Tag: The Dark Knight (Page 3 of 5)

Okay, I think we can agree that “Avatar” is a success now

If anyone out there is still hoping for a publicly humbler James Cameron, maybe it’s time to set your sites elsewhere. Despite what you might have read on geek comment threads a few months back, the box office for “Avatar” is only going to bolster the filmmaker’s not entirely unearned overconfidence. Indeed, Cameron’s boot is likely to be mighty wet for a might long time with the pug-like slobber of worshipful suits. Nikki Finke, quoted a Fox executive, thusly:

“Mr. Cameron was king of the world but now has dominion over the universe. And he will own the top two slots on the worldwide all-time box office list!

Sam Worthington and Zoe Saldana, enhanced, in

In its third weekend, “Avatar” raised an estimated $68.3 million, with an outlandishly small 9.7% drop from its take of $75.6 million last week, as calculated by Box Office Mojo. The cumulative domestic box office take for the ecological/human rights themed action fable is now roughly $352.1 million, which I suppose might be a complete recoup of the film’s budget and at least some of the marketing expenses.

That also means it’s already the 15th top grossing domestic film of all time, with an awful lot of commercial life left in it, as the film will almost certainly linger in theaters through Oscar time and beyond. It seems that there is every chance it will overtake the $533.3 million of “The Dark Knight” and I certainly wouldn’t rule out it taking the #1 spot from Cameron’s $600.78 million grossing “Titanic.”

Remember, that mega-melodrama was released in 1997, when the most anyone paid to see a movie was, if memory serves, maybe $7 or $8. I saw “Avatar” over the weekend at Hollywood’s top-of-the-line Arclight complex, where the ticket price on Friday night was $18.50. That’s unusually expensive, but only a few bucks more than a lot of folks are paying nationwide, particularly on Imax screens. Adjusted for inflation, no movie has yet to sell more tickets than the periodically re-released “Gone With the Wind, which was shrewdly withheld from TV screens until the mid-seventies.

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Celluloid Heroes: David Medsker’s Top Movies of the 2000s

For better or worse, every decade has a couple of unique characteristics that serve as a convenient description for the period as a whole. The ’70s had disaster movies and the explosion of auteurs like Scorsese and Coppola. The ’80s had Spielberg, John Hughes, and the rise of the cheap slasher film. The ’90s were all about the indie explosion (and more disaster movies). What will history remember about the 2000s? If I had to guess, I’d sum it up in four words: Attack of the Fanboys.

Take a quick look at the top ten grossing movies of the decade (using worldwide box office numbers): There are four “Harry Potter” movies, two “Lord of the Rings” movies, two “Pirates of the Carribean” movies, “The Dark Knight,” and “Shrek 2.” And don’t forget the three “Spider-Man” movies, the two “Transformers” movies, the last two “Star Wars” movies, “300,” or “Iron Man.” Put them all together, and you have one mondo pile o’ fanboydom, right there. The first movie on the list to feature an original screenplay is Pixar’s “Finding Nemo” at #15, which brings us to the unofficial subtitle for the 2000s: The Decade When Everyone Ran Out of Ideas.

Ah, but let’s not get ahead of ourselves. There were some original ideas out there, and on the flip side, some of those fanboy movies made as much money as they did because they were phenomenal pieces of work. As we continue our series of reflections on the decade that was, I submit to you for your snarky dismissal approval, my top ten movies of the 2000s.

return of the king
10. The Lord of the Rings: The Return of the King (2003)
I’ve still only seen this movie once, but so much of it is still imprinted in my mind. The final fight between Frodo and Gollum. Samwise kicking orc ass while carrying Frodo at the same time. That hellacious battle of Minas Tirith. And then, just when you think that Peter Jackson will let you take a breath, he unleashes another horrific shriek from those damn Fell Beasts. Yes, I admit that when Sam and Frodo had their tearful goodbye at the movie’s end, I wanted to scream, “For God’s sake, just kiss him already!” But there is a reason this movie won every single Academy Award it was nominated for. It’s an extraordinary piece of work.

