Showing posts with label Natalie Portman. Show all posts
Showing posts with label Natalie Portman. Show all posts

Friday, August 26, 2011

2011 Summer Movie Review part I: The Moments That Mattered

We'll see if my schedule allows me to do a comprehensive 'end of summer' box office wrap-up, but since summer 2011 doesn't officially end until next weekend, I figure I've got time. For now, here is my annual rundown of the various scenes, performances, moments, and miscues that defined the summer just past. Because sometimes, discussing the 'parts' is more fun than discussing the 'whole'. I'll try to avoid divulging plot twists and the like, but consider this a SPOILER WARNING.

Best Fake-Out: Vin Deisel sacrifices himself for the team at the finale of Fast Five.
Even if you feel silly admitting that you cared about the characters in this fifth and inexplicably terrific entry in the eleven-year long racing action franchise, you cannot deny that the characters cared about each other.  What made the movie pop was the genuine sense of camaraderie and bonding that existed between our main characters, which is one of the benefits of being the fifth film in a long running franchise.  So when Deisel's Dominic Toretto separates himself from the pack during the final chase scene, apparently intent on sacrificing himself to give the rest of his friends (including his pregnant sister Mia and her boyfriend Brian) a chance at freedom and riches, I bought it.  The film had built up a genuine 'series finale' vibe, and it seemed completely appropriate that the franchise would end with Dom, the series's most prominent character, giving his life so that his sister's unborn child wouldn't have to grow up without a father.  When Toretto miraculously survived his one-man cannon-ball run, I rolled my eyes a bit.  It wasn't until a week later that I remembered that this fifth film actually took place BEFORE the third film in the series (Tokyo Drift), at the end of which Vin Deisel made a cameo appearance.  Point being, Dominic Toretto was never in danger.  But the film was so unexpectedly compelling and exciting that I completely forgot what I already knew going in.

Thursday, June 30, 2011

Is Richard Lester available? Disney and Marvel press ahead with Thor 2 for summer 2013, without director Kenneth Branagh.

Well, it looks like summer 2013 is the one where we find out how much the Marvel franchises truly depend on their would-be auteurs.  The summer will kick off with Iron Man 3 (directed not by Jon Favreau but by Shane Black) opens on the same first-weekend in May slot the previous two have debuted in.  And Disney announced today that Thor 2 is scheduled for July 26th, 2013.  The big news is that while star Chris Hemsworth will be back, original helmer Kenneth Branagh will not (Natalie Portman is contracted for a sequel, but we'll see if she makes the choice to return).  This is a surprise to say the least.  This is not a case like the Iron Man franchise, where Jon Favreau butted heads with Marvel throughout the sequel and decided to quit at two.  This isn't a case like Green Lantern, where Martin Campbell found himself a bit over his head with the whole green-screen/CGI action department and will probably fall on the sword for the movie's poor box office (Warner Bros' new habit of micromanaging didn't help either).  Thor withstood a weak marketing campaign and ended up with a rock-solid $437 million worldwide, earning relatively solid reviews in the process.  I don't wish to speculate and will only say that I hope that Branagh's choice to move on was merely a case of not wanting to get tied to the franchise, and not another case of penny-pinching by Marvel or some kind of corporate decision by Disney (which takes over the previously-Paramount owned Marvel films after Captain America).  Anyone want to offer suggestions or guess the release date?  As for replacement directors, it's the same list I always have: Sophia Coppola, Werner Herzog, and Terrence Malick.

Scott Mendelson      

Cheap but funny: Ben Churchill mashes up No Strings Attached, Friends With Benefits into a single trailer.

This may be cheap (I'm sure you can do this with any number of movies that happen to have a similar premise), but the result is a genuine hoot.  No Strings Attached was relatively okay, a C+ picture that merits a DVD rental and at least tried to have something worthwhile on its mind.  Here's hoping the seemingly bawdier Friends With Benefits at least reaches those heights.  The latter comes out July 22nd.

Scott Mendelson

Saturday, May 7, 2011

Thor grosses $25.7 million on opening Friday, looks headed for $65-72 million debut weekend.

