Category: Movie Dramas (Page 25 of 188)

A roundtable chat with Sally Hawkins and Miranda Richardson of “Made in Dagenham”

As the press day began for director Nigel Cole and writer William Ivory’s amiable historical comedy, we assembled entertainment writers believed we’d be doing separate roundtable interviews with the film’s best known actresses. When Sally Hawkins and Miranda Richardson entered the room together to promote “Made in Dagenham,” about a 1968 strike by female workers at a Ford plant located in a grimy London suburb, however, it was easy to be a little overwhelmed. Either one of them is worthy of a Russian novel’s worth of questions and our time would be limited.

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Like so many first-class English actors of her generation, Miranda Richardson is known for her ability to play all ends of the dramatic spectrum. In England, and certain geekier quarters of the U.S., she’s still extremely well known known for her work alongside Rowan Atkinson and Stephen Fry as “Queenie” (i.e. Queen Elizabeth I) and assorted other characters on Richard Curtis and Ben Elton’s historical cult-com, “Black Adder.” Younger geeks, however, might know her better as magical tabloid journalist Rita Skeeter in the Harry Potter films. On the more realistic end of the spectrum, she has also done magnificent work playing a ruthless IRA operative in “The Crying Game,” a maltreated housewife in an Oscar-nominated role in Louis Malle’s “Damage,” a widely praised turn in the Oscar-winning “The Hours,” and a widow investigating her husband’s death on AMC’s recently canceled suspense drama, “Rubicon.” On the other hand, she’s also portrayed the character of Mrs. Santa Claus opposite Paul Giamatti‘s Santa in “Fred Claus.” Despite some resemblance, both physically and in terms of talent, she is not part of the famed Redgrave acting dynasty and no relation to the late Natasha Richardson. She is, in fact, the only actor in her family, which perhaps makes her all the more impressive.

Although Sally Hawkins has appeared in some 34 movie and TV productions since 1999, she broke into the consciousness of most of her fans with her Golden Globe winning performance in Mike Leigh’s 2008 “Happy-Go-Lucky,” in which she dominated the film as a relentlessly happy and, strangely enough, rather bright, elementary school teacher. It was probably an ideal role for a woman who really does come across as cheerful in person, with an approachable demeanor that certainly seems to fit the child of two children’s books authors. Currently starring on Broadway in a new production of George Bernard Shaw’s “Mrs. Warren’s Profession,” Hawkins has continued to mix starring roles with a number of smaller supporting appearances, including a turn in Cary Fukunaga’s highly-anticipated new version of “Jane Eyre.” Her next leading role is as Irish radical politician and activist Bernadette Devlin in “The Roaring Girl” — assuming the real Devlin is not successful in her efforts to prevent the film from being made.

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Weekend box office: There’s no way other way to say it, Harry Potter is a lot more popular than Russell Crowe

So, folks, here’s your key to box office success: fund the kind of European-styled welfare state that would drive Tea Party activists into a state of complete hysterics, if they weren’t already there. With impoverished moms actually having a modest amount of free time to themselves because they don’t have to worry about their children starving or being unable to go the doctor and your society as a whole benefiting from improved physical and mental health, wait for one of those moms with a literary bent to come up with a once-in-a-century sensation of a book series. Hopefully, it will be aimed at a young audience with time to watch each movie several times. Then, film it — competently, will suffice, no particular need for brilliance — making sure, as Anthony D’Alessandro reminds us, to avoid the need for a momentum-killing reboot by recruiting strong and likable leads you can continue with for the entire length of the franchise. Repeat.

Daniel Radcliffe can probably afford better mirrors than this That’s pretty much the formula for the massive success of the Harry Potter film franchise. So, as stated Thursday eve, the question for the first weekend of “Harry Potter and the Deathly Hallows: Part One” was always whether it would have a great opening or the greatest opening of all time. Well, it did have the greatest opening of all time…for a Harry Potter film. To be specific, according to Box Office Mojo, it earned an estimated $125 million, still well shy of the current opening weekend record holder, “The Dark Knight,” which grossed over $158 million on its mega-huge opening weekend.

