Tag: Step Up 3D

Weekend box office preview: “Inception” to meet its match in “The Other Guys”

Christopher Nolan’s science fiction thriller continues to hold audiences to the tune of over $200 million as it enters its fourth week.  It still will likely be no match for the projected $30-$35 million or maybe a bit more being bandied about by box office prognosticators like Ben Fritz and, more optimistically, jolly Carl DiOrio for the new buddy-cop cop parody/homage from Sony starring Will Ferrell, “The Other Guys.” Of course, having Ferrell in a movie is not an instant ticket to box office glory as the experience of “Land of the Lost” taught us not so long ago. “Inception” will nevertheless go to the #2 spot, it appears.

The Other Guys and friend

This time, Ferrell’s got what looks to be very strong support from the increasingly funny Mark Wahlberg not to mention supporting performances by Samuel L. Jackson and Dwayne Johnson as the supercops who would ordinarily be the leads in a buddy-cop flick. It’s even got very decent reviews, which are not a requirement for Ferrell to have a hit but they indicate the movie might be okay. That always helps, though there’s general agreement that the film from Sony is creatively not in anywhere near the ballpark of something like the similarly themed “Hot Fuzz.”

Aimed at a very different audience of young girls, the prospects are less promising for Disney’s “Step Up: 3D.” As the third film in a series that was actually declining, the conventional wisdom is that the only reason it was even made was to cash in on the three-dimensional craze. I’m thinking that craze has already peaked, at least for the present. Nevertheless, DiOrio says that its tracking indicates it might actually beat the $18.9 million opening of the prior entry. I’ll believe that when I see it, though admittedly there really isn’t a strong film for female tweens right now, so counterprogramming could be the film’s salvation. Though with “3D” actually in the title, I’d be worried if I was the executive who greenlit this one.

Luke Wilson and Friends in This week also sees two films opening in over two hundred theaters, making them larger than usual limited releases. As per Box Office Mojo, “Middle Men” from Paramount will be opening in 252 theaters, including the multiscreen drive-in theater about thirty miles east of L.A. where I’ll likely be attending an informal gathering at this weekend.  The movie is getting mixed reviews, which is about right in my view. It’s an attempt to make a Scorsese-style quality film about a major turning point both in the history of porn and e-commerce that fails simply because it tries to tell a miniseries story in the length of an ordinary 100 minute release. Still, it’s an interesting movie with a lot of good moments and some very good acting, including from star Luke Wilson. We’ve been covering it a lot at Bullz-Eye with interviews by me with co-stars Giovanni Ribisi and Gabriel Macht and there’s more to come here at Premium Hollywood.

Being released in 231 theaters is Joel Schumacher’s latest attempt at artistic respectability, “12.” Named after a fictitious designer drug, it’s getting predictably uniform bad reviews and is evoking mentions of Larry Clark’s infamous “Kids.”  On 45 screens is kind of the flip side of that, a sentimental comedy-drama of puppy love that sounds a little bit like a very wholesome “Let the Right One,” minus (obviously) the vampires, called “Flipped.” What’s weird here is not that its reviews so far aren’t so good, but that there are only four of them. Even at his best, Reiner was never a huge favorite of mine, though he sometimes chose great material. (No, “When Harry Met Sally” is not really great material in my view.). Still, only getting four reviews is just sad.

B-Girl

As I settled in to watch “B-Girl,” a film described on the back of its DVD box as originating “from the dancers of ‘Fame,’ ‘How She Move,’ ‘Step Up,’ ‘Step Up 2,’ & ‘Step Up 3D,'” I was reminded of a nine-word phrase of total disclosure which Roger Ebert once used to open a review: “I am not the person to review this movie.” Granted, he was speaking of “Scooby Doo” at the time, but his lack of familiarity with the mythos of that famed mystery-solving mutt have nothing on my deficiency of dance-movie knowledge. Still, I grew up in the ’80s, when breakdancing was in its original heyday, so I figured, okay, the least I can do is give this movie a chance. Sadly, “B-Girl” can’t hold a candle to “Breakin’ 2: Electric Boogaloo.” (Really, though, how many films can?)

“B-Girl” offers an all-too-familiar underdog story: Angel (Jules Urich, “You Got Served,” “Step Up 2”) dances her ass off while cruising the streets of NYC, but when a tragedy occurs in Angel’s life and results in both a shoulder injury and a decision by her mother to move to the other side of the country, she realizes that her only solace in California will come from getting back into shape and onto the dance floor again. The film is an expanded version of a short film bearing the same title, which was released in 2004 and also starred Urich, but that was five years ago; even in a world where we’ve been accepting twentysomethings playing teenagers since the original “Beverly Hills 90210,” no one in their right mind is going to look at Urich and say, “Okay, I’ll buy that she’s young enough to still be under her mother’s thumb.” It must also be said that neither the dialogue nor the acting is all that. This, of course, only leaves the dancing as a reason to see “B-Girl.” Is it enough? Well, this is where I’m going to more or less fall back on the aforementioned Ebert-ism, but for what it’s worth, I was impressed. For you B-Girls and B-Boys amongst our readership, though, you’ll probably have to see it for yourself.

Click to buy “B-Girl”

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