3 day/Total So Far/Projected Final Gross
1. Wreck-It Ralph - $45m / $45m / $160m
2. Flight - $20m / $20m / $80m
3. Man With the Iron Fists - $9m / $9m / $24m
4. Argo - $8m / $73m / $110m
5. Hotel Transylvania - $5m / $138m / $150m
6. Cloud Atlas - $4m / $17m / $26m
7. Taken 2 - $3.5m / $123m / $130m
8. Paranormal Activity 4 - $3.5m / $48m / $56m
9. Here Comes the Boom - $3m / $35m / $42m
10. Silent Hill Revelation - $3m / $13.5m / $19m
Three openers kick off what could be a huge month ahead. Wreck-It Ralph was tracking soft a few weeks ago, but that seems to have changed as now most pundits are predicting anywhere from low 50s to low 70s. I don't see it going that high, rather a run similar to Hotel Transylvania. It has the marketplace to itself for the first three weeks given the other animated films out now are Halloween themed. Flight is opening in under 2000 screens, and will add theaters in the coming weeks. The film's reviews are terrific, particularly for its always reliable star. Denzel is one of the last remaining genuine box-office draws, but he's facing stiff competition next weekend in Skyfall and the following week in Lincoln. It probably is a mistake to use this release strategy and the studio just should've gone to 3000 theaters right away. Man With the Iron Fists is tracking in the single digits, and is the type of movie that is hard to predict. I originally though it would do a mid teens opener, but there doesn't seem to be much interest. The overall marketplace shouldn't be affected by Sandy, as people who have been stuck in their homes without electricity will want to go out this weekend. Next week: Bond is back and will be bigger than ever.
Wednesday, October 31, 2012
Monday, October 29, 2012
HF: Rapace and Leatherface
This might be the last edition.
My first post had me bemoaning last year's freak snowstorm that knocked out power, while this one features the arrival of a hurricane! Next year, HEATWAVE!
Again, the next person I hear deny the existance of climate change is getting a fist to the face.
PROMETHEUS
(Ridley Scott, 2012)
Ambitious but ultimately disappointing prequel to Alien in which a group of scientists brave an unknown planet after being summoned there by our creators. Or something. The film is murky on the science fiction and would've been better off just making it a straight sci-fi/adventure, rather than imposing DEEP QUESTIONS about our origins. The film is a beauty to behold though, with top notch cinematography and production design. Noomi Rapace is perfect as the lead, and her impromptu abortion is the film's squeamy apex. Michael Fassbander is equally strong as an android, sadly not the Gigolo Joe kind. The rest of the talented cast (Charlize Theron, Idris Elba and Guy Pearce in old man pancake makeup for no real reason) are wasted. The crew from the first two Alien movies were memorable and likeable with well defined personalities. I liked something I read online that if there was a button that said "Don't Push", every character in this movie would push it. The claustraphobia of the first and relentless action of the second are nowhere to be found here, with the film's lackluster screenplay bringing down everything worth noting. GRADE: C
LEATHERFACE: TEXAS CHAINSAW MASSACRE 3
(Jeff Burr, 1990)
The raw horror and dark comedy of the first installments are thrown out the window in favor of a more typical slasher approach. Friends driving from California to Florida are derailed in Texas (a Don't Mess With Texas sign makes an amusing cameo) by the franchise's family of inbred cannibals. The cannibals this time have become so comical and over the top as to become nonthreatening. Most of the action takes place at night, not the well filmed night sequences. Most of the time it's hard to tell what is going on. Though as much of a yawn as the story is, it's even harder to care. Viggo Mortensen appears in one of his first major film roles. (Interestingly enough, the next installment in the franchise featured Matthew McConaughey and Renee Zellweger.) Dawn of the Dead's Ken Foree also appears, and his character's fate was sealed by reshoots after test screenings. I wasn't aware this film had such a hellish production, but watching the feature on the DVD made it clear that almost everyone who worked behind the scenes hated each other. Problems with the MPAA led to the film being delayed 3 months. It probably has a more interesting backstory than anything that happens onscreen. GRADE: C
My first post had me bemoaning last year's freak snowstorm that knocked out power, while this one features the arrival of a hurricane! Next year, HEATWAVE!
Again, the next person I hear deny the existance of climate change is getting a fist to the face.
PROMETHEUS
(Ridley Scott, 2012)
Ambitious but ultimately disappointing prequel to Alien in which a group of scientists brave an unknown planet after being summoned there by our creators. Or something. The film is murky on the science fiction and would've been better off just making it a straight sci-fi/adventure, rather than imposing DEEP QUESTIONS about our origins. The film is a beauty to behold though, with top notch cinematography and production design. Noomi Rapace is perfect as the lead, and her impromptu abortion is the film's squeamy apex. Michael Fassbander is equally strong as an android, sadly not the Gigolo Joe kind. The rest of the talented cast (Charlize Theron, Idris Elba and Guy Pearce in old man pancake makeup for no real reason) are wasted. The crew from the first two Alien movies were memorable and likeable with well defined personalities. I liked something I read online that if there was a button that said "Don't Push", every character in this movie would push it. The claustraphobia of the first and relentless action of the second are nowhere to be found here, with the film's lackluster screenplay bringing down everything worth noting. GRADE: C
LEATHERFACE: TEXAS CHAINSAW MASSACRE 3
(Jeff Burr, 1990)
The raw horror and dark comedy of the first installments are thrown out the window in favor of a more typical slasher approach. Friends driving from California to Florida are derailed in Texas (a Don't Mess With Texas sign makes an amusing cameo) by the franchise's family of inbred cannibals. The cannibals this time have become so comical and over the top as to become nonthreatening. Most of the action takes place at night, not the well filmed night sequences. Most of the time it's hard to tell what is going on. Though as much of a yawn as the story is, it's even harder to care. Viggo Mortensen appears in one of his first major film roles. (Interestingly enough, the next installment in the franchise featured Matthew McConaughey and Renee Zellweger.) Dawn of the Dead's Ken Foree also appears, and his character's fate was sealed by reshoots after test screenings. I wasn't aware this film had such a hellish production, but watching the feature on the DVD made it clear that almost everyone who worked behind the scenes hated each other. Problems with the MPAA led to the film being delayed 3 months. It probably has a more interesting backstory than anything that happens onscreen. GRADE: C
Sunday, October 28, 2012
HF: Nuclear Fallout
CHERNOBYL DIARIES
(Bradley Parker , 2012)
A group of good-looking twentysomethings ventures into a quarantined area that was affected by the Chernobyl disaster of the 80's. Terror ensues. Produced and co-scripted by Oren Peli (the creator of Paranormal Activity), the film occasionally has the feel of a film shot in the "found footage" format. Ignored when it was released earlier this summer, for the most part I enjoyed this. The cinematography, casting a perfect eerie gray over the city, keeps things tense. Venturing into the unknown has always been a horror staple, but there's a genuine sense of mystery given the surroundings. The outcome isn't as strong as the buildup, too much running with flashlights into abandoned underground structures. Nothing beats an earlier scene of going into a desolate building and seeing a bear randomly run through. Singer Jesse McCartney and Wolf Creek's Nathan Phillips lead the cast. GRADE: B-
WRONG TURN 5: BLOODLINES
(Declan O'Brien, 2012)
Yes, as long they make them, I'll keep seeing them. This one might tie Part 3 for being worst of the series. It also seemed a lot less violent than the last one, though don't worry gorehounds: there's still plenty of splattering to be had. Our cannibal family of this franchise sets its sights on a Mountain Man music festival, where there will be plenty of young things to slice and dice. Amusingly enough, almost all the sets are totally vacant. We're repeatedly told what a huge festival it is and how much trouble the local police have, yet the outdoor scenes are empty and the streets rarely have more than two extras. Worse yet, there's no woods action. All the mayhem goes down in a police station, a motel room, the streets in between and, quite randomly, an empty soccer field. How are we supposed to fear the woods of West Virginia and their demented inhabitants if we're never there? At just 91 minutes, it feels 15 minutes too long and has little rhythm. Acting is about what you'd expect for the fourth direct to dvd sequel to a movie that starred Eliza Dushku. Though I'd like to point out that the actor that played Gus, named Paul Luebke, was ridunkulously hot. Just in case he googles himself, job well done! Some fine Tail From the Crypt, that one. (I love that term and stole it from the website Camp Blood.) GRADE: D
(Bradley Parker , 2012)
A group of good-looking twentysomethings ventures into a quarantined area that was affected by the Chernobyl disaster of the 80's. Terror ensues. Produced and co-scripted by Oren Peli (the creator of Paranormal Activity), the film occasionally has the feel of a film shot in the "found footage" format. Ignored when it was released earlier this summer, for the most part I enjoyed this. The cinematography, casting a perfect eerie gray over the city, keeps things tense. Venturing into the unknown has always been a horror staple, but there's a genuine sense of mystery given the surroundings. The outcome isn't as strong as the buildup, too much running with flashlights into abandoned underground structures. Nothing beats an earlier scene of going into a desolate building and seeing a bear randomly run through. Singer Jesse McCartney and Wolf Creek's Nathan Phillips lead the cast. GRADE: B-
WRONG TURN 5: BLOODLINES
(Declan O'Brien, 2012)
Yes, as long they make them, I'll keep seeing them. This one might tie Part 3 for being worst of the series. It also seemed a lot less violent than the last one, though don't worry gorehounds: there's still plenty of splattering to be had. Our cannibal family of this franchise sets its sights on a Mountain Man music festival, where there will be plenty of young things to slice and dice. Amusingly enough, almost all the sets are totally vacant. We're repeatedly told what a huge festival it is and how much trouble the local police have, yet the outdoor scenes are empty and the streets rarely have more than two extras. Worse yet, there's no woods action. All the mayhem goes down in a police station, a motel room, the streets in between and, quite randomly, an empty soccer field. How are we supposed to fear the woods of West Virginia and their demented inhabitants if we're never there? At just 91 minutes, it feels 15 minutes too long and has little rhythm. Acting is about what you'd expect for the fourth direct to dvd sequel to a movie that starred Eliza Dushku. Though I'd like to point out that the actor that played Gus, named Paul Luebke, was ridunkulously hot. Just in case he googles himself, job well done! Some fine Tail From the Crypt, that one. (I love that term and stole it from the website Camp Blood.) GRADE: D
Thursday, October 25, 2012
HF: Kim Novak would like to report a rape
LOL - this is an interesting slate.
