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.

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.

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.

Pity... Universal cancels Oblivion's early IMAX release.

Having rather loathed Tron: Legacy, I've had to work myself up in order to get excited about Joseph Kosinski's Oblivion.  Yes, Tom Cruise usually makes sure that his big-scale pictures are a cut above and yes the film looks better with each trailer, but the biggest cause for hope was its release schedule.  The film's national release was set for April 19th, but the film was also going a full week early in IMAX only, giving paying audiences a week-long sneak preview in IMAX and other larger-screen formats.  But alas, that promising move by Universal has been cancelled.  Chalk it up to Cruise wanting to do international press for the film's overseas debut on the 12th and the film's US debut on the 19th, chalk it up to Universal wanting an extra week of play for their 3D reissue of Jurassic Park on April 12th, but audiences will not be seeing Oblivion: The IMAX Experience one week early after all.  Color me genuinely disappointed.

Weekend Box Office (02-10-13): Identity Thief cements Melissa McCarthy's stardom while Side Effects clarifies Channing Tatum's box office drawing power.

Melissa McCarthy is officially a comedy mega-star.  There can be little dispute of that after this weekend.  Identity Thief topped the box office this weekend with an astonishing $36.5 million and I'm at a loss to think of any reasons it would do so well aside from Ms. McCarthy.  Jason Bateman is a terrific actor and a fine foil, but he's box office poison as a lead (The Switch opened with $8.4 million, Extract opened to $4.3 million, and The Change-Up debuted with $13 million).  The film's simple and self-explanatory title, along with the clever expository tagline ("She's having the time of his life.") surely helped, as did the lack of any big comedies in the current marketplace.  Parental Guidance and This Is Forty are both doing stealthy strong business, with $74 million and $67 million thus far respectively, but this is the first big star comic vehicle in awhile and it delivered in spades.

This was McCarthy's first big test of her alleged stardom.  Identity Thief was completely sold on McCarthy's new-found stardom.  The core imagery was basically her face on the poster, slipping a Slurpee next to a befuddled Jason Bateman. This is a much larger debut than Bridesmaids, the film which catapulted her to fame and proverbial glory back in May, 2011.  This is among the ten-best R-rated comedy debuts ever and the fifth-best for a non-sequel.  Heck, it opened bigger than the PG-13 Couples Retreat, which had a proverbial whos-who of comedy players (Vince Vaughn, Jason Bateman, Jon Favreau, Malin Akerman, Kristin Davis, and Kristen Bell) and managed a $34 million debut back in October 2009. Fox has to be thrilled at the moment, knowing that they have a plausible gold-mine in the Melissa McCarthy/Sandra Bullock action-comedy The Heat waiting in the wings for June of this summer.

Weekend Box Office (12/23/12): Hobbit tops, Jack Reacher leads new releases in pre-Christmas pile-up.

 As I have been warning about for months, 10,000 releases all opened in this very weekend, with another 5,000 coming on Tuesday.  Let's just get right into it.  The top film of the weekend was once again The Hobbit: An Unexpected Journey (review), but it actually took a massive dive from last weekend.  The film earned $36 million, or down 59%.  It's tough to compare this to the previous Lord of the Rings films because they all opened on *this* weekend and had the unbeatable holiday cushion to keep them afloat.  Still, the film has $149 million in ten days, or well below the respective ten-day totals of The Two Towers ($168 million) and Return of the King ($190 million) and very much behind where they were at the end of their second weekends (IE - 12 days as they all opened on Wednesdays - $168 million and $200 million respectively).  It's not bombing, but it's already proving that it's not the box office second-coming ala Star Wars Episode One: The Phantom Menace.  Come what may, just with this year's Spider-Man reboot, what was once the biggest franchise of all is now just another large fish swimming in the blockbuster pond.

Review: Jack Reacher (2012) is a mostly satisfying old-school 90s-style genre-throwback.

