A confession: I probably won’t even get a chance to see it for a few more weeks, but I’m already a little tired of Christopher Nolan’s latest blockbuster-in-waiting. Hailed as an instant classic in some quarters, including over at Bullz-Eye by our own David Medsker, the science-fiction brain-caper, “Inception,” is also reviving some rather tiresome movie geek and cinephile controversies left over from “The Dark Knight.” If you’re not aware of it and want to be know all about the cine-annoyance, Jim Emerson does a great job of boiling it down and, earlier in the week, Dennis Cozzalio did an interesting takedown one of the worst abusers over at the L.A. Times.
All I’m going to say is that it’s only a movie and we’re all allowed to react to it however we like. If you find yourself loving it beyond all reason and agree with David that it’s time to consider Nolan with the greatest directors of all time or if you think he’s nothing more than a Michael Bay with a literature degree, please do not assume that anyone who thinks differently is putting on some kind of show. No doubt, there are fools and pretentious twats aplenty in this world, but most of us come by our moviegoing opinions honestly.
Of course, all of this means almost nothing to your ordinary rank and file moviegoer — the kind who don’t care what the movie scored on Rotten Tomatoes and who don’t read posts like this one — and commercially speaking, that’s really the question here. Can a hard-to-describe premise of the Phillip K. Dick school be counterbalanced by the promise of amazing action and visuals, brain candy, and a stunning all-star cast headlined by Leonardo di Caprio, Ellen Page, Joseph Gordon-Levitt, Marion Cotillard, Cillian Murphy and even a part for promising newcomer Michael Caine? Perhaps.
The Warner Brothers awareness machine is working over time on this one and there’s certainly no way this film doesn’t win the weekend. How the movie does beyond that is pretty much up to the whims of the public. Lacking a well known marketing hook, it’s really anyone’s guess whether the film enjoys a modest reception and goes into Nolan’s “one for me” file, or whether it breaks out into becoming the kind phenomenon that will really justify it’s no-longer-unusually-enormous $200 million budget. Checking in with jolly Carl DiOrio over at THR, he’s calling it at between $50-60 million, though I personally can see the movie making nearly half as much or twice as much as that. It just sort of depends on what people are in the mood for right now.
Now, there is another movie that will be doing battle with last week’s #1 holdover for the family/tweenage, and that’s Disney’s “The Sorcerer’s Apprentice” which has Nicholas Cage doing his eccentric-guy act as the sorcerer and Apatow-alum Jay Baruchel stepping into some literally big shoes in taking over a part originated by Mickey Mouse in the most popular episode of 1940’s “Fantasia.” Attempting to get a couple of day’s jump on the PG-13 “Inception,” Disney released “Sorcerer” on Wednesday but, as per Nikki Finke, there’s no reason to expect this film to make huge numbers and she guesses it will gross roughly $30 million for the entire five days. Personally, I wouldn’t be surprised if it came in at the #3 for the Friday-Sunday contest after last week’s box office winner, “Despicable Me,” given that it’s a strong family film which made $56 million and has every reason to suffer only a very modest decline in its second week.
On the limited release circuit, “Standing Ovation” will be on over 600 screens and is aimed at the same family/tween demographic that goes gaga for “High School Musical” style movies. However, lacking any big names or marketing muscle and getting very bad reviews from the few critics who’ve even bothered to see it, I don’t see how this film stands a chance. On the other hand, the two probable indie hits of the summer will be expanding significantly across the country, so stand by for Sunday for news on “The Kids Are Alright” and “Cyrus.”
I’m running out of steam quickly, but that’s not true for either of the two limited releases I’ve been dealing with here to various degrees, “Get Low” (which I seem to like the least of any critic) and “The Extra Man,” where I’m a tad more positive than most. On the other hand, “The Kids Are All Right” performed well, but not brilliantly, in its first weekend in semi-wide release. (I need to see that, too.) Indiewire has the details for those of you who need specifics, like numbers and stuff.
