Weekend box office: “The Expendables” kills with men; “Eat Pray Love” shines for women; the world defeats “Scott Pilgrim”

The ExpendablesI doubt he follows box office grosses, but like one of the books by right-leaning humorist/pundit P.J. O’Rourke, this weekend most certainly could have been entitled Age and Guile Beat Youth, Innocence, and a Bad Haircut. To be specific, Jason Statham is still two years shy of his 40th birthday, but he’s an infant compared to most of the cast of writer-director-star Sylvester Stallone‘s “The Expendables.”

The action flick, about mercenaries hired ostensibly to overthrow a repressive Latin American regime, relied on the very sound box office logic that if one or two super-macho action stars could lead to reasonably dependable ticket sales even when well past their physical peak, eight very grown-up action stars (counting two superstar cameos) was more or less a sure thing. More or less as predicted by everyone, the bloody R-rated actioner earned just over an estimated $35 million for Lions Gate. So says the mighty Box Office Mojo weekend chart.

Also, while Julia Roberts is substantially younger than Stallone, the early forties are not young in actress years. Her many female fans, and the fans of the popular memoir, “Eat Pray Love,” embraced that maturity to the tune of an estimated $23.7 million for Sony. The studio spent a perhaps excessive $60 million on the flick, though the film clearly needed a star like Roberts to open like this, so her reported $10 million salary was probably worth it for the studio.

Sony had a decent weekend overall, with last weekend’s #1 film, “The Other Guys” suffering an average drop of just under 50% and earning an estimated $18 million in third place. Warner’s very leggy “Inception” held firm with an estimated $11.37 million getting into fourth place in its fifth week.

Then we have “Scott Pilgrim vs. the World.” The Pilgrim reception is inducing nasty flashbacks of past would be “viral” successes with its estimated $10.525 million. The film may well do better over the long run as it’s already a huge cult success, if you think about it, and the international numbers could always be different. Being “big in Japan” has certainly saved a lot of bands, why not Mr. Pilgrim?

However, it cost a not-tiny $60 million (including various credits and rebates for the Toronto-based films, says Anthony D’Allesandro) and was pretty much the talk of the Internet film geek sites for most of the summer. It also reportedly has done very well with the people who’ve actually seen it, both anecdotally and, according to Anthony D’Allesandro, according to Cinemascore. It should have done a lot better.

2380_FP_STILLS_00095R.JPG_cmyk

Behold the power of the Internet…to make fans bored with a movie before it comes out, while still leaving non-fans out in the cold.  More about this in a post to come later in the week, after the “actuals” come out. I will say I thought “Scott Pilgrim” would beat “Kick-Ass” as it theoretically should appeal to a wider audience, except that the superhero jet-black comedy actually made about $19 million on its below-expectations opening. As the man said, no one knows anything.

Meanwhile in limited release, the second highest per-screen average went to a decent opening for the intriguing Aussie crime thriller “Animal Kingdom” and “Get Low.” The folksy melodrama — which didn’t make me or anyone else in the audience I saw it with laugh much but some insist on calling a comedy drama — continues to get reasonably high at the box office despite my poor review and my delayed write-up of the press conference with charming stars/acting legends Robert Duvall and Sissy Spacek, which I promise you’ll be seeing before much longer. I truly don’t see the appeal, but Oscar hopes are growing for this one. More on limited releases, as usual, at Indiewire.

  

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Weekend box office: In which we separate the men from the boys, and women from both

The Expendables

If we are to believe the prognosticators this weekend, testosterone will rule in a weekend which could turn out to be the most exciting movie three-way showdown since the climax of “The Good, the Bad, and the Ugly.” The impression is that it really does threaten to send the genders, and possibly even the generations, on their separate ways at the nation’s multiplexes.

Of course, when I speak movies of aimed at us penile-Americans, I speak of the R-rated mega-macho ultraviolent action fest, “The Expendables.” The ensemble-action flick is directed, cowritten and co-starring Sylvester Stallone and features Jason Statham, Jet Li, Dolph Lundgren, Mickey Rourke, and assorted other manly men who are masculine males in supporting roles and cameos.

