If you’re even a halfway serious film fan, you may have noticed that directors like Wes Anderson, Tim Burton, and Quentin Tarantino do not make movies set on Planet Earth, they make movies set on Planets Anderson, Burton, and Tarantino. I’m a bit less of an expert on France’s extremely popular Jean-Pierre Jeunet, but it’s obvious that, even when his films are set in Paris, they’re really set on Planet Jeunet. His films have their own look and exist in their own reality.
As with Tim Burton, Jeunet’s roots are in animation. Together with his early collaborator, cartoonist Marc Caro, he made two films that pretty much destroyed the idea of France as a land where all movies were gritty examinations of the lives of depressed intellectuals (not that there’s anything wrong with that). Dystopic but decidedly non-realistic, “Delicatessen” and, to a much greater extent, 1995’s “The City of Lost Children” broke through internationally, with the latter becoming a popular midnight selection and attracting a geek audience that might have ordinarily rejected subtitled films. That was followed by his first solo production and also his first and, so far, only American film. 1997’s “Alien: Resurrection” was a domestic commercial disappointment that generated mixed reviews and more than a little fan hate in the U.S. — even its screenwriter, fan-master Joss Whedon, has entirely disowned it — but it was nevertheless an international success which is still warmly embraced by its jovial director. After that, Jeunet broke through even bigger with the worldwide success of “Amelie” in 2001, easily one of the most widely seen French films in the United States of the last couple of decades — so much so that it was simply referenced as “the French movie” in last year’s “Up in the Air.”
Now, Jeunet is back with his first film since his worldwide box office and critical hit, 2005’s “A Very Long Engagement,” with his own take on Chaplinesque/Keatonesque comedy with just a dash of Rube Goldberg not-quite-sci-fi. “Micmacs” stars comic Dany Boon (“My Best Friend”) as the hapless Bazil, whose father was killed by a landmine and whose health and livelihood was ruined by a bullet — each produced by a ruthless arms manufacturer. Homeless, he is befriended by a ragtag assortment of seven eccentrics with various unique skills. Bazil enlists their aid in avenging himself against the two firms.
The film has done reasonably well in its initial New York opening, and will be expanding to more theaters this Friday. It’s generally also been a hit with critics, very definitely including PH’s own Jason Zingale.
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The long Memorial Day weekend is not quite half over but it doesn’t look like a barn-burner for anyone. Looking at the traditional three days which are used to cover the more competitive side of box office results, it’s looking like Carrie Bradshaw and the other women of “Sex and the City 2” have been stood up by a significant share of the expected audience, leaving “Shrek Forever After” the box office leader.
The $60 million guessed at for the entire “five day frame” by jolly Carl DiOrio on Thursday may still be possible” but it’s start to look like it’ll be lucky to hit even that modest number. (The first film in the series earned $57 million in its initial three-day frame.) In any case,everyone really did seem to expect the film to hit #1 and that certainly doesn’t seem to be the case. The present weekend estimate for Warners’ “Sex” according to Box Office Mojo is $32.125 million while the final Shrek film took in $43.345 million.
The pleasant surprise for Dreamworks/Paramount here is that their animated comedy about the world famous fairy tale troll experienced a better than average 38% percent drop from it’s opening — which was a big let down compared to previous films at just under $71 million, but far from disastrous. This may be more evidence that telling a decent story actually counts for something.
The consensus on this “Shrek” is that it’s nothing great (Mike Fleming termed the reviews “mediogre” <yuck, yuck>), but a relatively decent ending to the series with some considering it one of the better entries in the four picture series, so word-of-mouth may be giving it a small boost. There’s also the factor of it in being in nearly a thousand more theaters than the other films and many of those being 3-D with higher ticket prices. The public may be starting to tire of those prices, but enough of them appear to still be willing to pay the added freight to keep the troll on top.
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And will we writers run out of double entendres in describing whether or not the latest adventures of Carrie Bradshaw (Sarah Jessica Parker) and friends enjoys a satisfactory, long-lasting ticket-buying performance from their ardent audience or will it be just a case of “slam-bang-opening-weekend’s-over-ma’am?” Nope. Nor will the bad reviews “Sex and the City 2” has been getting significantly dampen the ardor of ticket buyers.
In fact, the film is already doing rather well, as it opened early to get a jump on the long Memorial Day weekend, making $3 million on Wednesday night/Thursday morning midnight shows for the R-rated comedy from Warner Brothers. Both jolly Carl DiOrio and Anne Thompson’s b.o. guy, Anthony D’Alessandro, are bullish. Jolly Carl is talking about $60 million. I have no clue except that every “Sex and the City” fan will want to see it — once, anyway.
Nevertheless, as someone who managed to avoid the original show almost completely, it is a bit of shock to see this kind of vituperation directed against a property that was once a well-reviewed award-winner. I wasn’t too surprised when the first film got mixed reviews, since the show did have more than it’s share of detractors, but the 14% “fresh” rating from Rotten Tomatoes critics as a whole, and devastating 7% from 26 “top critics” so far is a bit of a movie cold shower. The bad reviews even inspired a bottom 10 list at Salon. Matt Zoeller Seitz, like our own Jason Zingale, notes the film’s lengthy sequence in Abu Dabi — which he terms “product placement for a country” (even though it was shot elsewhere) and titles his review: “Ladies and Gentleman, THIS is Why They hate us.” That’s about as positive as his review gets. He’s almost loving compared to the brilliant review by Lindy West:
SATC2 takes everything that I hold dear as a woman and as a human—working hard, contributing to society, not being an entitled cunt like it’s my job—and rapes it to death with a stiletto that costs more than my car. It is 146 minutes long, which means that I entered the theater in the bloom of youth and emerged with a family of field mice living in my long, white mustache.
That one of the nicer parts. I suggest, no, I implore that you read every word.
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