DON'T GO IN THE WOODS
(Vincent D'Onofrio, 2012)
Yes, that Vincent D'Onofrio. He directed and crafted the story for this, uh, rather odd slasher film that finds a group of musicians alone in the woods with a masked maniac. Now, the idea of Vincent directing a movie is interesting enough. He's always a unique actor to watch no matter what the vehicle. One would assume he'd craft a attention-grabbing film whichever genre he chose, though you'd probably guess it would be a dark drama. The film is separated from its slasher bretheren because rather than just make these young bandmembers lambs to the slaughter, he's given them musical numbers! Yes, what we have here is some kind of mumblecore indie with Once-esque numbers and carnage candy. The result feels like the cast of Glee did a slasher episode, but only had about $300 to make it. I can't think of a horror film that utilized actual people singing, other than some parts of The Wicker Man. I'm not opposed to this idea, because if it was done right it could've been something really groundbreaking. It doesn't work here, as its just twentysomethings singing their emo feelings while a killer lurks about. And lurks. And lurks. He occasionally kills, but for the most part just lurks. It also seems that no one involved with the film has ever actually been in the woods, given there's roads visible in the background of just about every shot. The best moment of the film and one that actually does work features two girls walking away from the campfire back to their cars while they sing about how scared they are. It's just their faces behind a lantern with darkness around them. I'll give this one credit for at least trying. GRADE: C
ETA: Here is that moment:
PEEPING TOM
(Michael Powell, 1960)
Audiences in 1960 got a double whammy between this and Psycho. The tail-end of that era that people want us to go back to brought about serial killers with parental and sexual issues. Carl Boehm (reminding me of Udo Kier) plays a movie cameraman who films the last moments of his victims. A sweet downstairs neighbor (Anna Massey, like Judy Greer crossed with Cynthia Nixon) is drawn to him, unaware of the pasttime of the shy man. For the time, this British shocker tested the limits a bit more than Hitchcock's classic given the abundance of scantily clad women and high body count. It'll probably require a few more viewings to grasp all the psychosexual subtext, but I'm certain the camera is a penis. Duh. The characters and their interactions are innovative, and the leads have great chemistry. It's one of the few serial killer movies with a likeable serial killer. You could also look to this one as providing the groundwork that led to the "found footage" subgenre. GRADE: A-
BELL BOOK AND CANDLE
(Richard Quine, 1958)
Frothy romantic dramedy that follows a New York City witch (Kim Novak) who falls for her neighbor (James Stewart). She casts a spell to make him dump his fiancee, leading her to wonder whether he's really in love with her or if its just the spell. This is more of the type of movie I'd like to see during my Horrorfest, despite it defying the name of the festival. I've always felt witches were underrepresented in the pantheon of movie monsters/villains/supernatural whathaveyous. There was talk about a remake of this film in the late 90's, with Sharon Stone in the lead. I'd like her more than Novak. I believe this is the first film of Kim's I've seen and I'm kind of unimpressed. I'm certain I've heard many times that was she was known as being more of a beauty than a great actress. She's very slight, a little too breathy and unless the color on my television was off - was her hair purpleish? It doesn't help that she's opposite Stewart and Jack Lemmon. Lemmon was my favorite element of this film. Bell is a bit more of a Christmas movie with its snowy NYC sidewalks, despite all the sorcery. GRADE: B
DON'T GO IN THE WOODS
(Vincent D'Onofrio, 2012)
Yes, that Vincent D'Onofrio. He directed and crafted the story for this, uh, rather odd slasher film that finds a group of musicians alone in the woods with a masked maniac. Now, the idea of Vincent directing a movie is interesting enough. He's always a unique actor to watch no matter what the vehicle. One would assume he'd craft a attention-grabbing film whichever genre he chose, though you'd probably guess it would be a dark drama. The film is separated from its slasher bretheren because rather than just make these young bandmembers lambs to the slaughter, he's given them musical numbers! Yes, what we have here is some kind of mumblecore indie with Once-esque numbers and carnage candy. The result feels like the cast of Glee did a slasher episode, but only had about $300 to make it. I can't think of a horror film that utilized actual people singing, other than some parts of The Wicker Man. I'm not opposed to this idea, because if it was done right it could've been something really groundbreaking. It doesn't work here, as its just twentysomethings singing their emo feelings while a killer lurks about. And lurks. And lurks. He occasionally kills, but for the most part just lurks. It also seems that no one involved with the film has ever actually been in the woods, given there's roads visible in the background of just about every shot. The best moment of the film and one that actually does work features two girls walking away from the campfire back to their cars while they sing about how scared they are. It's just their faces behind a lantern with darkness around them. I'll give this one credit for at least trying. GRADE: C
ETA: Here is that moment:
PEEPING TOM
(Michael Powell, 1960)
Audiences in 1960 got a double whammy between this and Psycho. The tail-end of that era that people want us to go back to brought about serial killers with parental and sexual issues. Carl Boehm (reminding me of Udo Kier) plays a movie cameraman who films the last moments of his victims. A sweet downstairs neighbor (Anna Massey, like Judy Greer crossed with Cynthia Nixon) is drawn to him, unaware of the pasttime of the shy man. For the time, this British shocker tested the limits a bit more than Hitchcock's classic given the abundance of scantily clad women and high body count. It'll probably require a few more viewings to grasp all the psychosexual subtext, but I'm certain the camera is a penis. Duh. The characters and their interactions are innovative, and the leads have great chemistry. It's one of the few serial killer movies with a likeable serial killer. You could also look to this one as providing the groundwork that led to the "found footage" subgenre. GRADE: A-
BELL BOOK AND CANDLE
(Richard Quine, 1958)
Frothy romantic dramedy that follows a New York City witch (Kim Novak) who falls for her neighbor (James Stewart). She casts a spell to make him dump his fiancee, leading her to wonder whether he's really in love with her or if its just the spell. This is more of the type of movie I'd like to see during my Horrorfest, despite it defying the name of the festival. I've always felt witches were underrepresented in the pantheon of movie monsters/villains/supernatural whathaveyous. There was talk about a remake of this film in the late 90's, with Sharon Stone in the lead. I'd like her more than Novak. I believe this is the first film of Kim's I've seen and I'm kind of unimpressed. I'm certain I've heard many times that was she was known as being more of a beauty than a great actress. She's very slight, a little too breathy and unless the color on my television was off - was her hair purpleish? It doesn't help that she's opposite Stewart and Jack Lemmon. Lemmon was my favorite element of this film. Bell is a bit more of a Christmas movie with its snowy NYC sidewalks, despite all the sorcery. GRADE: B
Wednesday, October 24, 2012
Box: Where Halle Berry is White and Tom Hanks is Black
1. Cloud Atlas - $13m / $13m / $35m
2. Argo - $12.5m / $61m / $105m
3. Silent Hill: Revelation - $12m / $12m / $30m
4. Hotel Transylvania - $10m / $131m / $152m
5. Paranormal Activity 4 - $9.5m / $43.5m / $60m
6. Taken 2 - $7.5m / $117m / $132m
7. Fun Size - $7m / $7m / $18m
8. Alex Cross - $6.5m / $21m / $33m
9. Here Comes the Boom - $6m / $31m / $44m
10. Chasing Mavericks - $5m / $5m / $13m
Sinister - $5m / $39m / $49m
Pitch Perfect - $4.5m / $52.5m / $62m
Frankenweenie - $3m / $32m / $39m
Looper - $2.5m / $62m / $67m
Seven Psychopaths - $2.5m / $13m / $19m
I throw up my hands with these openers. I wouldn't be surprised if two of them don't even make the top 10. Cloud Atlas, a month ago, would have seemed like an easy #1, but Warner is only opening it in 2000 theaters. The reviews are all over the place, and the run time is just under three hours. I'd expect this to be the type of movie audiences will hate, and the low screen count means the studio just isn't confident. The last Silent Hill movie opened in the low 20's, but this sequel has been in development forever. The audience for this probably has lost interest and the ads make the film look very cheap. Then again, there's always a chance of Resident Evil-esque numbers. Fun Size is, I believe, Nickelodeon Movies first PG-13 release and that's what will prevent it from breaking out. Better luck next year with Evil Dead, Jane Levy! Lastly, Chasing Mavericks is the only thing that everyone agrees on - it'll probably debut in low single digits, perhaps just outside the top 10. Everything last week had small drops, and given the low interest of the new movies that'll probably occur again this week. Both Argo and Hotel Transylvania have a decent shot at winning the weekend.