king of kong
9. The King of Kong: A Fistful of Quarters (2007)
What began as an innocent look at the classic video game circuit slowly morphed into a tale of David vs. Goliath proportions, as unknown Donkey Kong wizard Steve Wiebe encountered a political shitstorm that would give Machiavelli pause. Billy Mitchell is my pick for movie villain of the decade, and worse: he’s real.

wall-e
8. WALL·E (2008)
Only Pixar could turn a story about a lonely robot into the most heartfelt movie Hollywood’s made in years. The fact that this didn’t win a single Academy Award for its sound work is disgraceful.

hot fuzz
7. Hot Fuzz (2007)
There’s no other way to say it: this movie makes me giddy. Self-aware without being self-congratulatory, Simon Pegg and Nick Frost deliver a smart and sincere love letter to American action movies while getting their Michael Bay swerve on at the same time. And you’ll never hear the words “for the greater good” the same way again.

prestige
6. The Prestige (2006)
Not to be confused with “The Illusionist” – which, for my money, was vastly inferior – Christopher Nolan’s tale of dueling magicians is an embarrassment of riches, from the characters to the scenery to the dangerous game of ‘top this’ that Hugh Jackman and Christian Bale perform up until the bitter (and I mean bitter) end.

kill bill
5. Kill Bill, Vol. II (2004)
“Kill Bill Vol. I” was an orgy of blood, and enjoyable though it was, I’ll take the level-headed back half of the story any day of the week, which shows the Bride fighting to give her daughter the childhood she deserves – a normal one. This also contains one of the biggest ‘holy shit‘ moments of the decade when the Bride squares off with Elle Driver

children of men
4. Children of Men (2006)
Forever redefining the possibilities of a tracking shot – twice. How this movie failed to find an audience or the love of its peers is positively lost on me.

requiem
3. Requiem for a Dream (2000)
If there is a more devastating movie about addiction than this, I haven’t seen it. Darren Aronofsky perfects that quirky blend of hyper-editing and sound – I love when he shows the sun before cutting to Ellen Burstyn and friends tanning, and all you hear is the sound of eggs frying – while coaxing four unforgettable performances from his leads. If this doesn’t scare the loved one in your life off of drugs, nothing will.

eternal sunshine
2. Eternal Sunshine of the Spotless Mind (2004)
The heart wants what it wants. There is no arguing or reasoning with it, and even if you could erase someone from your memory, odds are you’re going to fall for them all over again, so don’t bother fighting it. What a perfect backdrop for Michel Gondry to work his bizarro magic.

The Dark Knight
1. The Dark Knight (2008)
Fanboy wet dream or not, “The Dark Knight” is the superhero movie to end all superhero movies. Whip-smart, ruthless (he killed Rachel Dawes!), and relentless, “Knight” is literally a breathtaking experience. And God help Christopher Nolan when it’s time to hash out a follow-up; from here, I’m not sure it’s even possible.

New York and L.A. Film Critics make their choices

The two most noted critics groups both gave their awards today and the results are pretty interesting. Just released, we have the winners from New York. Somewhat to my surprise, even though it’s received very positive reviews so far, “Avatar” won for best picture.  Last year’s winner was not “The Dark Knight,” which however did make it into the top 10, but the politically-themed biopic, “Milk.” Genre movies and blockbusters rarely win critics awards.

Avatar

Also, the suddenly more geek-friendly critics group actually gave the most awards to “Inglourious Basterds” which picked up a cinematography award for the always superb Robert Richardson, a best screenplay nod for Quentin Tarantino and, of course, a Best Supporting Actor award and also a Best Breakthrough Performance award for Christoph Waltz’s movie-stealing work as the evil but magnetic “Jew hunter,” Colonel Hans Landa. Another unusual war film, “The Hurt Locker,” picked up the Best Director award for Kathryn Bigelow and, not at all surprising, “Up” won the award for best animation.

