Weekend Box Office (04/01/12): The Hunger Games powers on, Wrath of the Titans falls into the "Tomb Raider trap", Mirror Mirror underwhelms.

As expected, The Hunger Games (review/trailer) again topped the box office this weekend, but its relatively strong hold suggests that it may be a bit mightier than a conventional Twilight/Harry Potter sequel.  With $58 million in weekend two (the ninth-biggest non-opening weekend ever, ahead of all the respective Harry Potter and Twilight Saga films), the film dropped 61% and ended day ten with a whopping $248 million.  That's the biggest ten-day total for a non-sequel ever, and the fifth-biggest ever.  It came in above the $240 million ten-day total of Spider-Man 3, and it is that film which its performance most resembles.  Spider-Man 3 opened with $151 million in May of 2007 before dropping 61% for a $58 million weekend.  Spidey took a drop on weekend two despite having no new releases to compete against because it wasn't exclaimed critically-acclaimed among the fanbase.  The Hunger Games had two big releases this weekend, plus the loss of its IMAX screens which represented about 7% of its theaters and 10% of its gross last weekend.  No other mega-opener on this level that benefited from IMAX has had to deal with the immediate loss of those premium screens, so it bares mention when comparing it to the respective second weekends of The Dark Knight ($75 million off a $158 million debut) or Alice In Wonderland ($62 million off a $116 million debut).  Spider-Man 3 ended its domestic run with $336 million, and its ten day total represented 71% of the gross.  Giving The Hunger Games a similar pattern would give this franchise-starter a final domestic cume of $349 million.  We'll see how it weathers the 3D reissue of Titanic next weekend.  Oh, and it's up to $362 million worldwide, all on a mere $90 million budget.

Review: Mirror Mirror (2012) is lifeless and drab, a poor-man's Ella Enchanted.

Mirror Mirror
2012
106 minutes
rated PG

by Scott Mendelson

The good news is that Tarsem Singh's Mirror Mirror is nowhere near as obnoxiously zany and aggressively annoying as the trailers seem to suggest.  Frankly, the most eye-rolling moments of the marketing campaign aren't even in the movie, and I'd be hard-pressed to name more than a few pop-culture references over modern-anachronisms.  And the film is surprisingly nonchalant about gender, presenting a heroine and  female villain whose respective strengths and flaws have little to do with their gender.  But the film is strangely immobile throughout, feeling less like a cinematic experience than an overlong stage-play with expensive costumes and occasionally well-constructed sets.  Every scene goes on too long and every performer seems too tired to give it their all.  When the first trailer dropped, I derisively compared its apparent tone to the live-action Cat in the Hat.  As horrible as that film is, Mirror Mirror could have used some of its boundless energy.

Trailer: Tarsem's Snow White revamp, Mirror Mirror, looks like a terrible remake of Ella Enchanted, as Julia Roberts invokes The Cat in the Hat.

Wow... just wow.  This looks shockingly bad, a sophomoric, obnoxious, and outright painful.  The humor seems to be on the level of Happily N'Ever After, and any kind of would-be 'fairy tale reversal' shtick just points out that Ella Enchanted did it first, did it smarter and wittier, and did it without having to piggy-back on a famous property.  Julia Roberts looks so strained and campy that she evokes an awkward kind of sympathy with her ghastly 'comic moments' and the constant pokes at her age (most of her bits revolve around how apparently old and ugly she is).  Of course Lily Collins looks gorgeous and fetching, and Arnie Hammer looks blandly-dashing, but the whole tone reeks of Mike Meyer's The Cat in the Hat.  This one drops on March 16th, 2012.  As always, we'll see, but unless this is some kind of bait-and-switch, um... yeah.

Scott Mendelson  

Relativity releases a bunch of photos, but no title, for their Snow White film.

I don't usually post about every photo from every movie, but Relativity was nice enough to send me a batch of photos all in one handy file, so why not?  Anyway, we get glances at Lily Collins as Snow White, Julia Roberts as 'the Wicked Queen', Arnie Hammer as 'the Prince', and all seven dwarves.  While most of the pictures try to sell the 'fairy-tale beauty' and/or 'virginal innocence' of the title character, the best picture is the cast photo above.  Not only is Collins actually smiling, there is a sense of playful wickedness that is lacking from the other photos.  Obviously the Tarsem Singh project will be visually scrumptious, and I'm all for films that actually have bright and bold colors, but I still fear for an industry that feels the need to have three (3!) Snow White projects coming out over the next year.  Anyway, the other bazillion photos are after the jump.  Enjoy.

Scott Mendelson

Weekend Box Office (07/04/11): Transformers 3 crushes July 4th records, Larry Crowne underwhelms, Cars 2 crashes, Bridesmaids and Pirates 4 hit milestones.