2. Argo - $12.5m / $61m / $105m
3. Silent Hill: Revelation - $12m / $12m / $30m
4. Hotel Transylvania - $10m / $131m / $152m
5. Paranormal Activity 4 - $9.5m / $43.5m / $60m
6. Taken 2 - $7.5m / $117m / $132m
7. Fun Size - $7m / $7m / $18m
8. Alex Cross - $6.5m / $21m / $33m
9. Here Comes the Boom - $6m / $31m / $44m
10. Chasing Mavericks - $5m / $5m / $13m
Sinister - $5m / $39m / $49m
Pitch Perfect - $4.5m / $52.5m / $62m
Frankenweenie - $3m / $32m / $39m
Looper - $2.5m / $62m / $67m
Seven Psychopaths - $2.5m / $13m / $19m
I throw up my hands with these openers. I wouldn't be surprised if two of them don't even make the top 10. Cloud Atlas, a month ago, would have seemed like an easy #1, but Warner is only opening it in 2000 theaters. The reviews are all over the place, and the run time is just under three hours. I'd expect this to be the type of movie audiences will hate, and the low screen count means the studio just isn't confident. The last Silent Hill movie opened in the low 20's, but this sequel has been in development forever. The audience for this probably has lost interest and the ads make the film look very cheap. Then again, there's always a chance of Resident Evil-esque numbers. Fun Size is, I believe, Nickelodeon Movies first PG-13 release and that's what will prevent it from breaking out. Better luck next year with Evil Dead, Jane Levy! Lastly, Chasing Mavericks is the only thing that everyone agrees on - it'll probably debut in low single digits, perhaps just outside the top 10. Everything last week had small drops, and given the low interest of the new movies that'll probably occur again this week. Both Argo and Hotel Transylvania have a decent shot at winning the weekend.
Sunday, October 21, 2012
HF: Return of the 80's Actresses
POPCORN
(Mark Herrier, 1991)
A group of film students revive an old movie theater for a festival of gimmicky 1950's B-movies, and get killed one by one by a filmmaker seeking revenge. The first half is campy fun and the setting is perfect for horror shenanigans. I'm partial because I love old movie houses and have a fascination with those vintage horror movies that used gimmicks (odor-rama! 3D! live monsters!). The film is eventually derailed by a snooze of a villain with a bad case of Talking Killer Syndrome. The quality of this DVD transfer is ridiculously awful. It was like watching an a TV movie in low res on YouTube. Genre vets Jill Schoelen and Dee Wallace Stone appear. This would be the perfect film to get the remake treatment as most of the storyline is gold. GRADE: B
THE BURNING
(Tony Maylam, 1981)
We're in pure 80's horror country: summer camp setting, horny teenagers and counselors, ample sex and nudity, lots of future stars. Where has this movie been all my life? Probably overshadowed by Friday the 13th released the previous year, a former caretaker horribly burned from a prank returns to his summer camp and goes a bloody rampage. The violence and gore is quite significant, considering most of the stuff from the late 70's/early 80's was usually tame by today's standards. Not so here. Young Jason Alexander (with hair!) and Fisher Stevens have supporting roles, while Holly Hunter also appears. It would be easy to overlook her given she's only ever in the frame with about 3 or 4 other girls. The film was also produced and cowritten by Harvey and Bob Weinstein, long before their Oscar whoring days. This is the quintessential summer camp slasher movie, notches about Friday the 13th. I'm surprised how this isn't held in higher regard. GRADE: A-
A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS
(Chuck Russell, 1987)
Heather Langenkamp reprises her role as Nancy in this sequel, which takes place in a mental institution for teenagers. The suicidal youngsters are being tormented in their dreams by Freddy Krue.....yeah, you get it by now. A young Patricia Arquette co-stars, along with Laurence Fishburne (then going by Larry). Interesting to note how little suicide actually plays a part in horror, especially when you consider how the greatest in the genre are metaphorical for some prevalent social/world issue. I haven't seen 4, 5 or 6 in the series yet, but I'm guessing this is where Freddy begins his turn from malicious charred killer to wise-cracking charred killer. Like part 2, Robert Englund doesn't appear much until the final act. The dream sequences are well constructed, with just the right surreal touch. The young cast is appealing and likeable, they have a nice realistic touch. Credit it to this one having some good people working on it - Frank Darabont (The Walking Dead, The Shawshank Redemption) co-scripted. Looking back on the grosses, this is the movie that made Freddy an genuine pop culture phenomenon, as its adjusted gross would be just under $100m. GRADE: B+
RED LIGHTS
(Rodrigo Cortes, 2012)
Two psychologists (Sigourney Weaver and Cillian Murphy) investigate paranormal activity, debunking the unexplained. When a renowned psychic (Robert De Niro) returns to the public spotlight after a three decade abscense, the two look into finding the truth behind his success. A mystery with some metaphysical elements, this works for the most part because of the convincing abilities of the cast. Their methods of finding out the secrets behind the unexplained are often fascinating to watch. The film goes a little over the top in its final act, with a slightly predictable outcome. Not really a "fun" genre movie, but it is absorbing and sleekly made. I loved how in Murphy's character's office, his character has a poster that offers a clever play on the classic X-Files "I want to believe" poster that adorned Mulder's office. Again, another film barely released by Millenium Films that could have had some mainstream appeal. How are they still in business? Elizabeth Olsen, Toby Jones, Joely Richardson and Submarine's awesome Craig Roberts co-star. GRADE: B
(Mark Herrier, 1991)
A group of film students revive an old movie theater for a festival of gimmicky 1950's B-movies, and get killed one by one by a filmmaker seeking revenge. The first half is campy fun and the setting is perfect for horror shenanigans. I'm partial because I love old movie houses and have a fascination with those vintage horror movies that used gimmicks (odor-rama! 3D! live monsters!). The film is eventually derailed by a snooze of a villain with a bad case of Talking Killer Syndrome. The quality of this DVD transfer is ridiculously awful. It was like watching an a TV movie in low res on YouTube. Genre vets Jill Schoelen and Dee Wallace Stone appear. This would be the perfect film to get the remake treatment as most of the storyline is gold. GRADE: B
THE BURNING
(Tony Maylam, 1981)
We're in pure 80's horror country: summer camp setting, horny teenagers and counselors, ample sex and nudity, lots of future stars. Where has this movie been all my life? Probably overshadowed by Friday the 13th released the previous year, a former caretaker horribly burned from a prank returns to his summer camp and goes a bloody rampage. The violence and gore is quite significant, considering most of the stuff from the late 70's/early 80's was usually tame by today's standards. Not so here. Young Jason Alexander (with hair!) and Fisher Stevens have supporting roles, while Holly Hunter also appears. It would be easy to overlook her given she's only ever in the frame with about 3 or 4 other girls. The film was also produced and cowritten by Harvey and Bob Weinstein, long before their Oscar whoring days. This is the quintessential summer camp slasher movie, notches about Friday the 13th. I'm surprised how this isn't held in higher regard. GRADE: A-
A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS
(Chuck Russell, 1987)
Heather Langenkamp reprises her role as Nancy in this sequel, which takes place in a mental institution for teenagers. The suicidal youngsters are being tormented in their dreams by Freddy Krue.....yeah, you get it by now. A young Patricia Arquette co-stars, along with Laurence Fishburne (then going by Larry). Interesting to note how little suicide actually plays a part in horror, especially when you consider how the greatest in the genre are metaphorical for some prevalent social/world issue. I haven't seen 4, 5 or 6 in the series yet, but I'm guessing this is where Freddy begins his turn from malicious charred killer to wise-cracking charred killer. Like part 2, Robert Englund doesn't appear much until the final act. The dream sequences are well constructed, with just the right surreal touch. The young cast is appealing and likeable, they have a nice realistic touch. Credit it to this one having some good people working on it - Frank Darabont (The Walking Dead, The Shawshank Redemption) co-scripted. Looking back on the grosses, this is the movie that made Freddy an genuine pop culture phenomenon, as its adjusted gross would be just under $100m. GRADE: B+
RED LIGHTS
(Rodrigo Cortes, 2012)
Two psychologists (Sigourney Weaver and Cillian Murphy) investigate paranormal activity, debunking the unexplained. When a renowned psychic (Robert De Niro) returns to the public spotlight after a three decade abscense, the two look into finding the truth behind his success. A mystery with some metaphysical elements, this works for the most part because of the convincing abilities of the cast. Their methods of finding out the secrets behind the unexplained are often fascinating to watch. The film goes a little over the top in its final act, with a slightly predictable outcome. Not really a "fun" genre movie, but it is absorbing and sleekly made. I loved how in Murphy's character's office, his character has a poster that offers a clever play on the classic X-Files "I want to believe" poster that adorned Mulder's office. Again, another film barely released by Millenium Films that could have had some mainstream appeal. How are they still in business? Elizabeth Olsen, Toby Jones, Joely Richardson and Submarine's awesome Craig Roberts co-star. GRADE: B
Wednesday, October 17, 2012
Box: Along Came a Tyler
1. Paranormal Activity 4 - $34m / $34m / $78m
2. Alex Cross - $17m / $17m / $46m
3. Argo - $13.5m / $39.5m / $92m
4. Hotel Transylvania - $11m / $116.5m / $150m
5. Taken 2 - $10m / $102.5m / $126m
6. Sinisiter - $8.5m / $31.5m / $50m
7. Here Comes the Boom - $7.5m / $22m / $44m
8. Pitch Perfect - $5.5m / $44m / $58m
9. Frankenweenie - $5m / $28.5m / $40m
10. Looper - $3m / $56.5m / $65m
The last Paranormal movie opened in the low 50's and finished just over 100m. This should be the installment where the franchise shows its age. The performance of Alex Cross should be more interesting to watch. Tyler Perry movies that don't have Madea in them usually underperform, but this isn't the typical TP movie. Despite the movie looking bland as can be, this is his first real chance to test his drawing power outside his usual audience. I doubt it'll match the performances of Kiss the Girls or Along Came a Spider as the movie doesn't have Morgan Freeman and Hot Younger Actress, just Matthew Fox sporting a meth body. Last week, Argo boosted a huge Saturday increase for a first week, and got an A+ from Cinemascore. It was easy to figure that this movie would have legs given the reviews, but now they should be even stronger. It could even end up #2 if Tyler has limited crossover appeal. Hotel Transylvania, Here Comes the Boom and Frankenweenie look set for this week and next week as they have zero competition.
