Tag: Paul Greengrass (Page 2 of 2)

Weekend box office: “Alice” will be in the zone and out of everyone’s league

Johnny Depp is the Mad HatterYes, there really doesn’t seem to be any reason at all to think any of the four new major releases this weekend will come anywhere remotely near the grosses for the latest tentpole flick from Tim Burton, Johnny Depp, and company. That’s because last weekend saw the 3-D “Alice in Wonderland” earn an enormous $116 million, so even a gigantic drop would mean a rather huge second weekend by normal standards. And, as both Anne Thompson and Jolly Carl DiOrio seem to agree, the new competition isn’t incredibly strong.

The leading contender of those, however, appears to be the new movie from director Paul Greengrass and star Matt Damon, “Green Zone.” The publicity is doing everything it can to remind the audience that both of them worked on the last two Jason Bourne films. However, the film itself is a political thriller — never, I’m sorry to say, the strongest genre commercially. Oh, and it’s about the Iraq war, not a favorite topic of escape-seeking audiences, it appears. Indeed, the only thing worse commercially than a political thriller about an unpopular and still ongoing war is one with mediocre reviews.

Green Zone

Still, the Bourne connection, Damon’s appeal, and a bit of topicality may be good for something. About $14-16 million says Carl DiOrio, which may not be enough to support the film’s hefty price tag, he warns. Anne Thompson, also has some hints about what went might have gone wrong with the film. (Hint: Except perhaps on documentaries, it’s rarely a good thing when a director has to “find” the story in the editing room. It’s nice to have it in the screenplay, but I’m old fashioned that way.)

Like “Green Zone,” the primary commercial asset of “Remember Me” is its male lead. To a certain segment of the market, Robert Pattinson certainly kicks Damon’s box office keister, even if the “Twilight” pasty-factor is out of this picture. On the other hand, if a single unaccompanied male sees the weepy romantic/emotional drama which also features Emile de Raven and Pierce Brosnan, it’ll be a shock. Pretty much detested by David Medsker, this one didn’t exactly wow the mass of critics either. There’s also the matter of its ending, which has been leaked on the web and many find a kind of insult.

Jay Baruchel and Alice Eve in Under those circumstances, you might expect the seemingly Apatow-esque (but not Apatow-associated) guy-friendly romantic comedy, “She’s Out of My League” to do rather well. Like Apatow’s break-through film, “The 40 Year-Old Virgin,” it benefits from a premise, fully explained in the title, that plays to the kind of universal male insecurities that seem to make for commercial comedy gold. Still, though our own David Medsker found the film quite likable, the overall reviews are middling and the level of interest out in the world appears to be low.

So low is the interest in the comedy, in fact, that Carl DiOrio actually expects the abysmally reviewed comedy, “Our Family Wedding,” to make about $3 million more dollars than “League,” even though it’s in nearly thirteen hundred fewer theaters. Featuring actors who I’m sure deserve better, including Forest Whitaker, America Ferrera and Taye Diggs, as well as comedian Carlos Mencia (who absolutely does not deserve better), I’m not sure why people would want to see this. On the other hand, since when am I “people”?

Monday night and Tuesday morning at the movies

* The Playlist informs us that Matt Damon and director Paul Greengrass have pitched a way to keep the “Bourne” options as open as possible. Personally, I think the idea sounds far weaker than I’d expect from either of them. On the other hand, “The Bourne Open Option” sounds like as good a title as any for the proposed reboot.

* A Disney-style title change for Zack Snyder’s upcoming animated family film. Some stories just don’t have good titles.

* After the fiscal success and critical bashing of “Cop Out” and the Southwest Airlines mishegas, Kevin Smith shows his sensitive side to Steven  Zeitchik. But is he really trying to tell us he did a big studio movie to make less money? Really, I don’t think there’s anything wrong with a filmmaker making a “one for them” movie for career or fiscal reasons. Many a great movie or book have basically been made for quick cash — though never only for that — and I think he perceived more of a dig from the A.O. Scott review than was really meant, accuracy aside.

* Bill Murray goes on Letterman and spills a little cold ectoplasm over “Ghostbusters 3.”

* Writer Dustin Lance Black took on the first openly gay politician to make his mark with “Milk,” and now he’s apparently about to do a film about without a doubt the most powerful closeted gay man in American political history, J. Edgar Hoover of the FBI. Pajiba has the scoop. The Playlist has some good background, but I didn’t find the humor in Harry Shearer and Tom Leopold’s radio-musical, “J. Edgar” all that “cheap,” well, maybe in a good way.

On an unrelated note, I’m  still trying to figure out a way to claim that I somehow imparted the Westal-bump to Black’s career with this interview back in 2003, but, nah.