Meryl Streep won for Best Actress for “Julie and Julia” and Jeff Bridges won for the not yet released country music drama, “Crazy Heart.” Mo’Nique from “Precious” picked up the Best Supporting Actress award. “The Cove” won Best documentary. ComingSoon.net has the complete list of winners. It’s a pretty interesting group.

The Hurt Locker

Just a bit earlier, the Los Angeles Film Critics, on the other hand, gave the top prize to “The Hurt Locker” (“Up in the Air” was the runner up) and Kathryn Bigelow took another Best Director prize for the thriller. Jeff Bridges, Christoph Waltz and Mo’Nique once again got the Best Actor, Best Supporting Actor, and Best Supporting Actress prizes respectively. The L.A. crickets took a different path entirely, however, on the Best Actress category and gave it to Yolande Moreau for the French-language biopic, “Séraphine.” (The runner up was Carey Mulligan, whose work in “An Education” has been generating a great deal of buzz.)

They also, interestingly, diverted from the New Yorkers in the area of animation, giving the top prize to “Fantastic Mr. Fox,” another succès d’estime for Wes Anderson. However, they followed the NYC reviewers in giving the nod to “The Cove” for Best Documentary. In a nod to genre, “District 9” got a “New Generation” award for writer-director Neill Blomkamp as well as a production design award. Eugene Hernandez of Indiewire has the complete list.

Oscar-buzz fans take note, critics’ awards are not super-reliable indicators of Academy Awards, which tend to be less genre-friendly but also more prone to award big commercial hits. On the other hand, I think it’s safe to say that Kathryn Bigelow, Jeff Bridges, Mo’Nique, Christoph Waltz, as well as “The Hurt Locker”, “Inglourious Basterds,” and perhaps “The Cove” got a big boost today. (The documentary category is notoriously fraught.) Also, I haven’t mentioned its awards, but the little seen black political comedy and festival hit, “In the Loop,” picked up awards from both groups and could, I imagine, get a very helpful nomination or two in possibly the writing and the newly expanded “Best Picture” category.

Fangirls give fanboys a run for their money as “New Moon” hits the record books

New Moon Even more than before, studio development executives will be combing through scripts looking for something about female humans in love with handsome young monsters whose unspeakable urges can only be controlled if they immediately remove their shirts. “The Twilight Saga: New Moon” earned an estimated $140.7 million this weekend for mini-major Summit Entertainment, which is now a bit more major and a bit less mini. As both jolly Carl DiOrio and Nikki Finke remind us, that puts it right behind the opening weekends of “The Dark Knight” and “Spider-Man 3,” displacing, as per Finke, “Pirates of the Caribbean: Dead Man’s Chest” with its pitiful $135.6 million.

“New Moon” enjoyed a spectacular Friday performance of $72.7 million, an all-time record one-day take, but dropped by what DiOrio describes as a “manageable” 41% to earn a still terrific $43.2 million on Saturday. (Finke, plays the baseball statistician and mentions that the two-day total $115.9 million makes for the biggest two-day gross of all time, and also gets into other November openings, if you think that stuff is important.) Still, by the end of this weekend, most of the really hardcore “Twilight” fans will have seen “New Moon.” The question remaining is how many casual viewers, plus repeat hardcore fans, will return for the big Thanksgiving day weekend.

There was another surprise this weekend: I was right about one of my casual box office prognostications! Based on the true story of the NFL’s Michael Oher, “The Blind Side” starring Sandra Bullock and newcomer Quinton Aaron supported by country singer Tim McGraw and Kathy Bates,  proved the sturdiness of the inspirational sports film genre. The sub-genre goes back at least as far back as 1940’s “Knute Rockne All American” and in this case won an estimated $34.5 million for the gipper and Warner Brothers, pretty much in line with what I wrote on Thursday. Astonishing.