It was pretty much a foregone conclusion once the midnight numbers were released, but Marvel's Thor has opened with a rock-solid $25.7 million for its first Friday. The film is polling at a 'B+' from Cinemascore, with an 'A' from audiences under 18. The film did about 12% of that from midnight showings, which is normal for such fare. Where it goes from here is an open question of course. Non-sequels that did the 12% of their Friday grosses on midnight or Thursday night (Avatar and Inception for example) had weekend multipliers of about 2.8x, which would give Thor a hearty $72 million. But even a slightly front-loaded 2.6x would give the picture $65 million, which still feels like the likely end result for the Fri-Sun period. The other two major openers, Something Borrowed and Jumping the Broom, opened with $4.8 million and $4.1 million respectively, so both should gross around $12 million for the weekend. More to come once the weekend numbers roll in (although my analysis may be a little later than usual, due to the whole Mother's Day celebrations and what-not).

Scott Mendelson

Friday, May 6, 2011

Thor grosses $3.25 million in midnight sneaks, appears headed towards $43-72 million for the weekend ($65 million sounds about right).

With pretty much every major summer tentpole doing the whole 'midnight screening' thing this season, it's going to be that much easier to predict the weekend even earlier. So with that, we can report that Marvel's Thor (review) has opened with $3.25 million in midnight sneaks last night. As I've written before, a film that goes wide at 12:01am generally makes between 5% and 6% of its opening-weekend take in midnight screenings. There are exceptions (Avatar and Fast Five pulled in around 4.5% of their Fri-Sun grosses in 12:01am screenings), but 5-7% seems to be a healthy average. So with that in mind, assuming that Thor is inexplicably front-loaded (unlikely as its not a sequel) and/or suffers from poor word of mouth (also unlikely, as the film is pretty fun and satisfying), let's assume that Thor does about 5% of its opening weekend grosses at midnight. That would give Thor a $65 million opening weekend take. Playing the averages, Thor could gross anywhere from $43 million (7.5% in midnight sneaks, or a likely worst-case scenario) to $72 million (a best-case scenario 4.5% in midnight sneaks). We'll know more when the Friday numbers come in, but for now, it looks like Paramount has pulled off another massive opening for a challenging franchise. For those who want a detailed look at the math regarding midnight screenings, go here.

Scott Mendelson

Sunday, April 10, 2011

Weekend Box Office (04/10/11): Hop stays on top, four new releases cannibalize each other, Insidious pulls stunning hold.

For the second weekend in a row, Universal's Hop was the number one film of the weekend. The Easter Bunny animated epic dropped 42% in its second weekend, grossing $21.6 million. That's a bit heavy for an animated film, but the lack of school for many kids has meant decent midweek showings, draining the 'must see on the weekend' factor. Regardless, the $63 million-budgeted film has already grossed $68 million in the first ten days. If it can fend off Rio next weekend (which is basically being sold by Fox as 'Angry Birds: the Movie'), it positions itself for a strong fourth weekend, which is of course Easter itself. Frankly, it will be fun to watch, as agnostic, atheist, and/or not-Christian families will likely check out Hop over that holiday weekend, while the more overtly Christian families will theoretically opt for Tyler Perry's Madea's Big Happy Family. This is another big win for Illumination and a solid hit for Universal. $100 million seems guaranteed and beyond that is mainly a matter of demo competition (a bunch of kid-friendly films over the next month) and whether it can keep screens as summer starts. As for those who read last week's roundup, I did see the film that Sunday, and it's relatively mediocre but utterly harmless. My three-year old enjoyed it, which counts for something, and it does make an effort to go in a different direction than many other talking-animal films (too bad it literally gives away the ending in the first scene of the film... WHY???).

Tuesday, April 5, 2011

Review: Your Highness (2011)

Your Highness
2011
102 minutes
rated R

by Scott Mendelson

David Gordon Green was once set to become the next Terrence Malick. His sober dramas of lower or middle class Americana (George Washington, Snow Angels, etc) were some of the finest examples of character-driven drama to come out of the last several years of independent cinema. Now the man seems stuck in a world where pointless brainless marijuana jokes and gay panic humor rules the day. Your Highness is fatally-stymied by a script by Ben Best and star Dannie McBride that still thinks that smoking weed is inherently funny, the 'f-word' is by-itself comic gold, and homosexuality is automatically repulsive. There are moments of successfully-ripping satire of 80s medieval action pictures, but (pardon the pun) higher aspirations go up in smoke.

