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.

Weekend Box Office (01/13/13): Zero Dark Thirty tops while Gangster Squad disappoints and Haunted House overperforms.

After nearly a month in limited release, Kathryn Bigelow's Zero Dark Thirty (review) finally went wide this weekend and it grossed $24 million to top the weekend box office. The film now has a $29 million cume.  All eyes were on this one, with the big question being whether critical acclaim and film punditry would translate into mainstream interest.  Obviously the current 'does the movie promote torture?' controversy brought the film all kinds of free publicity, but I'd argue it scared off just as many as it brought it.  By the way, no it doesn't endorse torture because... well just watch the movie again (essay 01/essay 02)!  Anyway, the closest comparison is the Martin Luther King Day Jr. weekend wide-release debut of Ridley Scott's Black Hawk Down eleven years ago next weekend, which pulled in $33 million over four days and $28 million over Fri-Sun.  The 'hunt for Bin Laden' film's debut is a bit lower, especially when inflation is accounted for (BHD's 3-day total is around $38 million in 2013 dollars), but the Scott picture was pretty much a nonstop action picture while Bigelow's is an icy and often cold 2.5 hour procedural where even the climactic action sequence is meant to disturb more than excite.  The film played 59% male and 62% over 30. Sony did a great job selling this one somewhat falsely as a triumphant action drama, although they didn't seem to make as much of an effort to bring in females for what is indeed a female-centric character drama (Jessica Chastain is terrific here).  Despite a merely okay  2.6x weekend multiplier, expect pretty strong legs as this becomes the defacto water-cooler Oscar contender (Oscar nomination essay 01/Oscar nomination essay 02), the one everyone has to see in order to participate in the national dialogue.

Review: The Gangster Squad (2013) is LA Confidential for kids.

The Gangster Squad

2013
110 minutes
rated R

by Scott Mendelson

I've long spoken of the irony of Warren Beatty's Dick Tracy being one of the most mature and adult comic book films ever released (essay).  Despite its PG rating and primarily colors-centric art direction, it's rather violent and genuinely sad, focused on adult characters who deal with very adult problems.  It is perhaps doubly ironic that Ruben Fleischer's The Gangster Squad (trailer), which feels at times like a loose remake of the 1990 Disney release, is so juvenile despite its grown-up cast and its very R-rated violence.  It is cheerfully pulpy but childishly so.  It turns the tale of a group of off-the-books LA cops waging war on gangster Mickey Cohen (Sean Penn, going 'full gangster') into a simplistic adventure seemingly aimed at eight-year old boys.  For much of its running time, it can't decide whether it wants to be a serious gangster drama or a kid-friendly action adventure (graphic violence be damned), before just giving up and becoming a glorified video game instead.  Despite all of that, it is not a boring picture, filled with enjoyably bad acting, laughably cliched and/or corny plot turns, and pretty much non-stop violence.  The Gangster Squad achieves a rarity in this hyper-aware age: It's genuinely so bad that it's (almost) good.

The Gangster Squad gets a second silly trailer along with some very Caucasian character posters.

This still looks like a bunch of kids playing dress-up and acting out juvenile cops-and-robbers fantasies.  Think Bugsy Malone remaking LA Confidential.  Maybe it's the weirdly 'let's appeal to the kids!' rap song on the soundtrack.  Maybe's it's Sean Penn acting as badly as he can.  Maybe it's the marketing department trying to sell the idea that we're supposed to *care* about the forbidden romance between Emma Stone (as "the girl", I hope merely as a favor to Zombieland director Ruben Fleischer) and Ryan Gosling.  But this frankly looks rather silly and, R-rating and apparent ultra-violence notwithstanding, like a stereo-typically CW-friendly remake of LA Confidential or Mulholland Falls (yes, I know the latter also starred Nick Nolte).  Anyway, also dropping over the last couple days are a bunch of posters.  The theatrical one-sheet is notible in that it resembles the cover of a low-budget straight-to-VHS gangster movie from the early 1990s.  Not *bad* so much as having a distinct 'B-movie' vibe.  The character posters are more disconcerting.  As you'll see after the jump, we've got nine actors getting billing and just five character posters.  Amusingly, the cast's lone African American castmember, Anthony Mackie, doesn't get his own poster, having to stand at the back of the proverbial bus behind box office dynamo Giovanni Ribisi.  What about Michael Pena?  Hispanics apparently don't get face time at all, as he, along with the very Caucasian Robert Patrick are completely MIA.  Stay classy Warner Bros, stay classy.

Scott Mendelson

The Gangster Squad gets an awful trailer, looks like L.A. Confidential performed by and for children.

