Tag: Tina Fey (Page 2 of 3)

“Date Night” ahead (right now) in titanic weekend box-office photo-finish (updated)

It’s important to remember that the weekend estimates I report every week on these box office wrap-ups are just that, estimates.  “Actuals” come out later in the week and, if there’s a really significant difference I might mention it, but there rarely is.

Nevertheless, considering that I’m writing this on Sunday afternoon, West coast time based on material that was largely written some hours ago, there’s obviously some element of the unknowable, and when the week’s top two films are separated in the current estimates by only $225,000, a reversal is far more likely than usual. However, thank God, this isn’t an election and “almost” here counts even more than in horseshoes and about the same as in hang grenades. For the studios and the filmmakers, the point is to make money, not so much to best the competition.

Tina Fey and Steve Carrell in And, in that sense we certainly had more than one winner this weekend as the non-3-D, and therefore more reasonably priced, “Date Night” most certainly won the day in terms of keisters-in-cushions and also, as of now, cash in hand.  As per the mighty Box Office Mojo weekend estimate chart, the Steve Carrell/Tina Fey zany action rom-com earned an estimated $27.1 million for Fox while being seen on about 425 fewer screens than its main competition. Also, since it’s budget was a relatively modest $55 million, not counting the film’s heavy promotion, it will go into the black relatively quickly as well, which should please the bean counters.

UPDATE: Late last night, Nikki Finke had word that the estimates for Sunday’s take were looking significantly off. Today, THR/Jolly Carl DiOrio tell us the current revised estimates has “Titans” collecting $26.7 million and “Date Night” a lower than previously mentioned $25.2. These are, still, however, estimates and not “actuals.” Nevertheless, they are likely more accurate.

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It’s box office preview time: Carrell and Fey to clash with “Titans”

Tina Fey, Steve Carrell, and Mark Wahlberg commisserate in

Commercially speaking, the premise of Fox’s PG-13 rated “‘Date Night” seems right on the money. NBC Thursday night comedy dream team Steve Carrell and Tina Fey are a married couple with children in a humdrum relationship rut who, through a case of mistaken identity, wind up fleeing from criminals and repeatedly running into a perpetually unshirted Mark Wahlberg and other dangerous obstacles to their peace of mind.

It’s been some time since a true wide appeal mainstream comedy aimed at adults and also possibly younger comedy fans of both genders has hit the theaters. “Hot Tub Time Machine” obviously skews more than a little male and more recent films, like “She’s Out of My League,” are clearly aimed at a somewhat younger demographic. On paper, the thing seems destined to do extremely well with a potential to elicit the three words sweetest to a studio suit’s ear “four quadrant picture.”

Still, not everyone is thriller. Our own Jamey Codding found the movie a lot more entertaining in principle than in reality. Director Shawn Levy of the “Night at the Museum” franchise is getting by far the best reviews of his career over in  Rotten Tomato land, but that is not as impressive as it could be given his rather rotten critical track record and many of the critics seem to be simply praising the considerable comic skills more than the movie as a whole. As for the box office gurus, a solid but not super-dramatic opening somewhere significantly south of $30 million but probably north of $20 million is predicted by the mysterious voices in Jolly Carl DiOrio‘s ear.

Sam Worthing girds his loins for battle in Of course, the comedy faces some fierce battles ahead with more grim-faced previously released films, most especially last weekend’s top picture, Warner’s “Clash of the Titans.” Like many poorly reviewed genre pictures, it’s expected to drop off by as much as 60%. Moreover, the catcalls from a geek-heavy audience made newly picky about 3-D thanks to James Cameron‘s innovations appear to be depressing turn-out at the pricey 3-D screens. Still, even with a really big sophomore drop off, it still has a very good shot a winning a second weekend in a row, though the win could well be as ugly as Medusa herself.

Also debuting this week is a Christian-themed heart-tugger, Vivendi’s  “Letters to God.” It’s somewhere between a large limited release and a very small major release as it will be in just under 900 theaters this weekend, according to the mighty Box Office Mojo theater count. No reviews are out yet to speak of, but I noticed even the Christian user reviews on IMDb are a bit muted, noting that the acting is in a bit better than on prior films from the same team and the movie is “professional.” High praise.

Not to be glib — which is a way of me preparing you for the glibness ahead — but with the usual church-based marketing push, this one should do okay preaching to the converted. I guess, as a secular Jew, I sort of feel like I see an awful lot of essentially Christian movies, they’re just not marketed that way or noticed because about 95% of Americans are actually Christian. Not that there’s anything wrong with that.

Despite an atmospheric and a mega-creepy trailer that I love and strong trio of lead actors — Christina Ricci, Liam Neeson, and Justin Long — the death-obsessed, R-rated horror thriller from Anchor Bay, “After.Life,” is leaving the large majority of critics as cold as the grave. With only 41 screens for a film which should have a wide appeal for horror fans, an early demise seems likely for this morbid but apparently non-gory tale. I personally hope Ricci, a terrific actress who I haven’t seen in a while in anything, has better luck soon.

