Tuesday, July 31, 2007

Premonition

Premonition

(2007, 96 min) Sandra Bullock lures the audiences with her starring role in this mind-twisting thriller. With the tone of countless "Twilight Zone" episodes, this film tries and sometimes entertains with healthy doses of supernatural dream logic peppered with confusing time-shifting. Married to successful businessman and father, Jim (Julian McMahon, better known as Victor Von Doom from the Fantastic Four franchise), Linda (Bullock) goes about her daily routine until a sheriff’s knock on her door signals the beginning of a descent into a strangely sterile mind warp as he proclaims her husband’s death the day before. As she gathers her willpower to carry on and survive, along with her two small daughters, she finally sleeps that night. In the morning she wakes to discover her husband very much alive. The audience soon becomes witnesses to the cinematic fact that Linda is living day to day, yet the days are non-sequential. She sleeps, her husband is alive, she sleeps, he is dead again. This creaky plot device allows her to peer into the future, at times trying to prevent her husband’s demise, and at times to be neutrally resigned to her fate.

Various other “facts” appear as the film moves forward, yet in the long run they neither support nor detract from the underlying message of the script. It is extremely difficult to pull off a nonlinear narration without turning off the majority of your audience. For instance, Atom Egoyan has perfected this form in films like The Sweet Hereafter and Exotica, time lines shifting from present to past to present in order to build a rich composite of motive and character. This film employs this tact for a completely different purpose, supposedly to build suspense and ambiguity. So, at times it sometimes works and at other moments it’s simply confusing.

Bullock does manage to pull off a decent performance, in spite of mounting illogic and plot holes. When she discovers that indeed she can shift events ever so slightly in order to make her present/future more palatable, the narrative’s plausibility is enhanced. Suffice to say, there is a positive outcome achieved by the end that is not easily arrived at.

© TLA Entertainment Group

Simpsons Kick Animated Ass; Lindsay Down for the Count

The Simpsons Movie exceeded all expectations this past weekend earning a huge $74.0 million on over 3,900 screens. The 2 Daves were caught short on this one, both predicting under $50 million (Gorgos was closer with a $45.1 million estimate). As to the big question as to whether audiences would pay for something they can get on TV for free: duh! Homer and family could be looking to surpass the $200 million mark, which would place it in the Happy Feet and Ice Age 2 arenas. There’s only one thing to say: Whoo-hoo!

Dave B. hit it on the head with No Reservations with an 11.7 million estimate. The romantic comedy did less than $5,000 per screen average, and word-of-mouth isn’t expected to be that strong. Bleiler’s assessment that the pic would set back the genre 20 years may be a little overstated, but don’t count on seeing the two leads opposite each other any time soon.

Lindsay Lohan has been getting so much press coverage over the last few days for yet another meltdown, this time for a DUI car chase of sorts, that the fact she had a new film seemed to get lost in the shuffle. I Know Who Killed Me may turnout to be prophetic, as Little Miss Lohan’s career appears to be in a spiral. Dave G. was within $200,000 in his guess… film opened with a poor $3.5 million on 1,320 screens.

Among the holdovers, Dave B. was closest with his guesses, kicking a bit of Gorgos ass… whoo-hoo! I’ll enjoy it while it (briefly) lasts.

Actual Grosses for the Weekend of July 27 thru July 29:
Rank Film Total
1 The Simpsons Movie $74.0 million
2 I Now Pronounce You Chuck and Larry $19.1 million
3 Harry Potter and the Order of the Phoenix $17.7 million
4 Hairspray $15.9 million
5 No Reservations $11.7 million
6 Transformers $11.5 million
7 Ratatouille $7.5 million
8 Live Free or Die Hard $5.6 million
9 I Know Who Killed Me $3.5 million
10 Who's Your Caddy? $2.8 million

© TLA Entertainment Group

Simpsons image © 20th Century Fox

Box office figures © Box Office Mojo

Michelangelo Antonioni (1912 - 2007)

It's getting so I dread opening the newspaper, for fear of learning that another friend has died. I don't mean "friend" literally, in this case, but it does seem that many of the icons who shaped my cultural thinking have been passing away. Tom Snyder, the acerbic news anchor turned talk show host, and the embodiment of tough-but-fair questioning. Bill Walsh, football coach whose revolutionary West Coast offense is now employed by half of the NFL, including my beloved Eagles. And now, of course, the Italian master Michelangelo Antonioni, who had been partially paralyzed and unable to speak due to a stroke in 1985, and was somehow able to direct several more movies and, memorably, accept an honorary Oscar with his wife at his side. He died July 30 at age 94.

Like his Swedish contemporary Bergman, Antonioni helped to shape a new language of cinema, of emotional alienation that was conveyed through both performance and mise en scene. I've struggled to figure out why Bergman's films seemed aloof while Antonioni's affected me deeply, though both certainly attained their fair share of iconic imagery. Antonioni's most outrageous and debated set pieces, such as the tennis match in Blow-Up and the exploding of capitalism in Zabriskie Point, are still impossible to forget.