According to Finke, the prognosticaters had only pegged this one for a maximum of $20 million, but they didn’t reckon, I suppose, with the cross gender and generational appeal of the story as well as its cross-cultural/ethnic impact which spans the inner-city and red state America, and both conservative and liberal perspectives common in Obama’s America. Lou Loumenick quotes this line uttered by country star Tim McGraw in the role of Bullock’s husband: “Who ever thought we would have a black son before we knew a Democrat?”

Woody H. in In the #3 spot this week was the big holdover from last weekend, Roland Emmerich’s “2012” which dropped a not-so-great 59% in its second week — spurred on, perhaps, by bad word of mouth from people  like the 20-something male checker at the Walgreen’s next door to me who volunteered his views to me a couple of nights back. The mega-disaster flick earned a relatively modest estimated $25 million for Sony on it’s second weekend for a total so far of $108 million. That’s still well short of it’s $200 million budget, which I find a bit obscene, but it’s current foreign total is $341.1 milion. Ah, the international language of blowing-shit-up.

Bringing up the rear of the new releases is the poorly reviewed “Planet 51,” which apparently shows that even CGI animated family comedies can be hurt by poor buzz if that buzz is bad enough.  Also, while our own Jason Zingale was unimpressed, “Precious: Based on the Novel Push by Sapphire” continued its unusually strong performance as it expanded this week. As explicated via table at Box Office Mojo, the downbeat tale of inner city dysfunction earned an impressive $11 million in only 629 theaters (as compared to 3,035 for “Planet 51”).

Of the two films debuting from undisputed world class directors and huge international stars, German man-of-the-world/universe Werner Herzog’s critically embraced “Bad Lieutenant: Port of Call New Orleans” starring Nicolas Cage had a disappointing debut of only $257,000 in 27 theaters despite great reviews and considerable buzz. On the other hand, Spain’s brilliant twosome of Pedro Aldomovar and Penelope Cruz earned back some of that lost “Planet 51” cred for their nation by taking in the week’s highest per screen average ($54,000) with their latest, “Broken Embraces.” That’s on only two screens, but it’s a start.

broken-embraces-001

Box office wrap-up: “Transformers” sequel blows up real good

The news this week is about as simple and unsurprising as you can get: “Transformers: Revenge of the Fallen” has done some pretty spectacular business, netting an estimate of $201.2 million, just shy of the all-time record $203.8 million “The Dark Knight” earned on its initial five-day release. Could that $2.6 million difference be the difference between outstanding reviews and really bad ones? Nah, but I still wouldn’t be surprised to see a big drop off here, or maybe that’s wishful thinking based on my oft-repeated feelings about this particular franchise.

As per Variety, “The Proposal” came in at the #2 spot, dropping 45% from its opening for $18.5 million in its second week. And this summer’s ongoing audience and critical favorites continue to do outstanding business. “The Hangover” is thought to have taken in $17.2 million in its third week, while “Up” continues to exercise the astonishing power of the Pixar touch in the #4 spot with about $13 million in its fifth week.

This week’s only non-“Transformers” wide release, “My Sister’s Keeper” (referred to by newly rich superblogger Nikki Finke as “simpering,” but which our own Jason Zingale actually kind of liked), came in at the #5 spot with an estimated $12 million. As we mentioned last time, that’s actually a couple million more than some expected.

John Krasinski and Maya Rudolph, It also wasn’t a bad weekend on the indie side. The critically acclaimed Iraq war action-suspense drama, “The Hurt Locker,” performed well in its four theaters on the coasts, netting about $3600 per screen. In wider release, the high pedigree prestige comedy, “Away We Go,” perhaps benefited from the TV appeal of stars John Krasinski and Maya Rudolph, and got into the #10 spot with $1.7 million in just under 500 theaters.

Back tomorrow with more on the about to be concluded LAFF

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