On the other hand, that is a series best, significantly well north of the $102 million and change earned by “Harry Potter and the Goblet of Fire” five years back. Also, as the saying goes, $125 million here and $125 million there, and pretty soon you’re talking real money. The emotionally rather dark-hued installment (I haven’t seen it, but I’ve read the book, and I can only imagine) also earned the highest per-screen average this week, a rather unusual achievement for a super-wide release like this, earning a whopping $30,332 average in over 4,100 theaters. That’s a nice infusion into our failing economy, as well, even if we have to share it with billionaire ex-welfare mom J.K. Rowling and a bunch of other Brits because of that whole welfare state thing I propagandized for up top. Well, don’t worry because “austerity” might mean that there won’t be any more new English Rowlings for a while, either. Still, she’s got another even bigger pay day ahead of her with the upcoming 3D series finale.

Meanwhile, last week’s trinity of top moneymakers held on decently with drops somewhere not too far above the 40% region. #2 “Megamind” amassed an estimate of $16.175 for its world domination war chest; runaway train thriller #3 “Unstoppable” was not stopped and earned an estimated $13.1 million; #4 “Due Date” avoided lateness penalties in its third weekend for a star-driven $9.15 million.

Meanwhile, the wide theatrical run for Russell Crowe‘s latest may not be all that much longer than, you guessed it, “The Next Three Days.” Paul Haggis’s underwhelmingly reviewed thriller costarring Elizabeth Banks debuted in the deadly #5 spot with only $6.75 million. The budget on the film, which could well be very modest if you subtract Crowe’s paycheck, is unknown at this point, but Nikki Finke is quick to remind that marketing costs for a film like this pretty much start at $30 million.

Will Russell Crowe and Elizabeth banks last for

Box office preview: Harry Potter and the potentially record-breaking weekend

Daniel Radcliffe and Emma Watson in

Like Stephen Colbert’s frequently posed query about George W. Bush, the question for this weekend is: will “Harry Potter and the Deathly Hallows: Part One” have a great box office weekend, or the greatest of all time — not adjusted for inflation, of course. Short of the kind of the Hitlerian magic-driven apocalypse that Harry, Hermione Granger, and Ron Weasley try so hard and so emotionally to avert in the final Potter volume, there is certainly no way it doesn’t top the weekend. “Hallows” has already sold out a bunch of midnight shows already happening nationwide as I write this, according to Ben Fritz. With decent-to-good reviews and the legions of Potter fans still growing, the $400 million total gross figure posited by jolly Carl DiOrio seems more than reasonable. As for the totals of the 3D second half of the conclusion of the saga coming this summer, the sky appears to be the limit.

Russell Crowe in The only other major release that dares to rear its head this weekend is a potentially canny bit of counterprogramming. The very grown-up oriented, if not necessarily all that grown-up, “The Next Three Days” is a sort of character-study-cum-prison-break tale starring Russell Crowe and written and directed by Paul Haggis (“Crash“). It’s getting ho-hum reviews both over at our linked-to-above sister-site and elsewhere. DiOrio’s talking “teens” as in millions, not viewers.

Among limited releases, this weekend sees significant expansions of two bits of prime Oscar bait based on real life ordeals. Taking a look at the Box Office Mojo theater count, we have “127 Hours,” about a guy who sawed off his own arm and “Fair Game,” about a power couple whose (metaphorical) legs were cut off by the Bush-Cheney administration, adding a number of screens. Meanwhile, this weekend also sees the 3-screen debut of that ultimate rarity — a feel-good movie about politics showing that, sometimes, ordinary people really triumph in a democracy. What will a disbelieving world make of “Made in Dagenham“?

