Category: Actresses (Page 84 of 258)

“The Reign of the Na’vi IV”

The humans of Yes, if this weekend at the box office were a movie, it would be a less than super-imaginative sequel. Once again, “Avatar” ruled at the U.S. box office. As seen on the mighty weekly chart of Box Office Mojo, James Cameron‘s mythic, politically pointed, science fiction adventure once again took the crown with an estimated $48.5 million for Fox. That’s a drop of only 29.2% in its fourth box office weekend, following a huge and long prior holiday weekend. No doubt helped out by those premium 3-D and Imax ticket prices, it also enjoyed the nation’s highest per screen average at about $14,173. In the relatively short time I’ve been doing this, I don’t think I’ve ever seen that happen on a movie’s fourth week.

As reckoned by the Mojo, “Avatar” is the now the #1 domestic moneymaker for 2009 and the #7 cinematic cash cow of all time, with a very definite bullet considering its signs of considerable ongoing strength. In others words, this is a movie people actually enjoy, not merely tolerate because it offers enough explosions to distract them for a couple of hours.

On the other hand, just to keep things in perspective, adjusted for inflation, “Avatar” is still a 56 steps down from the all-time ticket seller, “Gone With the Wind.” On the other hand, lest James Cameron should be threatened by any momentary bouts of untoward humility, at least in terms of raw cash he really is box office king of the world right now. “Avatar” is already the #2 grosser of all time at $1.331 billion, $500 million and change behind “Titanic” — written and directed by you-know-who. Can I still wish Cameron had brought in a competent wordsmith/dramaturg to smooth out the very rough edges on both films?

As for the second and third place positions, we had another photo-finish in which Warner’s “Sherlock Holmes” narrowly edged out Fox’s “Alvin and the Chipmunks: The Squeakquel” by a rodent hair. The world’s greatest literary detective brought in just a hair more than an estimated $16.6 million and the musically inclined woodland creatures managed an estimated $16.3 million. With the holiday weekends at an end, they both exhibited more typical drops for typical Hollywood product, with “Holmes” dropping by 54.6% and “Chipmunks” by 53.7%.

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Viva Elvis and Ann

Yesterday was Elvis Presley’s 75th birthday. It’s a matter of agreement that most of his films weren’t very good on the whole, largely due to Col. Tom Parker’s insistence on sticking to tame vehicles that wouldn’t risk offending  fans. Still, not all the films are bad and many have fine moments.

“King Creole” and “Jailhouse Rock” have their devotees, but my favorite is “Viva Las Vegas.” Directed by the somewhat underrated George Sidney (“Bye Bye Birdie,” “Scaramouche“), it has a great deal of style and some decent humor on its side. More important, it’s got Ann Margaret, a performer who was every bit Elvis’s match and then some in every department except singing, though she wasn’t bad there either. Guys don’t usually squeal when they see a sexy female performer, but if they were ever going to do that, it would have been for Ms. Margaret in the early-to-mid sixites. (“Mad Men” viewers will know about this.)

Moreover, Elvis and Ann Margaret had real screen chemistry together and, in a probably not unrelated fact, had a real life romance that prompted rumors of marriage. Here, they exchange pleasantries around the pool of what I’m guessing is either the Flamingo or the Tropicana.

Their feelings are a bit more mutual here.

A Na’vi, some singing rodents, and Sherlock Holmes walk into a movie theater…

…And never leave.

Well, that’s the scenario provided by jolly Carl DiOrio, the only box office prognosticator I have access to now that Variety has gone behind that pay wall. I certainly have little reason to doubt that Fox’s “Avatar” will experience a fourth weekend atop the box office pile, considering how the film has most definitely emerged as one of those rare demographic-spanning productions that becomes a self-perpetuating “must see” phenomenon. It’s already the tenth biggest domestic money-maker of all time at $380 million+ and I’m almost afraid to check the international numbers.

The last movie like this was “The Dark Knight,” which also ruled the roost four weekends running, but sometime tells me that the appeal of James Cameron’s movie might actually be wider over the long run in terms of attracting an older and less gender-specific audience. I could be easily be wrong about that but, considering how excellently the film has been holding up to now, even a relatively precipitous post-holiday drop still seems to promise another very hefty payday for Cameron’s epic spectacular.