Cinema prognosticators Ben Fritz and good old jolly Carl DiOrio seem to think this movie will easily take the top spot for Lionsgate to the tune of about $30-35 million with its appeal to males of all ages. Critics, for the most part, aren’t overly impressed, though a sizeable enough minority are treating the film as a campy, action-packed good time. For me, Stallone’s career peaked 35 years ago with his hilarious performance in “Death Race 2000” — “Rocky” has never done much for me and “Rambo: First Blood 2” did even less — but I still might be checking this one out at some point. I do have an affection for the ensemble action film genre. If you do as well, you might want to check out the salute to the sturdy sub-genre posted over at the Bullz-Eye blog.

Julia RobertsFor the more femininely chromosomed, this week’s big draw is supposed to be “Eat Pray Love” from director Ryan Murphy, best known as the creator of TV’s “Glee” and “Nip/Tuck,” and starring an actress you may remember named Julia Roberts. It’s an adaptation of a memoir about a divorced woman going on a worldwide physical and spiritual “journey of self-realization.”  I don’t know about you but when I hear “self-realization” and especially “journey of self-realization” I check out completely. I don’t think that’ s just because I’m male.

While I haven’t seen a single episode of Murphy’s shows, I gather he is associated with a certain degree of offbeat innovation and has clearly touched a nerve on two on the small screen. That doesn’t seem to have translated into much interest from film critics, however, who are mostly kind of unimpressed. Rated PG-13, “Eat Pray Love” does seem to be doing a bit better critically than his poorly received prior adaptation of a hit memoir, “Running with Scissors.” Jolly Carl expects to film to hit the #2 spot with an amount somewhere over $20 million.

And then comes what I hope may be this weekend’s wild card. The consensus seems to be that, despite a torrent of Internet publicity and huge geek buzz, Edgar Wright’s comic book adaptation, “Scott Pilgrim vs. the World,” will be lucky to get much over $15 million which, for a movie costing about $65 million, isn’t great. Though reviews initially looked as they might be “middling,” they are actually shaping up as rather excellent for a film that risks alienating a certain percentage of its audience with its blatantly video-game derived comic book/manga aesthetic. The consensus being that, as with the highly entertaining “Kick-Ass” before it, geek awareness and mass audience acceptance just are not the same thing and it’s entirely likely this will come in the #4 spot behind last week’s #1 film, “The Other Guys.”

I’m sure there’s a good chance this will happen. However,  “Scott Pilgrim” seems to me to be a film that, at least over the long haul, has a potentially much wider audience than some other films because of it’s unusual combination of relationship-driven and action-comedy. The fact that, as a young skewing film, it’s PG-13 but also relatively racy in its advertisements might not hurt either. Not to be put in the position of defending a film I haven’t seen and pre-release online mini-backlash notwithstanding,  there is one thing I feel sure about. In a few years, the new movie from this weekend that people will still be talking about is “Pilgrim.”

Scott Pilgrim vs. the World

Actually, that’s perhaps not entirely true because there’s also a very interesting new film debuting in very limited release, and this one I did see a couple of months at the L.A. Film Festival. “Animal Kingdom” is an imperfect but highly assured debut from Australian first-time writer-director David Michôd. Though a bit overly dour and slack in the middle, to the point where it very nearly lost me, it’s one of the best crime films I’ve seen in a while with a real doozy of a last act. It’s opening on just small four screens but with a couple of brilliant bad-guy-and-gal performances, this is one I think you’ll be hearing about later on.

  

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No surprises in tame weekend box office: “The Other Guys” hits #1

Just as was predicted by nearly everyone as the weekend began, Will Ferrell — with a little help from a few other A and A- listers and broad critical agreement that the movie is no classic but is, in fact, funny — is back on top of the nation’s box office with a very healthy estimated take of $35.6 million for “The Other Guys.” That number from Box Office Mojo is exactly .6 north of the higher end of what was predicted previously by most prognosticators. It’s also a healthy chunk of what Nikki Finke says was a $90 million budget for the very broad action-comedy directed by Ferrell cohort Adam McKay. Ferrell and company also seem to be doing a good job of holding on to their core audience of young males. Considering that Ferrell’s been on top for a while now, you might expect his audience to be aging with him but, as the song says about the young at heart, fairy tales can come true.