2. Alex Cross - $17m / $17m / $46m
3. Argo - $13.5m / $39.5m / $92m
4. Hotel Transylvania - $11m / $116.5m / $150m
5. Taken 2 - $10m / $102.5m / $126m
6. Sinisiter - $8.5m / $31.5m / $50m
7. Here Comes the Boom - $7.5m / $22m / $44m
8. Pitch Perfect - $5.5m / $44m / $58m
9. Frankenweenie - $5m / $28.5m / $40m
10. Looper - $3m / $56.5m / $65m
The last Paranormal movie opened in the low 50's and finished just over 100m. This should be the installment where the franchise shows its age. The performance of Alex Cross should be more interesting to watch. Tyler Perry movies that don't have Madea in them usually underperform, but this isn't the typical TP movie. Despite the movie looking bland as can be, this is his first real chance to test his drawing power outside his usual audience. I doubt it'll match the performances of Kiss the Girls or Along Came a Spider as the movie doesn't have Morgan Freeman and Hot Younger Actress, just Matthew Fox sporting a meth body. Last week, Argo boosted a huge Saturday increase for a first week, and got an A+ from Cinemascore. It was easy to figure that this movie would have legs given the reviews, but now they should be even stronger. It could even end up #2 if Tyler has limited crossover appeal. Hotel Transylvania, Here Comes the Boom and Frankenweenie look set for this week and next week as they have zero competition.
Monday, October 15, 2012
In tears. On the floor. Thanking God.
TINA FEY AND AMY POEHLER WILL CO-HOST THE GOLDEN GLOBES.
SUCK IT, OSCARS!!!!!!
Nothing else to say really.
Sunday, October 14, 2012
HF: Demons, Dreams and Divas
DEMONS
(Lamberto Bava, 1985)
Very very 80's gorefest set in a movie theater in Berlin where demons are unleashed in a screening of a horror movie. Infesting the audience one by one, the remaining cinemagoers find themselves trapped in the very large theater and must fend off the sharp-toothed, evil-eyed demons. Did the 1980's ever produce a timeless horror classic, one that looks like it could have been filmed in another era? I'm really doubting it. That is not really a bad thing, just that very few of the films of the time are genuinely scary because of how dated they appear. And again, I'm not against films being dated, as sometimes it works in this genre's advantage. It's just that anything filmed during the Reagan era sticks out like a sore thumb. Just an observation. Popular hits of the time are the soundtrack, and the score has that bass-heavy, imagine someone walking down a bad alley feel. Most of the actors were dubbed (I think?), and all the women have very breathy voices. The makeup work has the right balance between cheesy and effective, and I winced a few times at how gory things got. The film pitters out as it hits the halfway mark, but still manages to be a fun time. I wish the theatre the film was set in had more character. Popcorn will be a film coming soon to horrorfest, and hopefully that theatre has more personality. As such, Scream 2 currently wins for best movie theater character in a horror movie. GRADE: B
A NIGHTMARE ON ELM STREET 2: FREDDY'S REVENGE
(Jack Sholder, 1985)
Unknowingly moving in to the house that Nancy inhabited from the first installment, a teenage boy is haunted by Freddy Krueger who sets out to possess him and take his murderspree to reality. Two things worth noting about this sequel. 1.) Freddy is hardly in it until the end. According to the internet, he only appears for 11 minutes. 2.) The whole 'gay' angle. I have no idea what audiences made of it at the time, but its ridiculously unsubtle (like getting hit in the face with a sledgehammer) and its unfathomable anyone watching this film would NOT pick up on it. The main character Jesse (Mark Patton, who is gay) has no interest with his intended love interest, Lisa (Kim Myers, a Meryl Streep doppleganger), instead seems to have eyes only for the popular jock. The two have some hilariously homoerotic exercise scenes, and even the gym coach seems to be after him. And its said repeatedly that Freddy wants to be IN Jesse. And this isn't even mentioning the scene where he dances in his bedroom. So, should one be offended by this? I'd say no, given Jesse is the hero and we are meant to root for him. For as big as a percentage of the horror audience is gay, there's very little actual homosexuality displayed in the genre outside of recent TV like True Blood and American Horror Story. I think this film would be the perfect example for the morons in one of my college classes where we viewed The Celluloid Closet. They thought that film was 'finding stuff that wasn't there' and just 'outing movie characters for no reason.' It's never expressly STATED that Jesse is gay, but......come on. Point #2 is vital because its probably the only interesting aspect of this rather flat sequel. The nightmare sequences aren't particuarly scary, and by the time Freddy arrives to shred some victims, its too little, too late. GRADE: C+
WHAT EVER HAPPENED TO BABY JANE?
(Robert Aldrich, 1962)
This is more of the type of gay stuff audiences are used to in the genre: camp. A former vaudeville star tortures her successful sister in a Hollywood mansion after a crippling car accident. The film is primarily a point of interest because of its casting of Bette Davis and Joan Crawford, grand divas of the silver screen. Both notoriously hated each other and had a rivalry that lasted decades. This adds another layer to the proceedings and what has given the film such a devout following in the gay community. Davis singing "I'm Writing a Letter to Daddy" in grotesque pancake makeup undoubtedly inspired an army of demented drag queens. So, beyond the camp value, is it a classic psychologic thriller as some believe? I'd say no. I've always had a problem with the term 'psychological thriller', as how many films can we honestly say toyed with our heads? And when people say they like these movies to be more psychological, they are mostly just saying they don't like blood and gore. Not that there's anything wrong with that, mind you. I just didn't get the feeling that this is some untouchable classic, but it is a lot of fun and the actresses are terrific. As was Victor Buono, as the scheming piano man. A remake from Walter Hill is in the works, which prompted equal responses of FUCK NO! and OMG WHO WILL THEY CAST? Throwing in my two cents, I'll go with Cate Blanchett and Kate Winslet because I think both can do over the top and they both are awardwhores winners. GRADE: B+
(Lamberto Bava, 1985)
Very very 80's gorefest set in a movie theater in Berlin where demons are unleashed in a screening of a horror movie. Infesting the audience one by one, the remaining cinemagoers find themselves trapped in the very large theater and must fend off the sharp-toothed, evil-eyed demons. Did the 1980's ever produce a timeless horror classic, one that looks like it could have been filmed in another era? I'm really doubting it. That is not really a bad thing, just that very few of the films of the time are genuinely scary because of how dated they appear. And again, I'm not against films being dated, as sometimes it works in this genre's advantage. It's just that anything filmed during the Reagan era sticks out like a sore thumb. Just an observation. Popular hits of the time are the soundtrack, and the score has that bass-heavy, imagine someone walking down a bad alley feel. Most of the actors were dubbed (I think?), and all the women have very breathy voices. The makeup work has the right balance between cheesy and effective, and I winced a few times at how gory things got. The film pitters out as it hits the halfway mark, but still manages to be a fun time. I wish the theatre the film was set in had more character. Popcorn will be a film coming soon to horrorfest, and hopefully that theatre has more personality. As such, Scream 2 currently wins for best movie theater character in a horror movie. GRADE: B
A NIGHTMARE ON ELM STREET 2: FREDDY'S REVENGE
(Jack Sholder, 1985)
Unknowingly moving in to the house that Nancy inhabited from the first installment, a teenage boy is haunted by Freddy Krueger who sets out to possess him and take his murderspree to reality. Two things worth noting about this sequel. 1.) Freddy is hardly in it until the end. According to the internet, he only appears for 11 minutes. 2.) The whole 'gay' angle. I have no idea what audiences made of it at the time, but its ridiculously unsubtle (like getting hit in the face with a sledgehammer) and its unfathomable anyone watching this film would NOT pick up on it. The main character Jesse (Mark Patton, who is gay) has no interest with his intended love interest, Lisa (Kim Myers, a Meryl Streep doppleganger), instead seems to have eyes only for the popular jock. The two have some hilariously homoerotic exercise scenes, and even the gym coach seems to be after him. And its said repeatedly that Freddy wants to be IN Jesse. And this isn't even mentioning the scene where he dances in his bedroom. So, should one be offended by this? I'd say no, given Jesse is the hero and we are meant to root for him. For as big as a percentage of the horror audience is gay, there's very little actual homosexuality displayed in the genre outside of recent TV like True Blood and American Horror Story. I think this film would be the perfect example for the morons in one of my college classes where we viewed The Celluloid Closet. They thought that film was 'finding stuff that wasn't there' and just 'outing movie characters for no reason.' It's never expressly STATED that Jesse is gay, but......come on. Point #2 is vital because its probably the only interesting aspect of this rather flat sequel. The nightmare sequences aren't particuarly scary, and by the time Freddy arrives to shred some victims, its too little, too late. GRADE: C+
WHAT EVER HAPPENED TO BABY JANE?