You'll find few who enjoyed Zombieland more than I did.  I put it on my best-of-2009 list and called it perhaps the best zombie film ever made.  But Ruben Fleischer's third film (following the underwhelming but interesting 30 Minutes Or Less) looks frankly idiotic.  Sean Penn is overacting to the point of obnoxiousness.  Ryan Gosling is once again presented as God's gift to women.  Emma Stone is once again paraded around as a piece of ass.  And the film feels like a rehash of any number of 1940s LA crime pictures.  Anthony "I'd be a big star if I wasn't black" Mackie can't even get billing in the trailer, but his presence is appreciated amid the admittedly terrific cast (Josh Brolin, Nick Nolte, Giovanni Ribisi, Robert Patrick, Michael Pena, etc).  Stone's apparent role as the forbidden fruit highlights a certain sausage fest mentality ('manly men doing manly business while hot women wait on call'), while Mireille Enos's seemingly token appearance highlights the 'TV is better for women than movies' cliche.  On television, Enos is the lead in AMC's The Killing.  In movies, she plays Josh Brolin's wife.  The use of contemporary hip-hop song (Jay-Z's "Oh My God") to sell a 1940s period crime drama reeks of demographic pandering while the trailer sells the film as a slightly more adult-skewing version of the 1991 flop Mobsters (L.A. Confidential for kids?).  I'm all in favor of all-star ensemble films and/or period crime dramas.  But putting aside the 'cool cast' factor, this frankly looks awfully silly.  As of now, Warner Bros. has not given The Gangster Squad a release date, so it's likely that the reception for this trailer will be used as a measuring stick of sorts.  Anyway, as always, we'll see...

Scott Mendelson

2011 year-end wrap-up part II: The Overrated.

 This is the second of several year-end wrap essays detailing the year in film.  This time, we're dealing with 'overrated' films.  Here is the hardest one to write, merely because it's simply a list pointing out why ten films you all loved are actually either not-that-great or actually pretty terrible.  Most are what I would consider 'bad movies' that are being hailed elsewhere as greats, while a few are merely mediocre movies that are inexplicably being given a critical pass in most circles.  Again, if you've been reading me this year you'll probably be able to guess a few of these.  As always, these will be in alphabetical order. 

Random thoughts on that Drive trailer lawsuit...

As sometimes happens, I commented on someone else's blog (in this case, David Poland's The Hot Blog) and what was supposed to be a random bit or two turned into a mini-essay.  So for those so inclined, here is my 'official essay on the Drive lawsuit'.  Oh, here is the actual complaint for those who want details that I don't feel like repeating.  And try not to laugh when attorney Martin H. Leaf calls Nikki Finke a "respected film critic and “Hollywood insider”.  Anyway, I do have some reviews up later this week, so apologies for the somewhat second-hand content.  Enjoy.

It’s no secret I kinda hated Drive (review 01 and 02), but I did not even watch the trailer before seeing it, so one cannot conclude that the low (and highly unscientific) Cinemascore grade is directly related to the marketing (IE – majority opinion aside for the moment, it could just be that it’s not a good movie). I didn’t watch the trailer before seeing the movie (I had correctly heard that it was spoiler-filled), but if I had and thought the movie looked good based on the trailer, would I have a cause of action? Most trailers technically make the movie ‘look good’. If the studios have a bad movie, is merely advertising that film in a way that makes it look good a case for fraud?

As Film District gets sued over a 'misleading' Drive trailer, here are five more classic previews that mastered the art of the false-sell.

I'm sure you've heard by now (first spread by The Hot Blog and Movies.com) about the woman in Detroit, Michigan who is suing Film District over what she felt was a misleading trailer for the Ryan Gosling vehicle Drive (review). Basically, she feels that the film was sold as an action-packed variation on The Fast and the Furious but instead delivering a well, I'm guessing most of you reading this have seen the movie or at least know enough about it to fill in the blanks (my additional thoughts).  The lawsuit has the added spice of accusing the film of anti-semitism, I suppose because both of the villains were Jewish (as a Jewish film fan, I'm all for more Jewish bad guys).  While we may agree that the trailer was a little misleading, it is just a part of a longtime pattern of selling somewhat artier films as if they were just normal mainstream genre entries.  But you already knew that.  Actually, the trailer's biggest sin was blatantly revealing the entire movie (including nearly every action moment) in nearly chronological order, but that's another story.  So in honor of this relatively absurd lawsuit (long-story short - there were no real damages behind the movie ticket and no real pain/suffering to merit additional monetary reward), let's take a stroll down memory lane at some classic examples of film-marketing misdirection.

Weekend Box Office (10/09/11): Real Steel wins over the kids and wins the weekend with $27 million, while Ides of March does the 'Clooney average'.