Family appeal should never be underestimated at the movies. However, I have to admit that I’m a bit stymied by the degree of success of Fox’s “Alvin and the Chipmunks: The Squeakquel.” It’s just that I can’t imagine adults wanting to see it. Still, the movie came in third in a photofinish with Warners’ “Sherlock Holmes” last week (both made $35-36 million), and both movies apparently seem set for a similar repeat. Personally, though I wouldn’t be surprised if either film experienced a bigger than expected post-holiday drop. I found the opening hour of “Holmes” pretty dull stuff, despite a lot of running around and mucking about and it’s not like moviegoers don’t have some interesting options this weekend.

Indeed, unusually for the first post-holiday weekend of the New Year, we have two rather solid-looking entertainments on tap. Hopes are reasonably high for “Daybreakers,” to be a strong #4 for Lionsgate. It appears to be a clever, horror/sci-fi/action/satiric variation on an old Monty Python sketch, in which a world dominated by vampires  must deal with dwindling supply of delectably sanguinary humans. It’s an intriguing enough conceit to draw my attention despite the film probably having too much gore for my taste and having almost certainly way too much of leaden star Ethan Hawke for my preference. Still, a second billed Willem Dafoe can go a long way toward fixing that and critics are reasonably, though not ridiculously, positive, as in type O. Top critics are a leaning a hair negative, also as in type O, though it definitely has its fans.

Finally, there’s something about “Youth in Revolt” which, despite the fact that most people, including most critics, seems to like it well enough, makes people somewhat downplay its commercial possiblities — despite being part of the ever-popular genre once dubbed by Roger Ebert and Gene Siskel as “the horny teenager movie.” The plot is also a variation on Woody Allen’s “Play It Again, Sam” (a horny adult movie and stage play), which certainly worked well in its day and has more than little appeal to the nerd within all of us. Certainly, director Miguel Arteta (“The Good Girl,” “Chuck and Buck”) has a low key comic style that may not spell blockbuster though being based on a popular series of novels won’t hurt, I suppose.

Another side of Cera In any case, I don’t think we’ve seen the end of Michael Cera‘s box office appeal even if he’s inevitably been the subject of something of a backlash from those who argue he’s a one-comic-trick pony, though playing a dual role as his dangerously roguish alter ego might help there. Also, Cera’s memorably named costar, Portia Doubleday, is generating her own interest. That can’t hurt. The Weinstein Company could certainly use a bit of commercial help, right now. DiOrio is calling for the film to just break double-digits, but I wouldn’t be surprised by a surprise, especially given the lack of youth-friendly films and actually funny comedies right now.

“That’s why we’re superheroes. They love us.”

The box office preview is coming along later today, I promise, but in the meantime it seems it’s never a bad time for a new “Kick-Ass” trailer. Yesterday came the announcement that this highly buzzed about non-supernatural/non-sci-fi superhero action black comedy from the highly underrated director Matthew  Vaughn (“Layer Cake,” “Stardust“) will be opening the big SXSW Film festival in Austin this March.  Now, via the Heat Vision blog, here’s a very decent general audience trailer  — the movie itself is certain to be a “hard R”  — which describes the story in a bit more detail.

And, just for a bonus, here’s an earlier Red Band clip-trailer via Trailer Addict that I failed to run a while back, It adds a bit to what we saw previously of Chloe Moretz and Nicolas Cage as the not at all ordinary alter egos of Hit-Girl and Big Daddy. It kind of makes you all gooey inside.

I think it’s safe to say that, between this and his stellar reviews for “Bad Lieutenant: Port of Call New Orleans,”  Cage certainly appears to have his regained his performing mojo. From what I’ve been reading, I’m also looking forward to more people agreeing with me that Vaughn, once  known only as Guy Ritchie’s producer, is the better movie storyteller.

“Bone structure”

As I mentioned in my post below, veteran screenwriter Alvin Sargent is said to be hard at work on the latest draft of “Spiderman 4.” Prior to working on “Spiderman 2,” Sargent was best known for his work on more small-scale films from the late sixties, seventies, and eighties including his Oscar-winning work on “Ordinary People” and “Julia.”

Below is an example of Sargent at his tragicomic best from his merely Oscar-nominated screenplay for Peter Bogdanovich’s retro 1973 comedy, “Paper Moon,” based on the novel by Joe David Brown. As Mlle. Trixie Delight, the late, great Madilyn Kahn does all the talking in this scene . She was nominated for Best Supporting Actress for her work, but it was Tatum O’Neal who was the youngest person to ever win a competitive Oscar for the role, winning the Best Actress award at age 10.

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