Box office preview: Will “Saw 3D” bloody “Paranormal Activity 2”?

I have no bloody idea, actually, because the entire box office prognostication community — all two members of it that I rely on, anyhow — seem to be taking a break. I know for a fact that both the L.A. Times‘ Ben Fritz and THR‘s ever jolly Carl Diorio are writing stuff, they’re just not venturing any guesses or passing along the usual tracking rumors about this coming weekend. I guess with only major new release, it just didn’t seem worth it. Mr. DiOrio did, however, write a piece yesterday, which is not visible on THR but is via Reuters, explaining why, beyond the fact of Halloween, there actually are a number of reasons why horror pictures tend to come out when the leaves turn orange and the breezes turn chilly. Interesting, but not what I need to get me out of this predicament.

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Indeed, I don’t even have any reviews of “Saw 3D” to mention, because we all know that critics can’t really help, and just might hurt, a picture like this. For you “Saw” fans, however, I can pass along some roundtable interviews our own Will Harris posted a bit earlier today as well as David Medsker’s Bullz-Eye compilation of the most beloved “Saw” series deaths and near-misses. Honestly, though, I’m at a loss, especially I’m too squeamish to have ever seen a single entry in the series.

Regardless, the gory horror tale will be facing some serious competition from the second week of the so-far over-performing ($40 million worth) non-gore driven scare follow-up, “Paranormal Activity 2.” On the other hand, there’s no particular reason to think it won’t suffer something like the typical horror-flick second week drop of 50% or over. That shouldn’t be too hard for the 3D sado-splatter film to beat, but you never know. We’ll see whether the ticket-price raising format can ameliorate the fatigue the “Saw” series has shown on past sequel go-rounds.

In terms of limited releases, we have the final film in the “Millennium Trilogy,” Swedish edition. “The Girl Who Kicked the Hornet’s Nest,” which isn’t overly exciting critics opening in 123 theaters according Box Office Mojo’s theater counts. Though an internationally huge franchise like this should, in theory, be critic-proof, this is the art-house trade we’re talking about and some might decide to wait for home video or, like me, who enjoyed the first film but haven’t read any of the books yet and skipped the last film, might decide to simply catch up with the books at some point instead. On the other hand, the even-growing fame of the “girl” herself, Noomi Rapace, might help things out a bit.

Also suffering the slings and arrows of often unimpressed critics is “Welcome to the Rileys” a festival drama starring James Gandolfini, Melissa Leo, and Kristen Stewart. Directed by Jake Scott, son of Ridley, the film has generated a little attention but I fear that may be over now given its decidedly “meh” critical reception.

Doing a little better with critics, including my esteemed colleague Jason Zingale, is Gareth Edwards’ “Monsters,” a very unusual monster flick arriving just in time for the holiday. It’s generated a lot of online attention and you absolutely have to give it props for its visual power — accomplished on a truly miniscule budget by is special effects trained director — and for its good intentions in attempting a character driven romantic tale with, yes, actual monsters and some genuinely clever chilling moments. Still, like 37% of Rotten Tomatoes critics, I was kind of let down by it and I blame the fact that the film was made with only a story outline and no formal screenplay. On the other hand, it’s easily the most visually striking monster flick that I can think of not directed by Guillermo del Toro.

Whitney Able in

  

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Trailer time: “Monsters” at the arthouse (updated)

Here’s the new trailer for Gareth Edward’s “Monsters” which is getting a bit of hype on the geek blog circuit. I saw this one at the Los Angeles Film Festival and have an opinion, of course, but you can read that after seeing the trailer. I will say, though, that this is a very well done trailer but if you’re going in expecting to be hugely terrified or wanting to see anything like an ordinary monster film, you’re probably not going to like it. The R rating — if memory serves, is primarily for cursing and mild “sexuality,” not all of it human.

H/t /Film and here’s the official “Monsters” site.

Here’s what I wrote after the festival:

Ever wonder what would happen if an old fifties monster movie like the George Pal “War of the Worlds” decided to concentrate on characterization and its romantic subplot, and kind of let the rest of the story take care of itself? This mostly improvised film from effects guy/writer/director Gareth Edwards is actually a lot more like ur-rom-com “It Happened One Night” than the film it’s most frequently compared to, “District 9,” as it focuses on a tough-guy news photographer (Scoot McNairy) escorting the beautiful-but-engaged daughter of his media mogul boss (Whitney Able) across a Mexico plagued by giant squid monsters. It’s not nearly as funny as it sounds — it’s not really meant to be, nor is it as compelling as Newsweek critic-turned-programmer David Ansen was claiming, though there are some interesting political echoes.

