Here’s the trailer for the new Jason Bourne film as Matt Damon returns to one of his recurring roles.
Here’s the trailer for the new Jason Bourne film as Matt Damon returns to one of his recurring roles.
After the first three “Bourne” movies grossed a combined $945 million worldwide, Universal Studios wasn’t going to let something as “petty” as the series’ star, Matt Damon, walking away stop the cash from flowing in. Even though “The Bourne Legacy” will likely break an impressive pattern—that each of the trilogy’s installments was more successful than the last in terms of both opening and cumulative grosses (“The Bourne Identity” debuted to $27.1 million and had a domestic total gross of nearly $122 million, “Supremacy” made $52.5 million in its opening weekend, winding up with $176 million, while “Ultimatum” opened to $69.3 million and had $227 million to its name when things were all said and done)—the studio can still expect to make a pretty penny. Plus, given that “The Dark Knight Rises” was last week’s top earner with just shy of $36 million in its third week, Universal can expect to own the nation’s number one movie, as “Legacy” will have no problem clearing $30 million over its first three days at the box office.
Anyway, let’s talk about the film itself, shall we? With Damon gone, writer/director Tony Gilroy, who also wrote the screenplays for the first three “Bourne” movies, had to come up with some way to introduce a new main character. As we find out from the trailer, “There was never just one… Jason Bourne was the tip of the iceberg.” Enter Jeremy Renner (“The Hurt Locker,” “The Avengers“) as Aaron Cross, who’s essentially another Jason Bourne.
Overlapping with the ending of the last film, the story has broken that the CIA has been conducting top-secret experiments involving genetically enhanced spies. As a result, they’re putting an end to all such programs, which means killing all of the various programs’ agents. With the exception of the new leading man, “Legacy” has everything we’ve come to expect from the series: a super spy on the run from the government with a damsel in distress in tow. Only this time, Renner’s playing the hero, the damsel has a doctorate, and newcomer Edward Norton steps in as Colonel Eric Byer, who’s in charge of hunting Renner’s character down. It seems he’s escaped the government’s attempt on his life and needs to find Dr. Marta Shearing (Rachel Weisz) so he can get a hold of the medications that help him function at superhuman levels.
The film has split critics right down the middle, it currently sits at a 50 percent on the Tomatometer. It’s sure to be entertaining, but like so many of the reboot/sequel/spin-offs coming along these days, it leaves something to be desired because you can’t escape the feeling that you’ve seen this film before. I think Bullz-Eye’s David Medsker put it best:
“The Bourne Legacy” shares a sentiment with a couple of other movies released this year (“American Reunion,” “Men in Black 3” [and I’ll add “The Amazing Spider-Man” to the list]) in that it was not at all necessary, yet still enjoyable. That might be damning the movie with faint praise, but considering the lengths that Universal is going to in order to keep the Bourne cash cow mooing – really, everything about the movie’s existence is pretty damn cynical – they would be wise to take any praise people are willing to give them. They get a pass this time, but they’re going to need to raise the stakes for the next one.
From director Jay Roach (best known for directing the “Austin Powers” films as well as “Meet the Parents” and “Meet the Fockers”) comes “The Campaign,” a satirical political comedy boasting big name stars like Will Ferrell, Zach Galfianakis, Jason Sudeikis, John Lithgow, and Dan Akroyd. With actors like that and a premise as easily mockable as American politics, this one’s sure to be a slam dunk, right?
Not this time. Although it’s got a 65 percent rating on the Tomatometer, the general consensus seems to be that the film is one big missed opportunity. In an election year, the filmmakers could’ve gotten a bit edgier, really putting our political system on trial while still generating big laughs from Ferrell and Galifianakis. In fact, one might wonder why this wasn’t the case, given that Roach has pushed some boundaries in his HBO election dramas “The Recount” and “Game Change.” To quote Bullz-Eye’s Jason Zingale:
Though the film is actually much better than expected, it never fully takes advantage of its satirical premise, especially with the 2012 elections only months away. There are a number of good laughs sprinkled throughout, but it’s not nearly enough to warrant sitting through all the dry spells. And try as director Jay Roach might to make his characters more absurd than our real-life politicians, that’s a lot easier said than done.