Sunday, February 13, 2011

Weekend Box Office (02/13/11): Adam Sandler and Jennifer Aniston face off against Justin Bieber over Valentine's Day weekend.

It was a close call this weekend, and the rankings may end up being switched when the finals come in. But for the moment, the Adam Sandler/Jennifer Aniston romantic comedy Just Go With It has topped the charts with $31 million. Sandler scored previously on this weekend in 1998 with The Wedding Singer (which was a surprise break-out hit with $18 million) and in 2004 with 50 First Dates (which scored $39 million by re-uniting Wedding Singer co-stars Sandler and Drew Barrymore). This is actually one of the very lowest opening weekends for a broad male-driven farce for Mr. Sandler, which shows just what a powerhouse opener he has been since his 1998 mainstream break-out. For thirteen years, Adam Sandler has been the most consistent opener in the business, bar none. His movies may often be terrible, and his fans seem to sniff out and avoid his quality fare as a matter of principle, but Sandler is without question the biggest comedy star of his generation and the biggest movie star to emerge from Saturday Night Live.

Sunday, February 6, 2011

Thor fails to bring the thunder (again) with a bland Super Bowl teaser.


I'm not going to do a rundown of every single Super Bowl movie ad, primarily because there were just too many of them. I know I've been bagging on Thor since last year's Comic Con, but the problems remain the same. The Asgard footage looks stilted and artificial, while the Earthbound stuff looks like something out of the first Universal Soldier. Having said that, I don't have any desire to see Kenneth Branagh fail. Hell, I'm the guy who loves Mary Shelly's Frankenstein. If Marvel is somehow hiding all of the knock-out footage, or if the film plays better as a whole than it does in 30-300 second chunks, then so be it. But this just doesn't look like the kind of epic tale that is going to get people excited about Thor or his place in The Avengers.

Scott Mendelson

Weekend Box Office (02/06/11): Roomate tops slow Super Bowl weekend, Sanctum slightly underwhelms, Oscar films continue to soar.

The Super Bowl weekend is not what anyone would consider prime movie-going real-estate, so it stands to reason that there wouldn't be much on the wide-release circuit this weekend. Screen Gems scored their biggest opening weekend ever last Super Bowl Sunday with the romantic drama Dear John, which opened to $30 million and knocked Avatar off the top spot. But generally speaking, Screen Gems's has had pretty decent success opening teen girl-friendly PG-13 horror pictures, often remakes of R-rated 70s and 80s slasher pics, over the last several years, so they went that route again this year. This year's entry, The Roommate, a film so obviously copied from Single White Female that complaints/summons are probably being drafted as we speak.

Sunday, January 30, 2011

Weekend Box Office (01/30/11): The Rite tops, The Mechanic opens well, and Oscar nominees continue to soar.

While there were two major openers over the weekend and both of them opened within expectations, the real news was the performance of the various Oscar nominees that were in a position to capitalize on last week's nominations. Generally speaking, the news was good all around. Topping the weekend was The Rite, as the heavily-advertised religious thriller opened with $15 million. As far as religious horror pictures go, it pales to the $30 million scored by The Exorcism of Emily Rose in 2005, the $19 million earned by The Exorcist: The Beginning in 2004, the $20 million earned in the opening jaunt of The Last Exorcism several months ago (a surprisingly terrific little movie, by the way), and even the $19 million opening weekend of Stigmata from way back in September 1999. Still, The Rite had less overtly horror-ific moments to highlight in the ad campaign, as it mainly had a few fleeting shots of supernatural terror plus Anthony Hopkins to sell. The $35 million Warner Bros/New Line Cinema release will do just fine in the long run, and the film (for what it's worth) is Anthony Hopkins's biggest opening weekend for a top-billed star vehicle where he doesn't play Hannibal Lecter.

Tuesday, January 25, 2011

Random commentary/analysis on the Oscar nominations.