Jack Reacher

2012
130 minutes
rated PG-13

by Scott Mendelson

Writer/director Christopher McQuarrie's Jack Reacher (trailer) is such an authentic bygone relic that I'm not entirely sure it takes place in the present day.  The picture looks, sounds, and feels like a relatively high-quality action thriller from the mid-1990's, which is mostly a compliment.  I could be mistaken, but I don't recall a single scene where a character uses the Internet and/or uses their cell phone for anything other than *talking* (the title character even uses a pay phone on several occasions).  But, thank the heavens, this is not some kind of 'let's make a 90's thriller' technical exercise, but it merely inhabits a mostly forgotten sub genre so successfully that it becomes something of a time capsule piece.  For those not interesting in examining it as a kind of relic, it fortunately also operates as a consistently entertaining and intelligent procedural.  It is strongly acted by all, with pulpy dialogue which I presume comes from the Lee Childs book (One Shot) from which it is based.  It has issues of length and tone, but it mostly entertains and is the rare would-be franchise starter for which I'd gladly see a sequel.

Trailer: Tom Cruise *is* Wall-E in Joseph Kosinski's Oblivion!

It's no secret that I think Tron: Legacy is one of the worst would-be blockbusters in recent memory.  So the idea of another sci-fi would-be tentpole written and directed by Joseph Kosinski doesn't exactly fill me with glee, although the screenplay assist from William Monahan and Michael Ardnt should be noted.  But two things give me relative optimism.  First of all, Tom Cruise generally doesn't make out-and-out terrible films.  Oh sure Rock of Ages was among the worst films of his career, but he had a supporting role in that ensemble and everyone has to shoot an air ball sometime.  Second of all, this film is getting a full week of IMAX-only release, which I'd like to think Universal wouldn't be doing if the film wasn't going to get decent word-of-mouth ahead of its national April 19, 2013 release date.  As for the trailer, the first half amusingly resembles a live-action version of Wall-E before introducing Morgan Freeman and kicking into a somewhat more generic science-fiction action picture.  I'm betting that Sony wishes it had released its teaser for M. Night Shyamalan's somewhat similar sounding After Earth, although we'll see how the Will Smith sci-fi film compares when it teases next weekend with The Hobbit: An Unexpected Journey.  The cast is pretty solid, including the likes of Olga Kurylenko, Nikolaj Coster-Waldau, Andrea Riseborough, and Melissa Leo.  I wouldn't say it looks *good* so much as to admit that it doesn't look *bad*.  Anyway, as always, we'll see.  If you have any thoughts, share them below.

Scott Mendelson   

Watch/Discuss: Tom Cruise's Jack Reacher gets a second somewhat generic trailer.

Putting aside the whole damsel-in-distress subplot (Rosamund Pike arguably deserves better), this all feels so... small-scale for someone like Cruise.  It looks pretty amusing, with a strong cast (Robert Duvall, David Oyelowo, Richard Jenkins, and Warner Herzog as the villain) and pulpy dialogue to spare.  But the million-dollar question is whether or not the never-terribly imposing Tom Cruise can pull off such a relentless bad-ass.  It's still an open question after this trailer frankly.  It's no secret that I'm as big a Cruise fan/defender as anyone, but he seems to be trying *so* hard, and not in a good way.  And if I may nitpick, the tagline arguably should be "The law has limits.  He doesn't."  "He does not." isn't nearly as blunt and to-the-point.  Still, assuming this Christopher McQuarrie film didn't cost more than $40 million, I'm all for a bit of old-school R-rated pulp.  Oh wait, it's PG-13, cost $50 million, and runs 130 minutes!!!  Okay then, make of that what you will.  Long story short, if I'm going to see a Jason Statham film, it probably ought to star Jason Statham.  Anyway, Jack Reacher opens December 21st.  As always, we'll see.