Oh yes, you’re probably wondering about the plot. Here it is: Incumbent North Carolina Congressman Cam Brady (Ferrell) is essentially running on auto-pilot until a sex scandal puts his campaign under a microscope. As a result, two corrupt businessmen played by Lithgow and Akroyd, the Motch brothers (whose similarities with the real-life Koch brothers are no coincidence) decide to back country bumpkin Marty Huggins (Galifianakis) who will turn a blind eye to their plan to use import Chinese factory workers on the cheap.
Last but not least this week is “Hope Springs,” a dramedy that is sure to skew older than the previous two films. It stars Meryl Streep and Tommy Lee Jones as a couple who despite being loving and devoted have watched as their relationship gets somewhat stale over the decades. Streep’s character, Kay, hears of Dr. Feld (Steve Carell), a widely renowned relationship specialist and tries to persuade her husband, Arnold, to embark on a trip to the small town of Hope Springs to meet him.
The film has been certified fresh with a 77 percent rating on the Tomatometer. The site had this to say about the film: “Led by a pair of mesmerizing performances from Meryl Streep and Tommy Lee Jones, Hope Springs offers filmgoers some grown-up laughs — and a thoughtful look at mature relationships.” Bullz-Eye’s David Medsker offers a different perspective: “How much you enjoy ‘Hope Springs’ will depend largely on how much you enjoy watching older people have sex.” It’s pretty easy to figure out whether you’re part of “Hope Springs” target audience, and as a result, whether or not you’ll enjoy the film.
Matt Damon, star of the Bourne series is among the big names to be spared a court battle which would have revealed details of massive illegal poker winnings.
Leonardo DiCaprio, Tobey Maguire and Damon’s Good Will Hunting co-star Ben Affleck have also escaped the courts after being involved in games with jailed hedge fund manager Bradley Ruderman.
Ruderman conned multiple people out of millions of dollars before surrendering to the FBI in 2009. Two years later news broke that after reportedly losing $25million of his investors’ money, Ruderman was suing the celebrities who beat him.
It seemed inevitable that details of the high-stakes poker games; illegal in Hollywood; would come to light in the courts, but yesterday it seemed that the quartet of celebrities have gotten away with the cash.
The bankruptcy trustee who sued Damon, Howard Ehrenberg, told celebuzz.com that “all of the poker defendant cases are settled.
“The settlement of every poker related case without having had to incur the cost of taking any of them to trial means that the fund available for the victims has been maximized.”
Ruderman had been living a celebrity lifestyle himself, spending the victims’ cash in Malibu, California, before being jailed.
Poker is still illegal in California, though some States allow the game, and others are looking to get in on the act. There is a lot of revenue available in online gambling, Texas Hold Em and Fast Poker games on the net, and North Dakota is among the States already reaping rewards.
Tobey Macguire was the among the first to settle, agreeing to hand over $80,000 of the $311,200 that he took from Ruderman in the series of underground poker games. It is currently not known how much Damon settled for, but he is believed to have taken significantly more money from the ex-hedge fund manager.
In 1962, a bouncing baby franchise was born when superspy assassin James Bond did in the evil “Dr. No.” Now middle aged and needing a bit of exercise to keep its financial heart pumping after nearly five decades of very hard living, the Bond machine survived the end of the Cold War that spawned it, only to be stalled by MGM’s financial morass. Some thought, “It’s a 22 movie run, more if you count a few non-canonical Bond flicks, give it a rest already.” Today, however, Nikki Finke has word that Bond 23 is officially going ahead with star Daniel Craig and the long-rumored Sam Mendes in tow as director. You’ll have your next serving of Bond with your Thanksgiving turkey in November of 2012, assuming nothing untowards happens in post-production.
In 1963, a bouncing baby human being was born in Louisiana. 26 years later, director Steven Soderbergh personally gave the modern day independent film movement one of its biggest kickstarts with 1989’s “Sex, Lies, and Videotape.” Now, he’s announcing officially that he’s packing it only two decades into a career that, at least in theory, could go another four or five.
