Easily the most ‘net hyped movie of the year not based on a Marvel superhero or collection thereof comes out this weekend, and while a monster hit isn’t expected, there will be some very long faces at Lionsgate if the comic-book adaptation “Kick-Ass” doesn’t collect at least about $20 million. I think they’ll be okay.
Indeed, if I were to bet, I’d expect the film to exceed expectations, if not this weekend, then later on in the run as the word of mouth among younger filmgoers gets out. True, as Jolly Carl DiOrio points out, it’s R-rating is a bit of a deterrent to the younger teens who’d no doubt love to see it but will have to come up with some clever maneuvers to check out this ultra-violent action non-super-powered superhero comedy any time too soon.
Of course, there’s more than a hint of controversy around “Kick-Ass.” It raised some hackles on its earlier British release and while getting mostly solid reviews, did so again stateside with a somewhat surprising one-star review from Roger Ebert. He seemed genuinely saddened and not amused by the spectacle of ultra-violence being meted out by, and later visited upon, the character of Hit Girl played by young superstar to be Chloe Moretz. Kenneth Turan, who’s often in the running for the title of the nation’s second most respected/well-known critic, admitted to being just a touch disturbed, but liked it and even declared it a pop-culture phenom. The interesting part is that Tarantino-negative Turan, who cites “Kill Bill” in his review, was utterly horrified by the violence in that film (the piece, or pieces, he wrote about it seem to have disappeared off the ‘net), while Ebert was beyond thoroughly amused.
It’s tempting for me to engage in a long speculation about other movies they’ve reviewed — a long time ago Ebert was somewhat similarly moved to anger by the finale of “The Dirty Dozen” but, much more recently, he defended, in amused but guarded fashion, “The Devils Rejects.” But all there really is to say that what disturbs us, or doesn’t, and whether it does so in a good or bad way, is a highly individual and idiosyncratic matter and it behooves all of us critical types to remember that. Anyhow, whatever controversy there is will no doubt only feed the beast and expectations are for it to go from anywhere between $20 to $30 milliion this weekend and almost certainly taking the top spot.
The other major new release this week is Sony’s “Death at the Funeral,” a Neil Labute-directed remake of an identically-titled Frank Oz-directed British comedy from just a couple of years back with a primarily, but not exclusively, African-American cast. (Or, as Carl DiOrio would put it, the cast “skews to urban demos.”) Since the African-Americans in question are Chris Rock, Martin Lawrence, Tracy Morgan, and Danny Glover while Dominican-American Zoe Saldana, white dude James Marsden and little person Peter Dinklage make for a bit of added diversity, this R-rated comedy should play well with a reasonably broad audience.
Jolly Carl says “a debut in the high-teen millions seems doable.” Still, with possible strong showings for holdovers like “Date Night” and “How to Train Your Dragon,” the box office results could be close on Sunday. While the reviews are not at all particularly good, the original did better with reviewers but didn’t exactly make critics do handstands.
In limited release, we have actually too many interesting small movies to mention this week including the amusingly titled “Rosencrantz and Guildenstern are Undead.” (Shame the trailer isn’t as amusing.) However, “Exit Through the Gift Shop,” looks to be one of the bigger documentaries likely to come out for a while, while the social satire “The Joneses” with David Duchovny and Demi Moore is dividing critics in general, much as it divided our own David Medsker in particular. According to Box Office Mojo, it’s getting a relatively large first week for this kind of film with 192 screens.
Moreover, he brought the film in with what is, by current standards, an impossibly tiny budget for a movie with copious effects and action ($40 million) and, in my book at least, he did so with plenty of cinematic style. That has to please the notoriously tight-fisted Marvel Studio heads and probably puts them somewhat in mind of their other “risky” choice of “Iron Man” director Jon Favreau, who prior to making “Zathura” had pretty much no experience with action or effects. More or less like “Serenity,” that film garnered good reviews but did kind of badly at the box office. At $65 million, it was a somewhat higher budgeted box office disappointment, however.