Will Ferrell and Mark Wahlberg in Also, as Anthony d’Allesandro reminds us, Sony must be young at heart as well as they seem to having a consistently strong summer. Personally, I’d like to think there’s a bit of Louis B. Mayer mojo still lingering at the company’s Culver City grounds, which belonged to MGM until the mid-eighties. It is important to remember that Ferrell is, however, not a huge draw internationally, probably because a lot of his humor is verbal and plays off quirks of North American culture that might be obscure elsewhere. I mean, what is a Singaporean or Austrian to make of “Stay classy, San Diego!”?

#2 was, of course, “Inception,” which finally left the top spot in week 4 and dropped a modest 32.3% in its fifth weekend. The science fiction caper earned a tidy $18.6 million, which gets it to over $227.7 million so far, or thereabouts and, I’d say, well on its way to the $300 million mark. My skepticism that “Step Up 3D” could exceed earnings over the prior two films in the series was well earned. However, it did sufficiently well for Summit and Disney, hitting the better side of studio projections, Allesandro says, with an estimated $15.5 million. Apparently, given the mixed critical consensus cited, which is practically a rave for this kind of a tween-skiewing film, it doesn’t suck nearly as much as it could have, and that probably helps. Indeed, many of the critics are citing the dance numbers strongly enough to attract my curiosity. (I’m a sucker for a good dance number — emphasis on “good.”)

Moving down the charts,  Sony’s “Salt” continued to hold decently at an estimate of $11.1 million. Last weekend’s #2 picture, Paramount/Dreamworks’ “Dinner for Schmucks,” had a rather large drop of over 55% percent in it’s second weekend, dropping three places to the #5 spot. In a funny way, while few are arguing it’s particularly great, this film really seems to be dividing people over the question of whether it’s funny or unfunny, mean or nice. (David Medsker came down on the negative side, I came down on the positive — and I’m usually the tough-guy around here.)

Still, things are looking fairly rosy for Steve Carrel as he seamlessly transitions from television to movie star. His other hit comedy, albeit one only featuring his heavily accented voice, “Despicable Me,” is now at over $209 million and was very inexpensive by CG animation standards with only a $69 million budget. That must be music to the ears of the folks over at Universal, who really needed a hit.

Despicable Me

As for limited releases, there’s actually too much interesting stuff happening for me to go into. However, as one might have guessed, Joel Schumacher’s “12” did the worst business of anything. In the critic-driven world of the arthouse, Mr. Schumacher has the cards seriously stacked against and this one was getting some of the worst reviews of his career, which is saying something. As always, you can read a lot more about it and many vastly better received movies over at Indiewire. Also, I had to look hard to find out how “Middle Men” did. Suffice it to say that, while I had mixed feelings about the movie, I think it deserved better and the folks at Paramount have been awfully nice to us on this film, which shouldn’t make a difference in how I root, but I’m human and it kind of does. At least, it beat the crap out of “12.”

  

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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.

  

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It’s late night/early morning trailer time: “The Other Guys”

Jay Fernandez doesn’t appear to be entirely wowed by this trailer. He admit it’s funny but feels it lacks enough of a plot description and “character delineation.” I say, that’s what movies are supposed to be for.

In any case, I guess have a soft spot for the species of dumb/smart comedy practiced by Will Ferrell and his comedy life-partner Adam McKay. This time, the rather clever idea for yet another buddy cop spoof features Samuel L. Jackson and Dwayne Johnson as a pair of super-competent supercops and Ferrell and Mark Wahlberg as, yes, vastly less competent and less super cops. Not every joke lands, but hang on for the bad cop/bad cop scene with Steve Coogan and the explosion at the end.

  

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