Is Chris Nolan the new Steven Spielberg? Inception received eight nominations, including Best Picture, but Nolan failed to receive a directing nod this morning. That is arguably the biggest surprise in the otherwise predictable batch of Oscar nominations today. Even as someone who doesn't think it was the greatest genre entry of all-time, it IS a director's picture through-and-through. Of course, since we now have ten Best Picture nominees and only five Best Director slots, there are arguably five other directors who might be a little annoyed this morning. I'm personally saddened (as much as one can be 'saddened' by stuff like this) by the omission of Debra Granik for her direction of Best Picture nominee Winter's Bone. I know we all like the Coen Brothers, but True Grit is a pretty normal western. If True Grit is Oscar-worthy, then so was 3:10 to Yuma and Open Range. There will be much handwringing over Lisa Cholodenko not getting a Best Director nomination for The Kids Are All Right. But since I kinda hate the film, I'm not too personally annoyed by the omission. At least Mark Ruffalo pulled out a Best Supporting Actor nod out of the deal, since he was the best thing about the film (of course, Ruffalo is usually the best thing about every film he's in).


Sunday, January 23, 2011

Weekend Box Office (01/23/11): Natalie Portman, Ashton Kutcher top chart with No Strings Attached, Way Back and Company Men under-perform.

As the lone new wide-release of the weekend, the Ivan Reitman romantic-comedy, No Strings Attached, debuted with $20.3 million. The $25 million picture was a solid win for both Natalie Portman and Ashton Kutcher. Portman probably deserves credit, as this was the first mainstream project to capitalize on her Black Swan press, as well as her new unfortunate role as a tabloid darling (re: surprise engagement + pregnancy = no escape). But the $20 million opening falls right in Ashton Kutcher’s median average when dealing with commercial fare such as this (What Happens in Vegas, Guess Who, etc). Out of fifteen wide-release openers, seven of them opened between $17 and $23 million. Killers, with $15 million, was just as much an anomaly on his box office filmography as Valentine’s Day (where, ensemble cast aside, he and Jennifer Garner were the leads) opening with $56 million. Journalists may unfairly tag him as a flop machine, and audiences may say they hate him, but as he’s not making a $70 million spy comedy, Kutcher is a reliable draw for reasonably-budgeted pictures such as this one

Saturday, January 22, 2011

Friday Box Office (01-22-11): No Strings Attached opens with $7.3 million, but Nikki Finke falsely calls Ashton Kutcher a flop-machine anyway.

"...any movie starring Ashton Kutcher is probably a bomb..." - Nikki Finke discussing Paramount's unwillingness to personally send her a press briefing on No Strings Attached

An absolute falsehood. She bases her assertion on a single film, Killers, which opened with $15 million and grossed $93 million worldwide (which would have been fine had the film not cost $70 million). Valentine's Day (an ensemble film where he had the lead role) opened to $56 million just last year. What Happened In Vegas opened to $20 million and ended up with $219 million worldwide (his biggest grosser ever) just under three years ago. Sure, he occasionally out-and-out whiffs (A Thing Like Love, My Boss's Daughter), but Kutcher is a relatively consistent opener.

Sunday, January 16, 2011

Weekend Box Office (01/16/11): Green Hornet, The Dilemma face off over MLK holiday.

As I wrote yesterday, expectations are a funny thing. For months, if not a year, The Green Hornet (review) was pegged as a costly sure-fire flop. Plagued by alleged reshoots, a date change from December 2010 to January 2011, and a seemingly desperate quick-conversion to 3D. But the film started screening for the geek crowd to mostly positive responses, and the buzz started building. The tracking estimated around $40 million for the four-day opening weekend. Yet when the film opened on Friday to $11.1 million, the pundits shouted 'disappointment!', 'failure!', and/or 'under-performer!' for daring to actually meet but not exceed expectations. So yes, the Michael Gondry superhero action-comedy The Green Hornet debuted at number one over the long Martin Luther King day holiday, with $34 million over three days and a projected $40 million for the four-day weekend. In my book, meeting positive expectations puts you in the 'win' column.

Friday, January 14, 2011

Thor is angry because...?

Thor just read the script?
Thor just watched the trailer?
Thor just watched a rough cut?
You pick...

Scott Mendelson

Sunday, January 9, 2011

Weekend Box Office (01/09/11): True Grit takes the lead, while Season of the Witch, Country Strong lead off 2011.