(Robert Aldrich, 1962)
This is more of the type of gay stuff audiences are used to in the genre: camp. A former vaudeville star tortures her successful sister in a Hollywood mansion after a crippling car accident. The film is primarily a point of interest because of its casting of Bette Davis and Joan Crawford, grand divas of the silver screen. Both notoriously hated each other and had a rivalry that lasted decades. This adds another layer to the proceedings and what has given the film such a devout following in the gay community. Davis singing "I'm Writing a Letter to Daddy" in grotesque pancake makeup undoubtedly inspired an army of demented drag queens. So, beyond the camp value, is it a classic psychologic thriller as some believe? I'd say no. I've always had a problem with the term 'psychological thriller', as how many films can we honestly say toyed with our heads? And when people say they like these movies to be more psychological, they are mostly just saying they don't like blood and gore. Not that there's anything wrong with that, mind you. I just didn't get the feeling that this is some untouchable classic, but it is a lot of fun and the actresses are terrific. As was Victor Buono, as the scheming piano man. A remake from Walter Hill is in the works, which prompted equal responses of FUCK NO! and OMG WHO WILL THEY CAST? Throwing in my two cents, I'll go with Cate Blanchett and Kate Winslet because I think both can do over the top and they both are award
Thursday, October 11, 2012
Trailer: Zero Dark Thirty (#2)
Second trailer for Kathryn Bigelow's Bin Laden takedown film, due Christmas. We get more of the ACTING! courtesy of lots of Jessica Chastain looking off in the distance, and a line from Andy Dwyer himself, Chris Pratt. I liked the intense buildup of this one, but I'm guessing we'll probably get another trailer in November.
HF: I should call it Octoberfest - Now with No Beer
This edition brought to you by remakes that are misguided.
NIGHT OF THE LIVING DEAD
(Tom Savini, 1990)
I was not aware till a few months ago that this was available on NetFlix, so now I can fulfill my quest of watching every single zombie movie ever made. I always assumed the zombie apocalypse would be caused by radiation, nuclear power, viruses or army experiments gone awry. Movies led me to believe this. Real life would have it that bath salts are the trigger. Thanks, movies! Like most of George Romero's original series, a cause of the zombie outbreak isn't mentioned in this film. It's just about a group of people banning together in a farmhouse to survive. Unlike the original, Barbara isn't a catatonic couch-dweller. She's been morphed into a Sigourney-esque kickass leading lady, played by stuntwoman Patricia Tallman. Tallman is skilled in the action sequences and quieter moments, though fails with the more hysteric early moments. This is the largest difference between the versions. Other than being in color and more gory. Tony Todd, who I've never seen as someone other than a villian or some kind of dark figure meant to foreshadow doom for the rest of the cast, is just as good as Duane Jones as Ben, the stoic hero. The rest of the cast doesn't fare as well. In particular, Tom Towles as Harry Cooper gives one of the most obnoxious performances I've ever witnessed. I get that Harry is the antagonist of the situation, but when he starts going off about the 'yo-yo''s, I was ready for the zombies to bust down the doors and tear the fucker up. The gore and makeup effects were top notch for the time, and I appreciate the slight changes made to the ending. The main problem is that the original film is more relevant than a film made 22 years later and 22 years closer to today. Plus, I felt the farmhouse in the original felt like a safe haven from the zombies and the characters inside felt real. This one, it seems stupid of them to stay there given there seems to be a lot more zombies. And, as is awkwardly pointed out in the actual film, they aren't moving very fast. Night, Dawn and Day have all been remade. Dawn is the best, Day by far the worst. GRADE: B-
THE WICKER TREE
(Robin Hardy, 2012)
Turns out the worst thing to happened to the 1970's classic wasn't that Nicolas Cage remake from 2006. Sequel/remake (reboot?) focusing on an American country singer and her boyfriend who travel to Scotland to spread their religious musical message and get caught in a cultish town that has malevolent plans for them. Robin Hardy wrote and directed The Wicker Man, and returns to do this, his first film in 24 years. And boy, does it show! Awkward tonal shifts, scattershot satire and characters we don't give a shit about keep this sequel/remake/reboot/whatever from taking off. I will give it some credit that the entire sequence with the planned sacrifice and wicker cage thinger was beautifully shot and actually acheived the eerieness it set out to. The rest is flat and dull. GRADE: D+
BELOW
(David Twohy, 2002)
Darren Aronofsky co-scripted this WWII-set submarine thriller, sort of Das Boot meets a haunted house movie. Bruce Greenwood is the captain whose sub picks up some drifters, one a nurse (reliable Olivia Williams, the film's sole female). And a ghost. Maybe? This was far more of a submarine movie than a ghost movie, as the supernatural element never takes off. It doesn't help matters that there seems to be seven thousand people aboard, none of which are memorable. Then heartthrobs Matt Davis and Scott Foley and a youngish Zach Galiafinakis round out the cast. The film was dumped into a few hundred theatres back when it was released, and for once I understood the reasoning. The effects were really cheap looking, and had it been marketed as an all-out horror movie, that would have been a lie. It never finds the right ground and the movie is, well, sub-par. Nice! GRADE: C
DARK SHADOWS
(Tim Burton, 2012)
One of the things I've been searching for in my recent horrorfests was more comedies with horror elements, or even films with light horror elements. Think stuff like The Witches of Eastwick, Practical Magic, Hocus Pocus - okay, those all have witches. Hopefully, you get the picture and might even have some suggestions. Here's a film that was marketed as a farce when its makers kept assuring loyal fans of the series that it would be a serious adaptation. So, who ultimately failed: the makers or the marketers? Both. Not quite the all-out comedy the trailer made it to be, but - and I've never seen the series this is based on - I know it probably wasn't true ot the source material. For the first third of the film, it works pretty well and I was ready to say that I was liking it. It was a drama with witches and vampires, and some slight comedic edge. Then, it can't decide what it wants to be - comedy, soap, horror, romance, 70's music compilation. Then, it rips off Death Becomes Her (hey, that's another example of the type of film I want!). Then, it ends. Johnny Depp plays Tim Burton's Johnny Depp, and I'm really fucking sick of this. Judging by the response to the film, I'm not alone. He's cursed to become a vampire by a witch (a vampy Eva Green), buried in a coffin for over 200 years and dug up by his ancestors (led by Michelle Pfeiffer, reteaming with Burton since her career-best work in Batman Returns.) in 1972. He falls in love with their governess, who..... is in like 3 scenes? That's another major problem with the film. Plot points are awkwardly inserted into scenes, as if they are an afterthought. Once the denouement kicks in, the film becomes a mess that goes on about 10 minutes too long. Rather than going the 'fun' direction, the film should have just played it straight like the first act with dark, not broad, humor. Caleb Delbonnel's gorgeous cinematography is easily the best and most interesting aspect of the film. GRADE: C
NIGHT OF THE LIVING DEAD
(Tom Savini, 1990)
I was not aware till a few months ago that this was available on NetFlix, so now I can fulfill my quest of watching every single zombie movie ever made. I always assumed the zombie apocalypse would be caused by radiation, nuclear power, viruses or army experiments gone awry. Movies led me to believe this. Real life would have it that bath salts are the trigger. Thanks, movies! Like most of George Romero's original series, a cause of the zombie outbreak isn't mentioned in this film. It's just about a group of people banning together in a farmhouse to survive. Unlike the original, Barbara isn't a catatonic couch-dweller. She's been morphed into a Sigourney-esque kickass leading lady, played by stuntwoman Patricia Tallman. Tallman is skilled in the action sequences and quieter moments, though fails with the more hysteric early moments. This is the largest difference between the versions. Other than being in color and more gory. Tony Todd, who I've never seen as someone other than a villian or some kind of dark figure meant to foreshadow doom for the rest of the cast, is just as good as Duane Jones as Ben, the stoic hero. The rest of the cast doesn't fare as well. In particular, Tom Towles as Harry Cooper gives one of the most obnoxious performances I've ever witnessed. I get that Harry is the antagonist of the situation, but when he starts going off about the 'yo-yo''s, I was ready for the zombies to bust down the doors and tear the fucker up. The gore and makeup effects were top notch for the time, and I appreciate the slight changes made to the ending. The main problem is that the original film is more relevant than a film made 22 years later and 22 years closer to today. Plus, I felt the farmhouse in the original felt like a safe haven from the zombies and the characters inside felt real. This one, it seems stupid of them to stay there given there seems to be a lot more zombies. And, as is awkwardly pointed out in the actual film, they aren't moving very fast. Night, Dawn and Day have all been remade. Dawn is the best, Day by far the worst. GRADE: B-
THE WICKER TREE
(Robin Hardy, 2012)
Turns out the worst thing to happened to the 1970's classic wasn't that Nicolas Cage remake from 2006. Sequel/remake (reboot?) focusing on an American country singer and her boyfriend who travel to Scotland to spread their religious musical message and get caught in a cultish town that has malevolent plans for them. Robin Hardy wrote and directed The Wicker Man, and returns to do this, his first film in 24 years. And boy, does it show! Awkward tonal shifts, scattershot satire and characters we don't give a shit about keep this sequel/remake/reboot/whatever from taking off. I will give it some credit that the entire sequence with the planned sacrifice and wicker cage thinger was beautifully shot and actually acheived the eerieness it set out to. The rest is flat and dull. GRADE: D+
BELOW
(David Twohy, 2002)
Darren Aronofsky co-scripted this WWII-set submarine thriller, sort of Das Boot meets a haunted house movie. Bruce Greenwood is the captain whose sub picks up some drifters, one a nurse (reliable Olivia Williams, the film's sole female). And a ghost. Maybe? This was far more of a submarine movie than a ghost movie, as the supernatural element never takes off. It doesn't help matters that there seems to be seven thousand people aboard, none of which are memorable. Then heartthrobs Matt Davis and Scott Foley and a youngish Zach Galiafinakis round out the cast. The film was dumped into a few hundred theatres back when it was released, and for once I understood the reasoning. The effects were really cheap looking, and had it been marketed as an all-out horror movie, that would have been a lie. It never finds the right ground and the movie is, well, sub-par. Nice! GRADE: C
DARK SHADOWS
(Tim Burton, 2012)
One of the things I've been searching for in my recent horrorfests was more comedies with horror elements, or even films with light horror elements. Think stuff like The Witches of Eastwick, Practical Magic, Hocus Pocus - okay, those all have witches. Hopefully, you get the picture and might even have some suggestions. Here's a film that was marketed as a farce when its makers kept assuring loyal fans of the series that it would be a serious adaptation. So, who ultimately failed: the makers or the marketers? Both. Not quite the all-out comedy the trailer made it to be, but - and I've never seen the series this is based on - I know it probably wasn't true ot the source material. For the first third of the film, it works pretty well and I was ready to say that I was liking it. It was a drama with witches and vampires, and some slight comedic edge. Then, it can't decide what it wants to be - comedy, soap, horror, romance, 70's music compilation. Then, it rips off Death Becomes Her (hey, that's another example of the type of film I want!). Then, it ends. Johnny Depp plays Tim Burton's Johnny Depp, and I'm really fucking sick of this. Judging by the response to the film, I'm not alone. He's cursed to become a vampire by a witch (a vampy Eva Green), buried in a coffin for over 200 years and dug up by his ancestors (led by Michelle Pfeiffer, reteaming with Burton since her career-best work in Batman Returns.) in 1972. He falls in love with their governess, who..... is in like 3 scenes? That's another major problem with the film. Plot points are awkwardly inserted into scenes, as if they are an afterthought. Once the denouement kicks in, the film becomes a mess that goes on about 10 minutes too long. Rather than going the 'fun' direction, the film should have just played it straight like the first act with dark, not broad, humor. Caleb Delbonnel's gorgeous cinematography is easily the best and most interesting aspect of the film. GRADE: C
Wednesday, October 10, 2012
Box: But when will Ben direct his wife to her first Oscar nomination?