It is, however, gorgeously imagined and, including the somewhat comically old-school squid monsters, something of a visual miracle considering what appears to have been a minimal budget. Nevertheless, Edwards concept of basically filming where he could and then trying to shoehorn those stolen locations into a storyline with entirely improvised dialogue, doesn’t even come close to flying dramatically. His shoehorning of effects worked better.

UPDATE: Merrick prefers the UK trailer. Whether or not it’s better as its own experience, I could go either way as both trailers are very good. Still, it’s also very nice and it is, in fact, much truer to the real spirit of the film, which for better and for worse is much more arthouse than grindhouse. See it after the jump.

Read the rest of this entry »

  

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Los Angeles Film Festival Recap: The Movies, part 1

Absent any actual movie news bombshells (not the quite possibly fake or misleading nuggets that you might have heard about), for the next day or so I’ll be posting with thoughts about the just completed Los Angeles Film Festival. There will be some kvetching later, but first I’m going to concentrate on the more positive aspect of the festival, which are the films themselves, even if most of them already screened at other festivals. I’ll be going in random order over what I saw, ignoring a few films I walked out on which may or may not be an accurate reflection of their quality.

* No one walked out on “Four Lions” which got an uproarious reaction from the crowd I saw it with and won the audience prize. It might well have been the best film I saw at the festival. However, I can’t be sure because I was very late to it and probably missed at least 15 or 20 minutes, which was partly my own fault/bad habit but mostly the result of…oh, yeah, I promised to save the kvetching for later.

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Getting back to “Four Lions,” it’s a very ballsy English ultra-black comedy about an Islamist terrorist cell in need of a bit more cells of the gray variety if it’s going to rack up the kind of body count every suicide bomber dreams of. It makes a fit companion piece to the equally dark and zany, and really quite similar in style and manner, “In the Loop.” It’s director, interestingly, is best known here as one of the stars of the popular BBC America series, “The IT Crowd,” Christopher Morris.

* “Animal Kingdom” is a sharp witted, muted Australian crime thriller and a cautionary tale about really bad surrogate parenting, made much worse when cops start pulling extra-judicial executions. (Has this been a common problem in Australia?)  Though there are definite but subtle echoes of “Goodfellas” and “Sexy Beast,” this film has a style and story all its own from talented first-timer David Michôd. Even so, it nearly lost me during its middle portion, it’s a bit too dour, even for the subject matter, and features a dull, annoying music score that strives way too hard to underline the seriousness of the story. Still, the seeds are being planted throughout for a last act that is character driven crime suspense of the best kind.

The film is anchored by three outstanding performances from three actors of varying ages who are essentially unknown here — Jacki Weaver, who is sweetly chilling as the underage grandmother hen of the group, hasn’t been seen in the States since she appeared in Peter Weir’s 1975 “Picnic at Hanging Rock” — but they won’t stay that way for long. The one known face in the film, Guy Pearce, is almost as good, playing essentially the Australian cousin of his morally compromised, not entirely likable cop from “L.A. Confidential.”

* “Monsters” — Ever wonder what would happen if an old fifties monster movie like the George Pal “War of the Worlds” decided to concentrate on characterization and its romantic subplot, and kind of let the rest of the story take care of itself? This mostly improvised film from effects guy/writer/director Gareth Edwards is actually a lot more like ur-rom-com “It Happened One Night” than the film it’s most frequently compared to, “District 9,” as it focuses on a tough-guy news photographer (Scoot McNairy) escorting the beautiful-but-engaged daughter of his media mogul boss (Whitney Able) across a Mexico plagued by giant squid monsters. It’s not nearly as funny as it sounds — it’s not really meant to be, nor is it as compelling as Newsweek critic-turned-programmer David Ansen was claiming, though there are some interesting political echoes.

It is, however, gorgeously imagined and, including the somewhat comically old-school squid monsters, something of a visual miracle considering what appears to have been a minimal budget. Nevertheless, Edwards concept of basically filming where he could and then trying to shoehorn those stolen locations into a storyline with entirely improvised dialogue, doesn’t even come close to flying dramatically. His shoehorning of effects worked better.

More to come.

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