The crowd-pleasing, critically-acclaimed Coen brothers western remake/adaptation True Grit took the box office crown in its third weekend of release, setting itself up as a major Oscar contender. The Jeff Bridges/Hailee Steinfeld vehicle grossed $14.6 million in its third weekend, dropping a reasonable 40%. The post-holiday weekends usually see hefty drops, so this isn't anything to be concerned about. What is impressive is that, in its third weekend, True Grit has a Fri-Sun amount right on par with the opening weekends of recent (justifiably) acclaimed westerns such as 3:10 to Yuma and Open Range, both of which opened with $14 million within the last seven years. The (slightly overrated) film crossed the $100 million mark on Saturday, and ended day 19 with $110 million. That makes it the third-biggest grossing western in domestic history, behind the sci-fi tinged Wild Wild West ($113 million) and the revisionist epic Dances with Wolves ($184 million). It is also now the highest-grossing picture amongst the Oscar-bait contenders this year, although probably nominees Inception ($292 million) and Toy Story 3 ($415 million) are obviously out of reach. Alas, unless you only count pure traditional westerns, most of these genre-related box office records will likely fall when Jon Favreau's Cowboys and Aliens (trailer) is released this summer.

Sunday, December 5, 2010

If The Dark Knight Rises ends up being based on 'Prey', which lucky leading lady will get this choice role?

Who should get this plum role? Anne Hathaway? Blake Lively? Rachel Weisz? Keira Knightly? Naomi Watts? Or how about Natalie Portman, fresh off her Oscar win for Black Swan? Her name is Catherine and she's the mayor's daughter. She has two or three scenes in the first two (of five) chapters of "Prey" where she engages in debate regarding the usefulness of Batman in Gotham City. Then she gets abducted in chapter three, as part of a plot by Hugo Strange to frame Batman and turn the city against him. Catherine spends literally the entire remainder of the five-part saga stripped to her bra and panties, gagged, and chained to a bed. Oh, and as for Catwoman, she's barely in it. And we wonder why it's so hard to get females to start reading mainstream superhero comic books...

Scott Mendelson

Weekend Box Office (12/05/10): Black Swan soars in limited release, while holdovers tumble and Warrior's Way fumbles.

There was but a single new wide-release this weekend, as the weekend after Thanksgiving is a scary time for Hollywood. Few studios are willing to risk dealing with the post-holiday hangover, so this weekend brings just The Warrior's Way. But we'll get to that in a minute. First off, Tangled took the box office crown in its second weekend, dropping just a bit less than Harry Potter and the Deathly Hallows part I, which was enough to score the number one slot. The Disney animated fairy tale grossed $21.6 million, which accounts for a somewhat troubling 55% drop in weekend two. With $96.5 million in twelve days, getting to $200 million is no longer the sure-thing that I pegged last weekend. Still, the film is Disney's biggest non-Pixar hit in quite a long time. It's about $13 million ahead of Chicken Little at the end of its respective weekend, about $26 million ahead of Enchanted at the end of its post-Thanksgiving weekend twelfth day, and it's nearly $31 million ahead of Bolt at the same interval. It will outgross Princess and the Frog next weekend and has pretty much passed Meet the Robinsons as of today. So by any rational standard, the film is a big win for the Mouse House, even if the film did cost (allegedly) $260 million to make. If that's true, then it will still be a very long time before Tangled gets in the black, although the likely trillions of dollars in merchandise sold will likely help ease the over-budgeting.

Tuesday, November 30, 2010

Review: Black Swan (2010)

Black Swan
2010
110 minutes
Rated R
Opens December 3rd in select theaters

By Scott Mendelson

Darren Aronofsky's Black Swan is a dazzling and often intoxicating horror story. No, it's not a body count slasher picture or a supernatural spook story, but it is every bit as unnerving as the best in traditional horror. It is at the core a character study of one woman striving for perfection in a severely competitive field and the various people around her who may or may not be looking out for her best interests. But the film is told in such a dazzling fashion that it often resembles a fever dream. It is scrumptious entertainment and a remarkable bit of cinema. It also contains a remarkably full-throttle performance by Natalie Portman, one that will likely win her an Oscar next year.

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