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“Resident Evil: Afterlife” reaps goodness at box office

It’s been a hard day and I’m going going to keep it short and sweet. And how sweet it is for the husband-and-wife team of star Milla Jovovich and director Paul W.S. Anderson. Aided by those premium ticket prices for 3D movies and — as pointed out by Nikki Finke — using footage actually shot in 3D, the film easily won the weekend as indicated earlier and sailed to a record gross for the action-horror franchise. Specifically, the estimate for the weekend was $27.7 million for Screen Gems/Sony according to Box Office Mojo. It’ll likely drop off in significantly next week, but the damage is already done.

Elsewhere, there wasn’t that much box office love going around on this traditionally weak weekend. “Takers” came in at #2 and showed some relative legs with $6.1 million, again for Screen Gems/Sony, which is having a decent month. Meanwhile, both of last week’s toppers suffered significant second week declines. “The American,” from Focus Features, really did seem to suffer from some poor word of mouth and netted only a bit under $5.9 million.

Last week’s silver medalist, “Machete,” with two sequels announced in its end credits, suffered the geek second week curse and dropped by over 63% netting only 4.2% million. On the other hand, after seeing the film myself this weekend I heard some highly informal Hollywood scuttlebutt indicating the budget was significantly lower than $20 million figure we’ve heard for the very funny, but awfully slack, straight-faced tongue-in-cheek homage. So, it’s still possible Danny Trejo as Machete may kill again, if so, I’m guessing Fox will keep him on a tight budget.

Entourage 7.10 – Lose Yourself

There’s been a lot of talk recently about how much darker this season of “Entourage” has been, and while I’m not against the show flexing its dramatic muscle or exploring heavier material, tonight’s episode felt a little too serious, with almost no comedic moments to balance any of it out. That was clearly the point, however, as the season finale was a wrecking ball of destruction that tore through many of the characters’ like paper-mâché.

We’ve seen Vincent Chase down and out before following the aftermath of “Medellin,” but it was never quite as bad as this. The guy has been acting like a first-class jerk for weeks, and after making a scene at Sasha’s photo shoot that ends in him getting the boot, he comes home to discover that the guys have staged an intervention. Vince continues to deny that he even has a drug problem, but despite dumping that entire quart-sized bag of coke that Lloyd found down the sink as proof, his body language isn’t very convincing. The fact that he even had the nerve to then try and flip it on his friends was downright shameful, adding as he stormed out of the house, “I know you all need me, but I’ll call you if I need any of you.”

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Why anyone continues to be his friend is beyond me, but he finally gets a taste of his own medicine when Eminem kicks the shit out of him after he insults the rapper at his own party. Granted, his bodyguards did most of the work, but ‘ol Marshall Mathers did get the first punch in, and it was a doozy of a right hook. And when the guys rush to the hospital to see how he’s doing, instead of being thankful that his friends haven’t abandoned him yet, he blames his behavior on them. Like I said, what a prick, and I’m glad the police officer found that cocaine he was carrying. Now he can go spend some time in federal pound-me-in-the-ass prison and think about how he managed to fuck up a good thing – and all because of a porn star.

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True Blood 3.12 – Sometimes, The Wrong Thing To Do Is The Right Thing

Season 3 of “True Blood” has come to a conclusion, and I’ve got to be honest with you: it couldn’t have happened a moment too soon. Between having to blog both this show and “Mad Men” more or less live, I’d reached the point where I’d begun to dread Sunday nights…until I realized that, no, it wasn’t so much that I was dreading Sunday nights as it was that I was dreading having to blog “True Blood.”

But we’ll get back to that.

Since I’ve already watched and written about the show, let’s go ahead and just tackle the events of the season finale first, beginning, of course, at the beginning.

So Eric and The King are just, y’know, kinda hanging out in the parking lot and catching some rays, like good buds sometimes do…except, of course, that good buds don’t tend to be handcuffed together (unless they’ve taken their friendship to a, uh, higher level), and being exposed to the rays in question means imminent death. In the case of The King, it’s kind of a good-riddance-to-bad-rubbish situation, but for Eric’s, it’s definitely a case of suicide by sunshine. So is the spirit of Godric really visiting him, or is it just his rational mind trying to get his attention? Either way, Godic’s pleas for Eric to forgive The King fall on deaf ears. Meanwhile, Sookie’s running through the forest to catch something that looks like a cross between E.T.’s ship and a chandelier, but it turns out to be something like running toward the light, since she suddenly wakes up from what was apparently a dream and slaps the shit out of Bill for betraying her again…except that, really, he only pretended to betray her in order to save her again. Yawn. As soon as she realizes that Eric’s outside, sacrificing himself in order to rid the world of The King, she refuses to allow it, instead running outside and allowing The King to goad her into using her fairy powers to separate Eric and The King from each other. Rather than save them both, however, she slams The King against a wall, dragging Eric inside and leaving The King to burn…although, frankly, I don’t know why she didn’t do something to actively finish him off, given that he was continuing to threaten her even as she departed.

Oh, that’s why: Sookie offers up her blood to save the day, and once Eric’s in better shape, he announces that he wants to spare The King. Yeah, good plan: he sure talks and acts like he’s really going to be sparing humanity when he gets released. Sookie sits around, reading Star Magazine and listening to The King rattle on with huge monetary bribes, but she’s not letting him out of his chains. As a backup, he tries to make her feel paranoid about the value of her blood to Bill and the other vampires. She openly mocks him for believing that he can bring his lover back to life with her blood. Instead, she pours his remains down the sink and cranks up the garbage disposal. Ew.

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Trailer for a Sunday — “Hereafter”

I would very much like to believe in an afterlife. I fear, however, that for me the evidence is simply not there. I’d go into it further, but I don’t want to bum you and myself out. That’s why I find even the scariest ghost story or after-life derived thriller an inherently reassuring experience in some sense. If any extant writer and director pair could persuade me for a couple of hours to forget my disagreements and just go with the supernatural flow, Clint Eastwood and the increasingly busy Peter Morgan (“Frost/Nixon,” “The Damned United”) would seem to have a decent shot at it.

Not that it really matters to me for a movie like this, but I have seen more believable and/or impressive effects.  Otherwise, well, I’m not sure what to think from this trailer which looks rather trite, but I’ve come to export more from Eastwood and Morgan. I hope I get it.

H/t Movieweb.

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