Tag: Noomi Rapace

I have no bloody idea, actually, because the entire box office prognostication community — all two members of it that I rely on, anyhow — seem to be taking a break. I know for a fact that both the L.A. Times‘ Ben Fritz and THR‘s ever jolly Carl Diorio are writing stuff, they’re just not venturing any guesses or passing along the usual tracking rumors about this coming weekend. I guess with only major new release, it just didn’t seem worth it. Mr. DiOrio did, however, write a piece yesterday, which is not visible on THR but is via Reuters, explaining why, beyond the fact of Halloween, there actually are a number of reasons why horror pictures tend to come out when the leaves turn orange and the breezes turn chilly. Interesting, but not what I need to get me out of this predicament.

Indeed, I don’t even have any reviews of “Saw 3D” to mention, because we all know that critics can’t really help, and just might hurt, a picture like this. For you “Saw” fans, however, I can pass along some roundtable interviews our own Will Harris posted a bit earlier today as well as David Medsker’s Bullz-Eye compilation of the most beloved “Saw” series deaths and near-misses. Honestly, though, I’m at a loss, especially I’m too squeamish to have ever seen a single entry in the series.

Regardless, the gory horror tale will be facing some serious competition from the second week of the so-far over-performing ($40 million worth) non-gore driven scare follow-up, “Paranormal Activity 2.” On the other hand, there’s no particular reason to think it won’t suffer something like the typical horror-flick second week drop of 50% or over. That shouldn’t be too hard for the 3D sado-splatter film to beat, but you never know. We’ll see whether the ticket-price raising format can ameliorate the fatigue the “Saw” series has shown on past sequel go-rounds.

In terms of limited releases, we have the final film in the “Millennium Trilogy,” Swedish edition. “The Girl Who Kicked the Hornet’s Nest,” which isn’t overly exciting critics opening in 123 theaters according Box Office Mojo’s theater counts. Though an internationally huge franchise like this should, in theory, be critic-proof, this is the art-house trade we’re talking about and some might decide to wait for home video or, like me, who enjoyed the first film but haven’t read any of the books yet and skipped the last film, might decide to simply catch up with the books at some point instead. On the other hand, the even-growing fame of the “girl” herself, Noomi Rapace, might help things out a bit.

Also suffering the slings and arrows of often unimpressed critics is “Welcome to the Rileys” a festival drama starring James Gandolfini, Melissa Leo, and Kristen Stewart. Directed by Jake Scott, son of Ridley, the film has generated a little attention but I fear that may be over now given its decidedly “meh” critical reception.

Doing a little better with critics, including my esteemed colleague Jason Zingale, is Gareth Edwards’ “Monsters,” a very unusual monster flick arriving just in time for the holiday. It’s generated a lot of online attention and you absolutely have to give it props for its visual power — accomplished on a truly miniscule budget by is special effects trained director — and for its good intentions in attempting a character driven romantic tale with, yes, actual monsters and some genuinely clever chilling moments. Still, like 37% of Rotten Tomatoes critics, I was kind of let down by it and I blame the fact that the film was made with only a story outline and no formal screenplay. On the other hand, it’s easily the most visually striking monster flick that I can think of not directed by Guillermo del Toro.