1. Taken 2 - $20.5m / $85m / $130m
2. Argo - $18m / $18m / $80m
3. Hotel Transylvania - $16.5m / $101m / $150m
4. Sinister - $15m / $15m / $46m
5. Here Comes the Boom - $14m / $14m / $45m
6. Pitch Perfect - $9.5m / $36m / $60m
7. Frankenweenie - $7m / $22m / $40m
8. Looper - $6.5m / $51.5m / $70m
9. Seven Psychopaths - $5m / $5m / $14m
10. Atlas Shrugged Part 2 - $3m / $3m / $8m
ETA: The Perks of Being a Wallflower - $3m / $7m / $20m
Can we have another strong weekend and threepeat? All of it will depend on the five openers, given Taken will probably drop around 60% from last weekend's juggernaut opening. Argo begins its Oscar run, and its run will be closer to The Town than Gone Baby Gone. It could even breakout The Departed style, another film that opened in October and went on to win Picture and Directing like many are currently predicting Argo will. It does have the sophisticated adult market it to itself given The Master flopped and most of the other contenders won't start breaking out till November. Sinister has strong reviews for a genre film and will perform similarly to Insidious. Its biggest competition is Paranormal Activity 4 next weekend, though that series could start showing its age. Here Comes the Boom will test the drawing power of Kevin James. His films have performed stronger than most expected, but this doesn't look like the broad comedy those films were. It is the only non-animated family-aimed film in the market which will count for something. Seven Psychopaths will do poorly and gather a following once it comes to home DVD/streaming/whatever. I'm surprised CBS Films is giving it a wide release. Lastly, Atlas Shrugged Part 2 arrives hoping that audiences will confuse it with Cloud Atlas and actually see it. Nothing says sequel more than a film that costs in the low teens and only makes $4.5m. The studio is hoping the election will boost interest, so maybe it'll double the gross of the original! SUCCESS!!
ETA: Perks - going into 650 theatres and will battle Atlas for the #10 position.
2. Argo - $18m / $18m / $80m
3. Hotel Transylvania - $16.5m / $101m / $150m
4. Sinister - $15m / $15m / $46m
5. Here Comes the Boom - $14m / $14m / $45m
6. Pitch Perfect - $9.5m / $36m / $60m
7. Frankenweenie - $7m / $22m / $40m
8. Looper - $6.5m / $51.5m / $70m
9. Seven Psychopaths - $5m / $5m / $14m
10. Atlas Shrugged Part 2 - $3m / $3m / $8m
ETA: The Perks of Being a Wallflower - $3m / $7m / $20m
Can we have another strong weekend and threepeat? All of it will depend on the five openers, given Taken will probably drop around 60% from last weekend's juggernaut opening. Argo begins its Oscar run, and its run will be closer to The Town than Gone Baby Gone. It could even breakout The Departed style, another film that opened in October and went on to win Picture and Directing like many are currently predicting Argo will. It does have the sophisticated adult market it to itself given The Master flopped and most of the other contenders won't start breaking out till November. Sinister has strong reviews for a genre film and will perform similarly to Insidious. Its biggest competition is Paranormal Activity 4 next weekend, though that series could start showing its age. Here Comes the Boom will test the drawing power of Kevin James. His films have performed stronger than most expected, but this doesn't look like the broad comedy those films were. It is the only non-animated family-aimed film in the market which will count for something. Seven Psychopaths will do poorly and gather a following once it comes to home DVD/streaming/whatever. I'm surprised CBS Films is giving it a wide release. Lastly, Atlas Shrugged Part 2 arrives hoping that audiences will confuse it with Cloud Atlas and actually see it. Nothing says sequel more than a film that costs in the low teens and only makes $4.5m. The studio is hoping the election will boost interest, so maybe it'll double the gross of the original! SUCCESS!!
ETA: Perks - going into 650 theatres and will battle Atlas for the #10 position.
Trailer: Hitchcock
Intrigue was always high for this project, but it skyrocketed with the recent news that it would be pushed into this year's Oscar race with a release date around Thanksgiving. Based on this trailer, it's a darkly comic, really fun behind the scenes expose of the making of one of the best films and a look at the marriage that the film almost destroyed. While Hopkins makeup will no doubt be fixed up digitally, Mirren looks like the standout and gets some big actress moments in the trailer. Johansson as Janet Leigh looks surprisingly solid as well. There doesn't seem to be any young actress right now who bares a resemblance to Leigh, but the genereal concensus was Andrew Garfield would have been perfect for Tony Perkins. Another Hitchcock-themed movie hits HBO next weekend: The Girl, with Toby Jones as Hitchcock and Sienna Miller as Tippi Hedren. That film will chronicle the filming of The Birds and Marnie and how the director psychologically tortured his leading lady.