Scott Mendelson

In an era of franchises & tentpoles, Tony Scott made "movies"

As is the case with unexpected 'obituaries', you find yourself writing or saying things that you wish you had said when the person in question was still around to hear it or read it.  I wish I had written this in November 2010.  Tony Scott's film legacy is two-fold.  For the first fifteen years of his career, Tony Scott was among those most responsible for the modern-day macho blockbuster.  His second film, Top Gun, basically paved the way for the modern big-budget big-scale action picture that happened to be set on planet Earth.  I'm no fan of the film, but it was, along with Rambo: First Blood Part II, easily the biggest-scale action picture of its day that didn't involve Star Wars, Indiana Jones, or James Bond. It turned Tom Cruise into an icon and was almost as much of a cinematic game-changer as Star Wars or Batman.  But it was the second half of his career, spanning from 2001 to 2010, that made me a fan.  While we can argue over whether the first fifteen years were superior or inferior to his final nine, his last decade of work cast Mr. Scott in a new, arguably more important light.  In an era dominated by mega-budget fantasy spectacles, Tony Scott was often the last refuge for the old-school 'movie'.  

When the private life overwhelms the public persona - Is Tom Cruise about to become the next Mel Gibson?

I don't generally discuss gossip, so I'm going to do my best to keep this film-centric.  First and foremost, there is bitter irony that this is all occurring just as Tom Cruise has reaffirmed his movie stardom.  Seven years ago, his box office bankability was put in severe doubt due to the beginning of his courtship of Ms. Katie Holmes.  Now, just as Mission: Impossible - Ghost Protocol has reaffirmed both his box office muscle and his dedication to a certain level of mainstream quality, the end of this relationship may torpedo his career all over again, be it temporarily or permanently.  Now of course the film that Mr. Cruise was promoting back in June of 2005 when he performed his famous couch-jumping was Steven Spielberg's War of the Worlds, which went on to earn $234 million in the US and $591 million worldwide, making it Cruise's highest grossing film ever on both levels (M:I4 eclipsed it worldwide last year with $693 million).  In the years that followed, we had a somewhat under-performing franchise sequel (Mission: Impossible III with $133m domestic and $397m worldwide on a $160m budget), a political drama that was never going to be a blockbuster (Lions For Lambs, which earned $15 million in the US but $63 million worldwide on a $35 million budget), an over-budgeted but well-reviewed potboiler (Valkyrie, which cost $90 million and earned $200 million worldwide), and Knight and Day, a $117 million action comedy with Cameron Diaz that still earned $261 million worldwide.  So, coupled with a crowd-pleasing cameo in Tropic Thunder, the idea that Tom Cruise had lost his luster was more about public relations and alienating some of his more casual fans than any real loss of box office mojo.  But this may be different...

Weekend Box Office (06/17/12): Rock of Ages and That's My Boy tank while Madagascar 3 remains strong and Prometheus plummets.

I try to remain somewhat positive about box office, if only to counter the relentless 'It's a bomb!' or 'Big Star FAILS!' punditry that makes up much of the box office pundit world.  But there is little good news to report about this weekend's two big releases.  The top new release was Warner Bros' broadway adaptation Rock of Ages.  The 80s rock homage pulled in just $15 million.  Now to be fair, while the film's opening is far below the $27 million debut of Adam Shankman's last musical, Hairspray in July 2007 as well as the $27 million debut of Mamma Mia! four summers ago, it's actually the sixth-biggest debut for a modern musical, which shows how rare they are even in a post-Moulin Rouge era (Moulin Rouge opened with $13 million eleven years ago, by the way).  It's a bigger opening that Rent ($10 million), Dreamgirls ($14 million on under 900 screens), Burlesque ($11 million), and Sweeney Todd ($9.3 million on 1,249 screens).

Rock of Ages gets a poster that advertises its insignificance.

Not much to comment on.  The film looks patently silly and may be quite terrible, but it's among the ones I most want to see this summer.  The cast is top-notch and Adam Shankman's Hairspray is my personal favorite screen musical of the post-Moulin Rouge era.  I don't presume this will be *good* (the trailers seem weirdly off, even in terms of simple lighting), but I'm presuming this will be awfully fun.  This one drops on June 15th, so as always, we'll see.  But even if it's "nothin' but a good time', that should be enough.  Anyway, the second trailer is embedded below after the jump.

