, Marcus Gilbert, Richard Grove…also Bridget Fonda and a line-less Linda, Night of the Living Dead remake’s Patricia Tallman as a deadite and Wedding Singer’s Angela Featherstone as an S-Mart girl

Rated R

Good. Bad. I’m the guy with the gun.

            ~Ash

With the success of Darkman, Sam Raimi was finally able to bring to life his vision of Ash fighting deadites in medieval times.  Originally titled The MediEvil Dead, the film was the first in the series to be backed by a major studio.  However, the film is still done on the cheap.  Bringing the comedic aspect of Evil Dead 2 to the forefront this time around, Raimi unleashes an insanely fun, quotable film featuring an encore performance by Bruce Campbell and a tribute to the comedy and adventures Sam Raimi enjoyed growing up.

Press Release: Finding Dory swimming into theaters 11/25/15.

STILL SWIMMING!

Disney•Pixar’s “Finding Dory” to Dive into Theaters

November 25, 2015

Ellen DeGeneres, the Voice of the Beloved Blue Tang Fish in 2003’s “Finding Nemo,” Shares Plans for the All-New Big-Screen Adventure

The conformist rebellion of Spring Breakers...

There is something oddly safe and reassuring about the alleged shocking content found in Harmony Korine's Spring Breakers.  It is something so explicitly fashioned to be viewed as 'outrageous' yet its actual onscreen content would presumably only be shocking to those who are somewhat, pardon the simplification, sheltered or easily hot-n-bothered.  It contains moments of overt sexuality and moments of stark violence, but nothing that wouldn't be out of place in a more conventional action picture.  The fact that the very idea of former Disney starlets (and a current ABC Family Channel star) running around in bikinis and engaging in "Girls Gone Wild" type behavior is considered "controversial" or "outrageous" is perhaps a dangerous sign of our current puritanistic attitudes.  The film, at least from a marketing standpoint, seems intentionally designed to give an outlet for "serious" critics and/or journalists to have their cake and eat it too.

Brandon Peters: On seeing Jurassic Park 20 years ago...

This is one of two of three essays regarding your first (and second and/or third) viewing of Jurassic Park twenty summers ago, as we brace ourselves for the film's 3D IMAX rerelease this Friday.  I'm sure every single one of my readers has such a memory so feel free to share them in the comments section below.

Jurassic Park Memories

Brandon Peters

Yes, that photo supporting the article is ridiculous…but I just kinda “had to” use it. Hilariously, its one of those images that sticks in your head from the movie.

Jurassic Park was one of those films that comes along once every 8-10 years that just restores your faith and fulfill the magic of seeing a film in a theater to the highest level.  There was an absolute joy and “level up-ing" of my love for cinema after viewing this movie.  An event movie in the greatest sense. And man, was there a craze following it.