Saturday, October 6, 2012
HF: Leatherface Vs Harry Potter and Billy Elliot
THE TEXAS CHAINSAW MASSACRE 2
(Tobe Hooper, 1986)
I'm not entirely certain why I never saw this. Actually, I've never seen part 2 in the Friday the 13th or A Nightmare on Elm Street series either. This month might rectify one of those. While the film's following can't hold a candle to the original classic, based on the buzz around this film's recent blu-ray release, it definitely has a fanbase. As I found out, it's for good reason. I have no doubt it was panned during its theatrical release, but many films of this ilk thrive during their home video run. (This is one of the many reasons the rise of digital downloading and the fall of the video store frustrates me.) Broadening the dark comedy present in the original and amplifying the gore by a significant margin, the film follows the same inbred cannibal family of the original. This time, they are lurking under a fairgrounds popping up every now and then for a quick, ahem, bite. Two of their victims are on the phone with a DJ (Caroline Williams, an actual grown woman in a horror movie!) as the clan makes their kill. She teams with a local sheriff (Dennis Hopper as Dennis Hopper), but soon the hillbillies come for her. Like I said, it's much broader than the original but also proves that horror sequels aren't always complete retreads. Williams is a good Final Woman, and it must have been groundbreaking at the time to have a 29-year-old as the lead, as opposed to some teen HPOA. She reminds me of Rashida Jones for some reason. Rob Zombie fave Bill Mosely is really gross as the metal-headed Sawyer member who comes for her. His scene of him picking at and eating part of his own scalp is disgusting, emitting more winces from me than anything from a Saw or Hostel movie. A scene early in the film also boasts one of the most effective jump scares I've ever seen. The production design of the family's lair, though a little unrealistic in its grandeur, is pretty spectacular given this was probably a low budget endevour. A death late in the film has a raw power, grounding the film's occasional absurdity. Gross, funny, suspenseful and very very 1980's, a very worth sequel to what I think is one of the best and most influential films. GRADE: A-
THE WOMAN IN BLACK
(James Watkins, 2012)
Mixing elements of old school gothic horror with modern jump scares and amplified scary sounds, the result doesn't work. Daniel Radcliffe plays a lawyer arriving in a small town to sort of the documents of a recently deceased woman. Her house and seemingly the entire town are haunted by a woman in black, who shows up to snatch living children. Hey, that sounded a lot more interesting than what the film is! Most of the film's running time is Radcliffe in the house while sound effects pound from room to room. My biggest issue with the film is Radcliffe himself. I know this is really not his fault, but he's just not believable in this role and him interacting with the adult actors - yes, I'm aware he's in his 20's - comes off as laughable. Whenever he's with the actor who plays his 4-year-old son, I kept wondering when the kid's parents were going to show up and pay the babysitter. It's not fair to pidgeonhole an actor, but he really should've done a bit more transitional parts before he played such a grown up character. Take a note from Emma Watson! Of course, I think most of us knew she'd have the best post-HP career. That issue aside, the film is decently paced. But when it did end, I was like 'that's it?' It needs more fleshing out, and it would've helped to develop the characters Ciaran Hinds and Janet McTeer played. As such, both talents are wasted. The director, James Watkins, made the terrific and thought provoking horror Eden Lake a few years back. Any tension that striking film had is sadly MIA here. GRADE: C
RETREAT
(Carl Tibbetts, 2011)
A variation on Phillip Noyce's great 1989 thriller Dead Calm, a couple are staying in a cottage on a desolate island miles from England (I wanna say?) when a bloodied soldier shows up claiming a virus is wiping out much of the population. Cillian Murphy and Thandie Newton are the damaged conflicted couple, wondering whether Jamie Bell's soldier is who he says he is or an escaped nutjob. The film proceeds exactly as you think it will, with tense confrontations, crawling grasps for weapons, planned escapes thwarted and secrets bubbling to the surface. Despite some familiarity and being a hodgepodge of better films like the aforementioned Calm, 28 Days Later and Bug, it works well. The three actors are strong, with Bell making a lasting impression as the psychologically unstable (or is he?) stranger. Funny to think his other major role was a young boy longing to learn ballet, this is a total turnaround from that. Judging from the reaction on Netflix, most average people found this dull. I don't get that, but to each his own. There are original surprises to each character to keep the intrigue going. Even though I predicted some of the twists, there's enough still left for me to recommend this one. GRADE: B
(Tobe Hooper, 1986)
I'm not entirely certain why I never saw this. Actually, I've never seen part 2 in the Friday the 13th or A Nightmare on Elm Street series either. This month might rectify one of those. While the film's following can't hold a candle to the original classic, based on the buzz around this film's recent blu-ray release, it definitely has a fanbase. As I found out, it's for good reason. I have no doubt it was panned during its theatrical release, but many films of this ilk thrive during their home video run. (This is one of the many reasons the rise of digital downloading and the fall of the video store frustrates me.) Broadening the dark comedy present in the original and amplifying the gore by a significant margin, the film follows the same inbred cannibal family of the original. This time, they are lurking under a fairgrounds popping up every now and then for a quick, ahem, bite. Two of their victims are on the phone with a DJ (Caroline Williams, an actual grown woman in a horror movie!) as the clan makes their kill. She teams with a local sheriff (Dennis Hopper as Dennis Hopper), but soon the hillbillies come for her. Like I said, it's much broader than the original but also proves that horror sequels aren't always complete retreads. Williams is a good Final Woman, and it must have been groundbreaking at the time to have a 29-year-old as the lead, as opposed to some teen HPOA. She reminds me of Rashida Jones for some reason. Rob Zombie fave Bill Mosely is really gross as the metal-headed Sawyer member who comes for her. His scene of him picking at and eating part of his own scalp is disgusting, emitting more winces from me than anything from a Saw or Hostel movie. A scene early in the film also boasts one of the most effective jump scares I've ever seen. The production design of the family's lair, though a little unrealistic in its grandeur, is pretty spectacular given this was probably a low budget endevour. A death late in the film has a raw power, grounding the film's occasional absurdity. Gross, funny, suspenseful and very very 1980's, a very worth sequel to what I think is one of the best and most influential films. GRADE: A-
THE WOMAN IN BLACK
(James Watkins, 2012)
Mixing elements of old school gothic horror with modern jump scares and amplified scary sounds, the result doesn't work. Daniel Radcliffe plays a lawyer arriving in a small town to sort of the documents of a recently deceased woman. Her house and seemingly the entire town are haunted by a woman in black, who shows up to snatch living children. Hey, that sounded a lot more interesting than what the film is! Most of the film's running time is Radcliffe in the house while sound effects pound from room to room. My biggest issue with the film is Radcliffe himself. I know this is really not his fault, but he's just not believable in this role and him interacting with the adult actors - yes, I'm aware he's in his 20's - comes off as laughable. Whenever he's with the actor who plays his 4-year-old son, I kept wondering when the kid's parents were going to show up and pay the babysitter. It's not fair to pidgeonhole an actor, but he really should've done a bit more transitional parts before he played such a grown up character. Take a note from Emma Watson! Of course, I think most of us knew she'd have the best post-HP career. That issue aside, the film is decently paced. But when it did end, I was like 'that's it?' It needs more fleshing out, and it would've helped to develop the characters Ciaran Hinds and Janet McTeer played. As such, both talents are wasted. The director, James Watkins, made the terrific and thought provoking horror Eden Lake a few years back. Any tension that striking film had is sadly MIA here. GRADE: C
RETREAT
(Carl Tibbetts, 2011)
A variation on Phillip Noyce's great 1989 thriller Dead Calm, a couple are staying in a cottage on a desolate island miles from England (I wanna say?) when a bloodied soldier shows up claiming a virus is wiping out much of the population. Cillian Murphy and Thandie Newton are the damaged conflicted couple, wondering whether Jamie Bell's soldier is who he says he is or an escaped nutjob. The film proceeds exactly as you think it will, with tense confrontations, crawling grasps for weapons, planned escapes thwarted and secrets bubbling to the surface. Despite some familiarity and being a hodgepodge of better films like the aforementioned Calm, 28 Days Later and Bug, it works well. The three actors are strong, with Bell making a lasting impression as the psychologically unstable (or is he?) stranger. Funny to think his other major role was a young boy longing to learn ballet, this is a total turnaround from that. Judging from the reaction on Netflix, most average people found this dull. I don't get that, but to each his own. There are original surprises to each character to keep the intrigue going. Even though I predicted some of the twists, there's enough still left for me to recommend this one. GRADE: B
Wednesday, October 3, 2012
Trailer: Movie 43
This long in the making comedy is comprised of short films, and this is probably the funniest trailer I've seen in years. Consider it a Kentucky Fried Movie for a new generation. Naomi Watts and Terrence Howard earned the biggest laughs from me. Red Band! NSFW!
Box: The Box Is Alive! ALLIIIIIIVVVEEEE!
1. Taken 2 - $44m / $44m / $120m
2. Hotel Transylvania - $23m / $73m / $145m
3. Frankenweenie - $16m / $16m / $54m
4. Pitch Perfect - $15m / $22m / $65m
5. Looper - $11.5m / $40m / $70m
6. End of Watch - $4.5m / $33.5m / $45m
7. Trouble With the Curve - $4m / $30m / $40m
8. House at the End of the Street - $3.5m / $27.5m / $35m
9. Perks of Being a Wallflower - $1.5m / $3.5m / $15m
The Master - $1.5m / $12m / $22m
Finding Nemo 3D - $1.5m / $39m / $42m
Finally, something is happening at the box-office! Last week was jumpstarted by a record breaking performance by Hotel Transylvania, a solid performance by Looper and a fantastic start by Pitch Perfect. Hotel Transylvania broke the 10 year record held by Sweet Home Alabama for largest September opening. I suspect this weekend that it'll be more of a threat to Frankenweenie's opening weekend than the latter causing a big drop for Hotel. Pitch Perfect expands to 2700ish theatres after pulling in a $15k+ per theater average in its platform debut. With an A from Cinemascore and a wealth of online buzz, it should have a leggy October run ahead of it. Wallflower goes into somewhere between 200 - 300 theatres, enough to put it in the top 10. Last weekend, the only loser was Won't Back Down which had the lowest opening weekend for a film in 2500+ theaters. Ouch. Of course, the story for the weekend ahead is how much ass Liam Neeson can kick despite having pretty awful reviews. Taken opened in January 2009 to low 20's, and finished with 145 million. I expect the second film to double the original opening but wind up short in the long run. Those reviews are too awful to NOT affect the film somehow.
2. Hotel Transylvania - $23m / $73m / $145m
3. Frankenweenie - $16m / $16m / $54m
4. Pitch Perfect - $15m / $22m / $65m
5. Looper - $11.5m / $40m / $70m
6. End of Watch - $4.5m / $33.5m / $45m
7. Trouble With the Curve - $4m / $30m / $40m
8. House at the End of the Street - $3.5m / $27.5m / $35m
9. Perks of Being a Wallflower - $1.5m / $3.5m / $15m
The Master - $1.5m / $12m / $22m
Finding Nemo 3D - $1.5m / $39m / $42m
Finally, something is happening at the box-office! Last week was jumpstarted by a record breaking performance by Hotel Transylvania, a solid performance by Looper and a fantastic start by Pitch Perfect. Hotel Transylvania broke the 10 year record held by Sweet Home Alabama for largest September opening. I suspect this weekend that it'll be more of a threat to Frankenweenie's opening weekend than the latter causing a big drop for Hotel. Pitch Perfect expands to 2700ish theatres after pulling in a $15k+ per theater average in its platform debut. With an A from Cinemascore and a wealth of online buzz, it should have a leggy October run ahead of it. Wallflower goes into somewhere between 200 - 300 theatres, enough to put it in the top 10. Last weekend, the only loser was Won't Back Down which had the lowest opening weekend for a film in 2500+ theaters. Ouch. Of course, the story for the weekend ahead is how much ass Liam Neeson can kick despite having pretty awful reviews. Taken opened in January 2009 to low 20's, and finished with 145 million. I expect the second film to double the original opening but wind up short in the long run. Those reviews are too awful to NOT affect the film somehow.