Scott Mendelson

Mission: Impossible - Ghost Protocol is officially Tom Cruise's biggest global hit ever. Why the film's $200 million+ domestic total puts it in rare company...

As of yesterday, Mission: Impossible - Ghost Protocol has earned $594 million worldwide, meaning that it has surpassed the $591 million earned in 2005 by War of the Worlds to become the biggest worldwide grosser in Tom Cruise's career.  Domestically, the film sits at $203 million, or behind the $215 million grossing Mission: Impossible II and the $234 million-grossing War of the Worlds.  On the domestic front, it's still ninth in terms of inflation, but the Tom Cruise films of the 1980s and 1990s didn't have to deal with losing 1,600 screens in two weeks despite strong legs.  It is beyond unfortunate that even a film as 'leggy' as Mission: Impossible IV has to contend with arbitrarily losing screens due to the 2-5 new releases that drop each and every weekend.  The jam-packed schedule of mainstream movie releases, as well as the absence of a viable second-run market, has kneecapped any number of films over the last 5-10 years and resulted in screen-bleed and depressed total grosses even if the films didn't exhibit the usual 'quick-kill blockbuster' behavior.

Weekend Box Office (01/01/12): Strong holdovers close out 2011 movie year.

As is often the case, the last weekend of the year is basically a repeat of last weekend, both in general ranking and numbers, as the holiday weekend tends to keep drops low, if often absent.  Mission: Impossible- Ghost Protocol led the pack of major Christmas and holiday releases that actually went up from last weekend.  The Brad Bird spy thriller earned $31 million over Fri-Sun, with an eye towards a likely $40 million four-day holiday weekend.  At the end of its third weekend, the first of which was IMAX-exclusive, the crowd-pleasing Tom Cruise vehicle will have grossed $140 million by Monday, which means it has already outgrossed the $134 million-grossing Mission: Impossible III.  Overseas, the sequel is doing even bigger business, with a worldwide total of $324 million as we close out 2011.  The $215 million gross of John Woo's Mission: Impossible II is likely out of reach, but surpassing the $181 million gross from Brian DePalma's Mission: Impossible is not only possible but plausible.  Worldwide, the film is shaping up to be $600 million earner, the respective totals, speculative as they may be now, would make this film Tom Cruise's third-biggest domestic grosser and his biggest worldwide earner ever.  MI4 already ranks ninth on both lists.

Review: Mission: Impossible- Ghost Protocol (2011) is a new action film classic.

Mission: Impossible: Ghost Protocol: the IMAX Experience

2011
133 minutes
rated PG-13

by Scott Mendelson

Brad Bird's Mission: Impossible: Ghost Protocol is an outstanding action thriller that happens to be the fourth entry in a long-running franchise (essay).  Like the three previous entries, this is a mostly stand-alone picture that feels absolutely like the work of its director.  And if this entry feels a bit more like 'just another day at the office' than the prior entries, it makes up for it with uncommonly impressive big-screen splendor.  There is beautiful location work and obscenely impressive stunt-work that reminds us how wonderful action films can be when we are seeing something astounding while still being able to believe our eyes.  It is easily the best entry since Brian DePalma's initial installment way back in 1996 and a top-notch piece of genre filmmaking.  It is easily the best espionage action-picture since Martin Campbell's Casino Royale and it is simply relentlessly engaging entertainment.  It is also a glorious return to form for Tom Cruise, as the film operates as a 133-minute rebuttal to those who would declare Cruise's career to be dead and buried.

Rock of Ages gets a 'bangin' trailer... My wife is going to want to see this one.