* It’s just days until the Oscars, and here’s a look back at one broadcast that didn’t go so well.

* I’ve had more than one person ask me if, as a Jew — and a quite learned one for a Hebrew school drop-out — I had any special clues into just what the Coens had in mind with A Serious Man. I really don’t, not in a literal way, anyhow, though I loved the film. Writer Michael Tolkin, a far more observant and knowledgeable member of the Tribe than I, has an interesting theory about just what’s going on that turns my relatively realist reading of it completely tuchas backward, via Anne Thompson.

Indie awards, viscera in your lap, and the boredom of Alec

* If you’re looking for any clear Oscar indications from today’s indie awards news, you might want to look elsewhere. “Precious” and “The Last Station” — which I’ve been reading very mixed things about so far — were among the films to make a nominations splash with The Independent Spirit Awards.  Meanwhile, the Gotham Awards were held last night and “The Hurt Locker” “swept” things — well, it won two big awards including Best Picture. Close enough. (Kathryn Bigelow’s wartime thriller, a favorite of many, was not eligible for the Spirit Awards this year, but only got a pair of acting nominations last year.)

* There’s something in the air about gross-outs in 3-D today. First, comes news that sequels to both “Zombieland” and, lord help us all, “Jackass,” are planned in the suddenly semi-ubiquitous format because what the world needs now is projectile cow semen in three dimensions. That’s not all, a new remake of George Romero’s seminal “Night of the Living Dead” will be in 3-D digital animation, which actually renders things less gross and scary — to me, anyhow and that’s just fine for this disliker of gross-outs.

By the way, this is will be the third remake of the film and the second in 3-D, though the 2006 attempt seems a bit less classy. I actually like the idea of taking an epic tack with a variation of the original film, but I just hope Romero gets at least a small piece of the action. (In one of the strangest foul-ups in movie history, the original flesh-eating zombie flick fell into the public domain back in 1968. So, anyone who wants to may legally do their own rip-off.)

Meanwhile, jolly Carl DiOrio is here to tell us that the growth of 3-D films will be gradual and mostly limited to genre and concert films for the time being. Good to know.

* Domestic b.o. is up by 8%, and the really good news is that b.o. is short for “box office.”

* Paul Greengrass confirms his “Bourne 4” directorial exit as reported yesterday, but says the divorce is highly amicable, though the fate of the project seems in doubt and, yeah, I’m not sure we really need a fourth outing, either. On the other hand, Bourne fans can protect themselves against speedy video obsolescence on the three films already out early next year. Here come: “flipper discs.”

* Say it ain’t so, Alec Baldwin, say it ain’t so! You may be bored, but we are so not.

Post-Turkey Day film news bites

A few items as Hollywood finishes digesting its turkey and stuffing.

* Paramount has picked up “Area 51,” the science fiction follow-up to the ridiculously profitable “Paranormal Activity” from writer-director Oren Peli. Somewhat to my disappointment, this one will also use the “found footage” gimmick, though I guess we can assume that with an exponentially larger budget — $5 million (about enough to pay for craft services on some films) as opposed to $15,000 — Peli will at least attempt to spread his wings creatively. One reason to give him props, however, is that the film has already wrapped principal photography. We can’t accuse the Israel-born former video game designer of failing to strike while the iron’s hot!

Matt Damon and Julia Styles in * It appears that The Playlist broke the story that it appears that the very talented Paul Greengrass has left the helm of “Bourne 4” and if he goes, Matt Damon may not be far behind. Still, at this point it’s a tale without an ending in more ways than one

* Kim Masters considers “Avatar” and Robert Zemeckis’s motion capture and 3-D work as featured currently in “A Christmas Carol.” To me, they’re creatively too different beasts in that James Cameron‘s creations aren’t trying so hard to be realistic, which I think is the real reason for the “ugly” problem with the creator of Roger Rabbit’s more recent work. As for the “Avatar” characters, I’m not sure I’m going to love them yet, either, but we’ll see when the movie’s out. I’m also not at all sure that movies need to be revolutionized in quite this way.

* Over at Film Threat, Gary Morris of the highbrowish Bright Lights Film Journal is interviewed. Among the topics: interviews like this one. Don’t fear the meta. (H/t The Auteurs on Twitter.)

* It technically ended yesterday, but the Boris Karloff Blogathon, hosted where else but at Frankensteinia, lives on with tons of material still coming in submitted by innumerable bloggers about the late, great character actor who originated the role of Frankenstein’s monster in 1931. Definitely worth many looks.

The vocal there is quite obviously reconstructed using the original recording by Bobby “Boris” Pickett. If you want to hear the actual vocal from the 1965 episode of “Shindig” featuring the real Boris Karloff, you may hear it here.

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