Tuesday, October 2, 2012
HF: Munger Road
The 3.2 average viewers I get each day should be elated to learn that on the right of my page, I've now added a list - "Recently Watched Movies". While I'll be blogging my thoughts on my marathon of mayhem this month, I added this feature as an update on what I've seen and the grade I've given it. If I feel like blogging my thoughts, I will.
MUNGER ROAD
(Nicholas Smith, 2011)
This movie hit my radar last fall when Ebert gave it 3 stars and I read some mildly positive buzz here on the interweb. Additionally, some Michiganers (Michiganians?) seemed excited that a movie was filmed at this particular location where some urban legends began. In the film, a quartet of teens travel on the supposedly haunted stretch armed with a camera to document their findings. Meanwhile, a cop (always reliable Bruce Davison, providing the film's main starpower) goes on the hunt for an escaped convict who murdered a young girl on the road some years prior. Is the killer after the teens? Will the cop save them in time? Was I once again duped by some vague online buzz into watching a worthless film? Not entirely. For most of the film's short running time, the film works surprisingly well providing some decent old fashioned suspense. I was even ready to bestow the words "hidden gem" on the film. Then, the final act kinda shits the bed and leaves us with an ending that would piss me off if I hadn't stopped caring moments earlier. The acting from the youngsters isn't the best. Trevor Morgan is pretty good and looks like he could be Tim Tebow's creepy little brother. (Yeah, I dug it. Shut up.) Davison is very good here. It's not a bad film, but after the first hour it loses too much steam. Something else worth noting and several people on IMDB boards pointed this out, there's a scene with two visible boom mic shots? I was always told that was the result of misframing. I don't recall seeing this on any other DVD. GRADE: C+
MUNGER ROAD
(Nicholas Smith, 2011)
This movie hit my radar last fall when Ebert gave it 3 stars and I read some mildly positive buzz here on the interweb. Additionally, some Michiganers (Michiganians?) seemed excited that a movie was filmed at this particular location where some urban legends began. In the film, a quartet of teens travel on the supposedly haunted stretch armed with a camera to document their findings. Meanwhile, a cop (always reliable Bruce Davison, providing the film's main starpower) goes on the hunt for an escaped convict who murdered a young girl on the road some years prior. Is the killer after the teens? Will the cop save them in time? Was I once again duped by some vague online buzz into watching a worthless film? Not entirely. For most of the film's short running time, the film works surprisingly well providing some decent old fashioned suspense. I was even ready to bestow the words "hidden gem" on the film. Then, the final act kinda shits the bed and leaves us with an ending that would piss me off if I hadn't stopped caring moments earlier. The acting from the youngsters isn't the best. Trevor Morgan is pretty good and looks like he could be Tim Tebow's creepy little brother. (Yeah, I dug it. Shut up.) Davison is very good here. It's not a bad film, but after the first hour it loses too much steam. Something else worth noting and several people on IMDB boards pointed this out, there's a scene with two visible boom mic shots? I was always told that was the result of misframing. I don't recall seeing this on any other DVD. GRADE: C+
Monday, October 1, 2012
Horrorfest Starts Now!
Moving on...
So last year's Horrorfest/Octoberfest/Scary Film Festival came to a truly anticlimactic conclusion when a freak snowstorm - though is there such a thing as a freak weather pattern in the age of global warming? - wiped out my power for the last four days of October. Frustrated, I gave up on the whole shebang. Assuming an anniversary storm isn't in the cards, my annual marathon is back. I might make things a little frontloaded just in case. One year, I made it to 20 films. I'll make that my goal this year. As usual, I'll throw in reviews of my fave TV shows' Halloween episodes.
Things did not end well last year, and they didn't begin too strongly this year.
INTRUDERS
(Juan Carlos Fresnadillo, 2012ish)
This was barely released stateside earlier this year by Millenium Films. To be fair, that seems to be their only release strategy. Clive Owen (sidenote: still yummy) plays a father whose daughter begins having visions of Hollowface, a faceless cloaked monster that emerges from her closet at night. Father and daughter share the terror, with no one else able to see the figure. A parallel story shows a young Spanish boy being terrorized by the same figure. I had a hunch early on how the stories would eventually meet, and ended up being right. This is a pretty limp film. Disappointing because the film's director was behind 28 Weeks Later, one of the most superior sequels of the new millenium. Any energy and style that film had was clearly the result of him copying Danny Boyle's predecessor. Hollowface isn't a good villian, just looking like an extra from Harry Potter and The Lord of the Rings. I kept waiting for him to tear loose with some bloodshed, but that time never comes. I have no idea how this was R-rated, but Owen drops about three 'fuck''s in one scene. Outside of that, this is standard PG-13 fare. Daniel Bruhl and Carice van Houten also appear, both talents wasted. GRADE: C-
So last year's Horrorfest/Octoberfest/Scary Film Festival came to a truly anticlimactic conclusion when a freak snowstorm - though is there such a thing as a freak weather pattern in the age of global warming? - wiped out my power for the last four days of October. Frustrated, I gave up on the whole shebang. Assuming an anniversary storm isn't in the cards, my annual marathon is back. I might make things a little frontloaded just in case. One year, I made it to 20 films. I'll make that my goal this year. As usual, I'll throw in reviews of my fave TV shows' Halloween episodes.
Things did not end well last year, and they didn't begin too strongly this year.
INTRUDERS
(Juan Carlos Fresnadillo, 2012ish)
This was barely released stateside earlier this year by Millenium Films. To be fair, that seems to be their only release strategy. Clive Owen (sidenote: still yummy) plays a father whose daughter begins having visions of Hollowface, a faceless cloaked monster that emerges from her closet at night. Father and daughter share the terror, with no one else able to see the figure. A parallel story shows a young Spanish boy being terrorized by the same figure. I had a hunch early on how the stories would eventually meet, and ended up being right. This is a pretty limp film. Disappointing because the film's director was behind 28 Weeks Later, one of the most superior sequels of the new millenium. Any energy and style that film had was clearly the result of him copying Danny Boyle's predecessor. Hollowface isn't a good villian, just looking like an extra from Harry Potter and The Lord of the Rings. I kept waiting for him to tear loose with some bloodshed, but that time never comes. I have no idea how this was R-rated, but Owen drops about three 'fuck''s in one scene. Outside of that, this is standard PG-13 fare. Daniel Bruhl and Carice van Houten also appear, both talents wasted. GRADE: C-
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| Wet Clive |
Seth MacFarlane to Host the Oscars
I woke up late this lovely day, the first of October. I woke up to something rather scary to kick off the month.
I just saw a link on my computer that said "Seth MacFarlane to host the...." and I knew what was coming. Oh god. I didn't want to click on it to confirm what was about to happen, clinging to some shred of hope that maybe the Globes had gone a different route from Ricky Gervais or maybe it was the Independent Spirit Awards. But I just knew what the rest of the headline was going to be.
Seth MacFarlane is hosting the Oscars.
Now, rather than have my usual heartbreak over the passed over list of funny ladies, I went straight to shocked disbelief. Apparently, having just one hit movie to your name makes you aptly prepared to preside over Hollywood's biggest nights. No, maybe doing a bunch of voices. No, just the same voices over and over but putting different characters names on them. I'm wondering how many of those voices we'll have to endure during the monologue alone.
But, for my own survival, I will give everyone the benefit of the doubt. And here's what's most frustrating: I repeatedly have to do this lately when it comes to AMPAS. Let's just see where it goes. I think they are once again commiting the mortal sin that they always do and it always fails them: actively chasing an audience that doesn't give two shits about this show.
On the bright side, I'd say there's a good shot that Tina Fey is hosting the 86th show. It's been confirmed she's been asked to host, but said no because of her commitment to 30 Rock.
I just saw a link on my computer that said "Seth MacFarlane to host the...." and I knew what was coming. Oh god. I didn't want to click on it to confirm what was about to happen, clinging to some shred of hope that maybe the Globes had gone a different route from Ricky Gervais or maybe it was the Independent Spirit Awards. But I just knew what the rest of the headline was going to be.
Seth MacFarlane is hosting the Oscars.
Now, rather than have my usual heartbreak over the passed over list of funny ladies, I went straight to shocked disbelief. Apparently, having just one hit movie to your name makes you aptly prepared to preside over Hollywood's biggest nights. No, maybe doing a bunch of voices. No, just the same voices over and over but putting different characters names on them. I'm wondering how many of those voices we'll have to endure during the monologue alone.
But, for my own survival, I will give everyone the benefit of the doubt. And here's what's most frustrating: I repeatedly have to do this lately when it comes to AMPAS. Let's just see where it goes. I think they are once again commiting the mortal sin that they always do and it always fails them: actively chasing an audience that doesn't give two shits about this show.
On the bright side, I'd say there's a good shot that Tina Fey is hosting the 86th show. It's been confirmed she's been asked to host, but said no because of her commitment to 30 Rock.
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