As expected, Transformers: Dark of the Moon (review) dominated the long Fourth-of-July holiday frame this weekend.  The film had a Fri-Sun debut of $97 million and thus far sits with $161 million since opening late Tuesday night.  It netted a 6.25-day opening of $180 million, with a worldwide six-day opening weekend of $418 million.  There are those who will scream "DISAPPOINTMENT!" because Transformers: Revenge of the Fallen opened with $200 million in its first five days two years ago.  If $180 million in six days is disappointment, sign me up for failure anytime.  The film played 62% male and 55% under-25.  Oddly enough, the picture scored an A- from males and an A from females in Cinemascore polling.  I'm sure pundits will find sexist explanations for that finding ("Oh, the girls just LOVED that LeBeouf goes into a war-torn Chicago to save his girlfriend."), but I'll just chalk it up to the fact that any woman who walks into a Transformers movie likes robot-smashing and explosions as much as the stereotypical guy.  The picture sold 60% of its tickets in 3D, which is an uptick from the usual 45/55 2D advantage over the last few months.  Point being, if you give teens and older audiences something worth seeing in 3D (as opposed to families with really young kids), they will make the choice to plunk down the extra $3.

Box Office (07/01/11): Transformers: Dark of the Moon picks up the pace ($32.9m), while Larry Crowne underwhelms and Cars 2 crashes.

First, the good news... Transformers: Dark of the Moon grossed a massive $32.9 million on Friday.  That's $11 more than the first Transformers film grossed on its first Friday and just $4 million less than Revenge of the Fallen (despite the first sequel having a $20 million-bigger opening day than this latest installment).  It went up about 50% from Thursday to Friday, the biggest such jump in the franchise.  It's also the third-biggest non-opening Friday in history, behind Transformers: Revenge of the Fallen ($36 million) and Star Wars: Episode III: Revenge of the Sith ($33.5 million).  Point being, it's clear that many fans (and general moviegoers) were just waiting for the regular weekend to check out the latest installment.  The film has grossed $97 million since Wednesday, making it technically the biggest three-day gross of 2011.  It has an outside shot at becoming the first $100 million Fri-Sun debut, especially as Monday is a holiday (hence Sunday acts like Saturday).  But whether it ends up with $165 million by Monday or $185 million by Monday, the film is also doing gangbusters business overseas.  The total worldwide six-day debut looks to be in the neighborhood of $400 million.

Hoping for yesterday: why Tom Hanks, Harrison Ford, and the big movie stars of our generation are not going to magically reclaim their past stardom.

This is a slightly updated version of an essay I wrote back in late May.

This Fourth of July holiday, we have seen the release of Larry Crowne, a poorly reviewed romantic comedy starring Julia Roberts and Tom Hanks.  The film will not top $20 million over the four-day weekend (on just a $30 million budget, natch), which will countless pundits to wonder why Hanks and Roberts aren't mega stars anymore.  Two months ago, we saw the wide release of Jodie Foster's flawed-but-interesting drama The Beaver, which failed to even gross $1 million for a variety of factors (mixed reviews, weird premise, a terrible trailer, etc).  But the film is being held to the perhaps unfair standard of determining whether or not Mel Gibson can return to his former box office glory.  Never mind that the film should no more be expected to perform like Lethal Weapon 4 than The Man Without A Face, the media has been abuzz with articles along the lines of 'Can The Beaver save Mel Gibson?"  This year will see much hand-wringing about the sustainable stardom of some of the very biggest 1980s/1990s stars.  Over 2011, we have seen or will see the alleged box office comebacks of Mel Gibson, Tom Hanks, Julia Roberts, Harrison Ford, Jim Carrey, and Tom Cruise, plus the continuing saga of Arnold Schwarzenegger's post-'governator' movie plans.  Without obsessing too much on certain offscreen behaviors that jeopardize the popularity of a few of those names, the question is: Why should we be expecting these former mega-stars to still be at the peak of their stardom?

Bad Marketing 101: movie posters that tell me what to do.

You're a movie poster. Your job is to advertise a film and make that film look enticing to me, the ticket buyer. You are not a parent, teacher, advisor, or self-help guru. Therefore, it is not your job to tell me how to live my life. It is not your job to offer theoretically empowering suggestions about how I choose to lead my existence. A moment of scorn for obnoxious movie posters of the last decade or so that saw themselves fit to tell me (and you) what to do. You're a movie poster. You are not the boss of me and I don't need your advice. Your only advice/order should be 'buy a ticket for this movie' and/or 'buy some popcorn and a soda'. Period. Enjoy some examples after the jump.