There were two major releases this weekend, and both of them more-or-less did what was expected of them.  Disney/Dreamworks unleashed the robot-boxing/father-son drama Real Steel, which easily topped the weekend.  Of course, as always, ranking is irrelevant except for their use in second-week ads, so the real question is whether or not its $27.3 million debut is a good number.  First of all, the film scored a solid A from Cinemascore, with an A+ from audiences under 25 (which again, only means something if it opens well in the first place).  Second of all, the film indeed did play like a family film, with an $8.5 million Friday giving way to a solid 3.2x weekend multiplier (family films generally see a boost on Saturday as the kids flood the matinees). The weekend multiplier and audience polling could mean that the Hugh Jackman film will have decent legs as the family film of choice until Puss In Boots opens on October 28th (yes, by moving the film one week up, Dreamworks Animation/Paramount has potentially hurt Dreamworks/Disney).  As for whether or not the film is a hit at this point (check out the movie that it seems to oddly resemble HERE), that depends on who you ask about the film's budget.

More thoughts on Drive, in response to Salon's "The Drive backlash: Too violent, too arty or both?" (where I am paraphrased).

I was paraphrased, somewhat disparagingly in an article from Salon last week that dealt with audiences not quite being as on-board with Drive as critics. I was referred to as "champion of the mainstream, audience-pleasing cinema" and held up as one of the few critics who did not like Drive.  This was my response (HERE is my original review), and I thought I'd share it here as well.

I suppose I've earned the 'defender of the mainstream' tag, as I've long felt that it's important to point out when a major studio picture does it right, as much as when an arthouse picture does it wrong. As I've often said, when we write-off The Mummy or Avatar, we deserve Prince of Persia or Tron: Legacy.  Having said that, what I most disliked about Drive were what I felt its bids at mainstream pandering, or at least its ideology that seems more fit for a fourteen-year old boy.

Weekend Box Office (09/18/11): What the massive opening of The Lion King 3D really means for 3D and the popularity of the theatrical experience.

In a slightly shocking result that has several notable meanings, Disney's 3D-converted re-release of The Lion King (essay) cruised into the number one spot over the weekend with a mighty $30.1 million.  Acting as both a two-week advertisement for the October 4th Blu Ray release and a test run for possibly reviving the old 'out of the vault and back into theaters' strategy of old, the film didn't just top the box office but very nearly set a record for the Mouse House.  In the realm of Disney cartoons that are NOT Pixar releases, The Lion King 3D is actually fifth on the opening weekend list, behind Tarzan ($34 million), Chicken Little ($40 million), The Lion King ($40.8 million), and Tangled ($48 million).  It is the fifth-biggest September opening in history and came within $600,000 of besting the $30.7 million domestic gross of Disney's Toy Story/Toy Story 2 double-feature 3D re-release October, 2009.  That re-release, which was both an advertisement for the Toy Story/Toy Story 2 Blu Ray releases as well as the upcoming Toy Story 3, opened with $12.4 million despite Disney offering two shows for the price of one (IE - half the show times in a given day).  So simply taking the Toy Story 3D opening weekend and doubling it gives you around $25 million, meaning that this weekend's result was not quite as unexpected as its being reported.

Review: Drive (2011) isn't 'cool', but rather just an art-house, navel-gazing version of any direct-to-DVD action picture.

Drive
2011
100 minutes
rated R

by Scott Mendelson

There is an old Robert Rodriguez interview where he comments about how shocked he was by the positive reviews that greeted the release of El Mariachi.  He hinted at certain biases that critics have toward films that are supposed to automatically be 'better' than the rest.  To paraphrase, Rodriguez thought he was making an exploitation film, but because it was a foreign movie with subtitles, critics found all kinds of symbolism that wasn't really there.  Nicolas Winding Refn directs the hell out of Drive, itself based on a novel by James Sallis.  But the visual poetry is in service of a painfully contrived and hilariously generic narrative, and even said 'coolness' is so overwrought that it eventually turns into self-parody and becomes as boring as the story being told.

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.

Review: Crazy, Stupid Love is stupid, vapid, insulting, misogynistic, and completely disconnected from human experience. A baker's dozen list of why I hate it:

Stupid, Crazy Love
2011
117 minutes
rated PG-13

Stupid, Crazy Love is a wolf in sheep's clothing.  Despite its pedigreed cast and the directing team of Dan Fogelman and John Requa (the very good I Love You Phillip Morris), Stupid, Crazy Love is written and performed like a sub-par sitcom.  Despite its promise of adult comedy and genuine insight into love, family, and relationships, it comes off as a shockingly moronic and simplistic fable penned by people who apparently have no experience with real relationships.  Every moment of genuine pathos and earned drama is followed or undercut by a ghastly contrivance.  It treats women solely as conquests, either as casual one-off hook-ups or as prizes to be won.  In terms of teaching its audience how how to deal with the people in our lives, it is far more insidious than the Twilight films, since the supernatural romance is hardly subtle about its disconcerting undertones.  Like the loathsome Enchanted, Crazy, Stupid Love hides its regressive and boneheaded notions of love and romance under a guise of progressive maturity and thoughtfulness.  I do not yet know whether it is the worst film of 2011.  But it surely contains more awful moments than any film I've seen this year.