Though Mike Fleming jokingly pre-accuses him of doing a Brett Favre, movie directors are not sports figures, and, to paraphrase Marcellus Wallace of “Pulp Fiction,” their asses really can age like a fine wine. John Huston, who led the kind of life that might have killed a lesser man in his forties, made one of his greatest films, “The Dead,” when he was pushing eighty and about to be dead himself. Old French New Waver Alain Resnais is scheduled to release a movie more or less to coincide with his 90th birthday, and Portugal’s Manoel de Oliveira released “The Strange Case of Angelica” in 2010, the year of his 102 birthday. (He’s supposedly working on another.) Almost no one, except Matt Damon, seems to be taking Soderbergh seriously about this.
You know what, I’m on board with both moves. James Bond has become far bigger than any one set of filmmakers and, like Sherlock Holmes, Superman, and Mickey Mouse, there’s no reason he shouldn’t keep on chugging along indefinitely in new incarnations. And, given how surprisingly good “Casino Royale” was, I’m willing to let the current James Bond team overcome the disappointment of “Quantum of Solace.” All I ask is for a little more of “From Russia with Love”-era Bond and a little less shaky-cam Jason Bourne.
As for Soderbergh, I’m a fan who admires the fact that he’s unafraid to take risks and make movies that, admittedly, sometimes kind of suck, but always in interesting ways. Re: his impending retirement, I’ve watched too many creators repeat themselves over the years to have anything but respect for his decision. I think it’s possible that we all have only so many stories to tell in a particular way and that, perhaps, when we feel we’re through telling them in one medium, maybe the thing to do is switch to another that might permit new stories to emerge. Later, if we return to the first medium, maybe we’ll then have a new story to tell, or at least an interesting new way to tell it. So, if Soderbergh just wants to spend his life painting, I say, “bless him.” If he gets the urge to start making movies again from time to time and unretires as many times as Frank Sinatra, that’ll be great too. The thing not to do is stagnate.
Misguided movie populists who say that critics are somehow less relevant than they were 20 years ago and that their reaction in no way tracks the reaction of other human beings should really take a close look at this weekend’s results. It’s an eternal truth that audiences and critics often differ — seeing a lot of movies does tend to make a person somewhat harder to please — but to say that there’s zero correlation between what most critics hate or love and what most audiences members hate or love is not the case. It is true that critics hated, hated, hated this weekend’s #1 film, but that clearly isn’t the entire story.
As I recounted prior to the start of the long Christmas holiday frame last Tuesday, the oracles of the box office were predicting a reaction to “Little Fockers” somewhat in line with the 2004 performance of “Meet the Fockers.” Specifically, the numbers being bandied about were in the $60 or $70 million range for the entire five day period. The total gross instead appears to be roughly $48.3 million for Universal. That is only a couple of million higher than what “Meet the Fockers” earned over a three day period on its Christmas opening in 2004. Remember, movie ticket prices have gone up a few bucks since ’04.
Nikki Finke recounts how the megastar-laden film’s difficult and expensive $100 million production, helmed by the currently luck-challenged Chris Weitz, provided a windfall for Dustin Hoffman and, I understand, allowed him to almost literally phone-in large portions of his performance. Finke estimates that the lastest “Fockers” movie is earning only about 75% of what the prior comedy made. As for the critics, while “Meet the Fockers” left critics unhappy — as opposed to the very well reviewed original smash-hit, “Meet the Parents” — it was a regular success d’estime compared to the woeful reviews of the third film in what critics are praying will remain a trilogy. Strangely enough, this seems to correlate with diminishing returns for the series.
Overall, things weren’t any better, with Sony’s two expensive, poorly reviewed, star-laden turkeys — “How Do You Know” and “The Tourist — being slaughtered in their second and third weeks, respectively. (To be fair, since it stars literally the two most famous people in the world right now not named “Obama” or “Oprah” or “Palin” or “Assange,” “The Tourist” is doing significantly better than the latest from James Brooks, but both films are money losers right now.) The extremely un-promising and critically derided “Gulliver’s Travels” was all but thrown to the wolves by Fox and its release was delayed until Friday. It opened in 7th place for the weekend with a Lilliputian estimate of $7.2 million.
Anne Thompson notes that this three-day weekend at the movies was 44% lower than last year, and had some choice words on the drop:
Little Fockers repped the widest-appeal offering among the weakest bunch of holiday releases in recent memory. At a time when studios usually try to maximize returns on their strongest pictures, they instead offered audiences a menu of costly, tame, MOR fare—and moviegoers stayed away in droves.