Sally Hawkins, Bob Hoskins, and Geraldine James in

Weekend box office: “Megamind” stops the “Unstoppable”; “Morning Glory” rises, but doesn’t shine

All us entertainment scribes — Anthony D’Alessandro most certainly included — are busting out their train metaphors and similes. In a very mild surprise according to some, but not all, of the conventional wisdom pre-weekend, the 3D animated “Megamind” hung on with the vigor of a locomotive in its second week and beat the runaway train thriller “Unstoppable” into the money station.

According to the mighty Box Office Mojo, the supervillain tale showed the long-lasting strength of animated family comedies. “Megamind” dropped a mere 36% in its second weekend, earning a very solid estimate of $30 million and change in its second week for Paramount/Dreamworks. Meanwhile, the all-star comedy, “Morning Glory,” proved to be a one very slow moving train.

Though it was not the #1 film this week, Tony Scott’s “Unstoppable” with Denzel Washington and Chris Pine actually came in pretty much where it was expected to, with an estimated $23.5 million for Fox. The good news is that strong reviews and a somewhat older-than-usual audience may well contribute to some strong legs. The bad news is that its $100 million budget — a big chunk of that no doubt coming from the stars and director’s paychecks (Washington reportedly nearly left the project because of salary haggling) — means it’s going to have to keep chugging for a while to be profitable.

This week’s #3 film was the star-driven comedy “Due Date,” which suffered a fairly average second weekend drop of 52.5% to earn an estimated $15.5 million. Fourth place was taken by another new wide release that was, actually, off to a very decent start relative to its budget. Although nobody seems to like the science-fiction destroy L.A. tale, “Skyline,” a whole lot, the $10 million dollar film made back its budget plus a bit extra, with an estimate of just under $11.7 million.

Rachel McAdams and Harrison Ford in
It was not an exciting weekend for stars Harrison Ford, Rachel McAdams, and Diane Keaton. The not so well received “Broadcast News”-esque “Morning Glory” earned just a bit over $9.6 million for Paramount, which is a long way south of its $40 million budget. Also, “the nation’s #5 movie!” is not much of a come on for audiences.

Meanwhile in limited release, the IFC-released indie comedy first feature from 20-something Lena Dunham, “Tiny Furniture,” earned the week’s biggest per-screen average of $22,450. On the other hand, it was only on one screen. Somewhat more of a test was the 22 theater run of the Danny Boyle-directed James Franco endurance vehicle and near certain Oscar-nominee, “127 Hours.” It earned the week’s second highest per screen with $20,591 on 22 screens. If you don’t have a calculate handy that translates into an estimated total of $453,000 in its second week for Fox Searchlight.

The incredibly strange uncle who stopped living but was a lot less entertaining than a dirty baker’s dozen of samurai at AFI

As fate would have it, aside from a double bill of “Eraserhead” and an oddly beat-up print of “Sunset Boulevard” presented by David Lynch, I only saw two complete films at this year’s AFI Film Festival at the Chinese Theater multiplex.

The first was this year’s Cannes Palm D’Or winner, “Uncle Boonmee Who Can Recall His Past Lives” from Thai director Apichatpong Weerasethakul, aka “Joe.” This is obviously a film and a director with many ardent admirers, including a lot of online cinephile acquaintances I respect, and I can certainly understand why viewers much more patient than I with the “contemplative cinema” aesthetic would love it.

Uncle_Bonmee_Who_Ca_161632a

It’s a sweet-natured and poignant magical realist non-story about a dying man and his family, with many striking individual moments but, by its own design, no narrative tension. Sadly, I seem to have a permanent allergy to the kind of deliberately slow-paced films that focus very intensely on the minutia of daily life with no particular story, even if, as in this case, it features plenty of arresting imagery and involves people who turn into half-monkey creatures and a ghost or two. I only nodded off once, but the gentlemen next to me was pretty much a goner at the 20 minute point. Snoring ensued.

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