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Just a couple of things… (updated)

I’m going to be spending this extremely rainy So-Cal MLK day doing some catching up with various movie-watching obligations, including some awards-type flicks I’ve been criminally behind on, but first a couple of random left over things.

* I expected a bit more fall-out, perhaps, from Ricky Gervais’s more-mean-than-funny gag at the expense of Paul McCartney and his recent divorce, but I guess I wasn’t alone in my mixed reaction to last night’s festivities as a show. Of course, my mixed reaction has nothing on the sheer, predictable venom of Nikki Finke’s nevertheless readable “live snark” of the event. She does have a point, exaggerated though it likely is, in underlining that — even among big show business awards — the Globes aren’t exactly known for their uncompromising integrity. Certainly, last night’s win by Robert Downey Jr., as talented and committed a performer as he is and has been for decades, does seem to follow her statement that “Stars win in direct correlation to their glamor quotient.”

One great line that a lot of us missed from the pre-show activities came courtesy of who else but the wondrous Tina Fey, remarking upon the unstereotypical Southern California weather last night: “No, it’s not rain. It’s God crying for NBC.” The rain, by the way, is expected to continue all week. I guess we know Who Else might be on Team Coco.

Also, one thing I forgot to say last night. “Sofia Loren.” I’m just impressed to see her, anywhere. Time may wear on, but that face is eternal.

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UPDATE: I forgot to add that the ratings for last night’s telecast were up from prior years, and I suspect Gervais’s presence did not hurt.

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Weekend box office: “Zombieland” to lift horror comedy curse, apparently

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There was a time — I think it was, I don’t know, two weeks ago — when horror comedies were supposed to be, now and forever, box office poison. “Too funny to be scary and too scary to be funny” was the not so intelligent line. Such was the Hollywood conventional wisdom, until someone went and made a horror comedy that struck a chord.

So, apparently the peanut butter of horror can be blended with the chocolate of comedy if you have lots of action and sufficient gore, the trailer for the movie in question is funny enough that audiences will be sold on it as a more or less straight comedy…and, oh yeah, almost everybody who can stomach seems to love it. Such certainly seems to be the case with “Zombieland.” The flick, which features indie stars Jesse Eisenberg and Abigail Breslin, is eliciting excitement both from industry types and critics who have graced it with an 89% “Fresh” Rotten Tomatoes rating (just two points shy of 2004’s instant zombie comedy classic, “Shaun of the Dead.”)

Still, for yours truly who loves comedy horror but has a well documented issue with gore, particularly of the zombie variety, this means a probable long period of movie procrastination followed by a small bonanza for our nation’s distillers. For top-billed costar Woody Harrelson, though, it means a comeback. Jolly Carl DiOrio of THR and Andrew Stewart of Variety guess that it will gross somewhere around $20-$25 million or perhaps further north in over 3,000 theaters. If it wasn’t such a busy weekend, I might think it could do even better.

As for the number two spot, I gather most of the prognosticators expect yet another very good weekend for the animated family hit, “Cloudy With a Chance of Meatballs,” but after that, the playing field gets a bit crowded. For one thing, Pixar is making things interesting with 3-D redoes of “Toy Story,” and “Toy Story 2” being released as a double feature. It’s a pretty awesome package of family entertainment and I could see it cutting into this weekend’s “Meatballs” take.

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More megabucks, more superheroes, and the opposite.

The news earlier in the day was just the start. It’s been a busy Monday in Hollywood.

* Different publications are offering a slightly different ways of putting it, but a new version of Dreamworks is being launched by Steven Spielberg, who is ending his relationship with Paramount, and executive Stacey Snider. They’re doing so with the help of $825 million in financing (that’s enough for 4.85 “G.I. Joe” movies) including a big chunk from India’s Reliance Entertainment. U.S. distribution of the new Dreamworks’ films will be handled by Disney, so we guess they’re no longer competitors. (Remember those pokes at Disney in “Shrek”?)

Everyone’s reporting on this but the most lucid version is being offered by Anne Thompson, even if I’d need a glossary to fully understand phrases like “J.P. Morgan’s syndication of approximately $325 million of senior debt”…something about a fancy way of retiring old debt? I’m going to have to work on that. Carl DiOrio also offers a fairly readable version.

* Speaking of Dreamworks, Brad Pitt is stepping in for a mysteriously departing Robert Downey, Jr. in the animated superhero/supervillian comedy “Oobermind.” I say mysterious because, as the Hitfix staff points out, the reason cited for Downey’s departure is a scheduling conflict, which is odd as it’s usually not very hard to reschedule someone for a solo taping session. It’s not like he would have had to spend six weeks on location in the Sahara dessert.

Brad Pitt’s comedic side has been seriously underutilized, but maybe not after what I take it is a fairly off-kilter and funny performance in “Inglourious Basterds.” (Lee Marvin was also kind of hilarious in “The Dirty Dozen,” come to think of it.) The cast of “Oobermind” will also include the suddenly-in-everything Jonah Hill and Tina Fey.

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