Oddly enough, it's Alec Baldwin that feels the most mannered in this star-filled version of the 80s-rock homage musical from 2006.  The trailer wisely hides the main attraction, which is seeing Tom Cruise as a stereotypical 80s rock star, until the very end of the spot.  The cast looks impressive, and kudos to New Line Cinema for not hiding the fact that this is actually a musical (it's subtle, but there are at least two shots of characters actually signing out loud).  I happen to think that Hairspray is the best film musical of the modern era (sorry, didn't like Moulin Rouge and Chicago is painfully overrated), so Adam Shankman helming this one puts it pretty high on the list.  Rock of Ages will be released on June 1st, 2012.  As always, we'll see.

Scott Mendelson

Classic Marketing: How the trailer for Brian DePalma's Mission: Impossible invented the modern movie tease, for better or worse.

If you were old enough (or young enough) to care back in February or March 1996, you probably thought this was the greatest trailer you had ever seen.  And in a certain sense, you were right.  For better or worse, this trailer for Brian DePalma's Mission: Impossible basically redefined the modern movie trailer.  While Batman (1989) was the first major trailer to have no narration or voice over of any kind, the M:I trailer played a different game.  It was arguably the first trailer to move so quickly that you could barely digest the images.  It had plenty of dialogue and plot teases, most of it supplied by an gloriously cryptic Henry Czerny, but the would-be exposition vague enough to not qualify as a spoiler.  On the other hand, it has explicit misdirection, falsely setting up Emmanuelle Béart as a damsel-in-distress while using a sex scene between her and Tom Cruise that wasn't even in the final cut of the film.  But its core contribution to modern film-trailer construction was the sheer speed and intensity of its action montage.  Obviously set to Lalo Schifrin's classic theme (well, maybe not so obviously...), the final rip-roaring 90 seconds arguably redefined how high-energy a trailer could be.

Brad Bird's Mission: Impossible: Ghost Protocol gets a second trailer, this time with proper music (but a lot more spoilers regarding the plot)!

This is a bit too spoilery for my tastes (Tom Wilkinsen IS Donald Sutherland!), but this second trailer for the Brad Bird-directed adventure is a solid bit of marketing none-the-less.  The violence does seem jolting and brutal while the familiar theme music (thank you...) gets an effective remixing.  Considering how much emphasis Paramount is putting on the IMAX version of this picture, it makes sense that they are selling the sheer scale and scope of the action sequences.  One caveat - the bit at 2:15 shows Tom Cruise apparently making out with female lead Paula Patton.  Fair enough, except isn't Ethan Hunt supposed to be married to Michelle Monaghan's Julia, whom we met in J.J. Abrams's prior installment?  This series has been one of the chief offenders of the whole 'revolving door of female leads' meme that often infects male-driven franchises (IE - each installment brings a new random babe and forgets about the prior romantic interest), but weren't we supposed to believe that Monoghan was basically the Tracy Di Vicenzo of the franchise?  Anyway, I don't want to obsess over a random moment that may be out of proper context.  The trailer itself looks snazzy and exciting.  This one debuts on December 16th in IMAX (yes, apparently with a six-minute Dark Knight Rises trailer attached) and December 21st everywhere.  As always, we'll see.

Scott Mendelson         

07/16/99 - When the studios blew the best chance to legitimize the NC-17.

As seems to happen every year, bloggers, critics, and pundits are up-in-arms over an Oscar-bait film being awarded or threatened with an NC-17.  As usual, the film in question is a critically-acclaimed adult film with strong sexual content.  And once again, the many people arguing about this are missing the real problem.  Yes, it's annoying that ultra-violent horror films like Saw VII get R ratings while adult films with somewhat explicit sexual content get NC-17 ratings.  And yes it's annoying when somewhat more sensationalistic sexual content like that found in Black Swan gets an R while the apparently mature and allegedly thoughtful sexual content in Steve McQueen's Shame gets tagged with an NC-17.  But the problem is not with the rating, but with the enforcement of said rating.  Put simply, if major theater chains were willing to carry NC-17 pictures and mainstream media outlets would carry advertising for NC-17 pictures, then the debate over what film got what rating would be moot.  As it is, the problem with the NC-17 is not its seemingly arbitrary application (IE - far more likely for sex than for violence), but how it is viewed by the industry and the general moviegoers.