Just three years ago, Antonioni contributed a segment to the anthology film Eros, proving that he never lost his love of cinema or of the female form. If his final works (including Beyond the Clouds, codirected with Wim Wenders as pictured above) seemed slight, they also seemed his most erotic and optimistic, their playful nods to earlier works like L'Avventura signaling emotional resolution rather than torment. Yet it's hard not to think that even at age 94 he died too young, with several more films in him.

© TLA Entertainment Group

Monday, July 30, 2007

Ingmar Bergman 1918 - 2007

The master of Swedish cinema, Ingmar Bergman, passed away at age 89, leaving behind a legacy of over 50 films from a career spanning 7 decades. Known for his existential and soul-searching dramas, Bergman came to international notice with his 1955 comedy Smiles of a Summer Night, and solidified his status as a master technician two years later with his classic The Seventh Seal.

With a talented stable of actors including Liv Ulmann, Max von Sydow and Bibi Anderssen, Bergman was a critics and art-house favorite through the 1960s and ‘70s, winning an Oscar for Best Foreign Film in 1984 for his semi-autobiographical masterpiece Fanny and Alexander.

Woody Allen, who emulated Bergman’s minimalist style in his 1978 drama Interiors, said of Bergman: “He was probably the greatest film artist, all things considered, since the invention of the motion picture camera.” His list of critically acclaimed dramas certainly gives credence to such a claim: Cries and Whispers, Face to Face, Shame, Autumn Sonata (with Ingrid Bergman), The Passion of Anna and Wild Strawberries, all either critics’ award winners or Oscar nominees.

During the heyday of the TLA repertory cinema, Bergman was a fan favorite, his films always drawing big crowds and sell-outs whenever they showed. Arguably more than any other director, Bergman epitomized the art-house auteur with his often gut-wrenching stories of relationships, and can be credited alongside Godard, Truffaut and Kurosawa with popularizing foreign films in the US. His passion was such that he never truly retired, directing Sarabande for TV in 2003 and continuing to direct plays and radio productions in his native Sweden up until 2004. He will be missed.

Bergman image from Saraband © Sony Pictures Classics

© TLA Entertainment Group

Friday, July 27, 2007

Best Summer Ever? Hardly!

As we continue to see more and more box-office records broken, maybe it’s time for a little historical perspective. Yes, we already have three films grossing $300 million (Spider-Man 3, Shrek the Third, Pirates of the Caribbean), with a potential fourth on its way (Transformers), and Summer 2007 will probably be the biggest summer on record. But right now, ticket prices are at an all-time high, with an average ticket costing about $6.70 (if you live in the city, that may seem a little low, but the price averages out once you factor in costs from rural America and the Midwest and South).

The financially most successful film of all time, 1997’s Titanic, which grossed $600 million domestically, had an average ticket price of about $4.75. If that film were released 10 years later (and, of course, sold the same amount of tickets), that gross would be an astonishing $844 million. 2007’s box-office champ to date, Spider-Man 3, pales in comparison with about $335 million. So does 2006’s box-office champ, Pirates of the Caribbean: Dead Man’s Chest with $423 million. That’s half!

So before the studios and filmmakers and stars start celebrating that they’re the biggest things since sliced bread, here’s a quick look at some other films whose box-office reception today would stagger the imagination.

Gone with the Wind has sold more tickets than any other film over the years, but that comes from the luxury of four major and four minor reissues. Its first release in 1939, which actually spanned over three years, would have brought in $730 million in today’s dollars. That’s slightly less than Titanic but a still incredible total. Star Wars has sold the second most tickets of all time, with its original run in 1977 and two reissues. Just looking at the first release, today’s gross would be $710 million, and that factors in a higher percentage of lower children’s prices.

There are two films that were more successful than Titanic on their first release: The Sound of Music and E.T. The Extra-Terrestrial. The Academy Award-winning musical was a cultural phenomenon when released in 1965. It played in some theaters for years, and had fans that were going back 10 or 20 or 30 times (there were no DVDs back then). In fact, there was one woman who had paid to see it over 100 times. Today, that 1965 gross would equate to nearly $1 billion. That’s not a typo! Julie Andrews had just won the Oscar for 1964’s Mary Poppins and was riding high, the stage show of Music was a huge success, and with the counterculture just beginning to take shape, mid-America needed something to rally around. Nuns, music and Nazis were just the ticket.

Looking back at that time period, Julie Andrews had an unprecedented record that has yet to be topped. With two films, Mary Poppins and The Sound of Music, released in back-to-back years, she brought in a combined $1.580 billion in today’s dollars. Only Harrison Ford nears that total, his films The Empire Strikes Back and Raiders of the Lost Ark, released back-to-back in 1980 and 1981, grossing in today’s dollars about $1.077 billion.

Steven Spielberg, however, comes even closer to Andrews’ mark. The two-time Oscar-winning director had two smash hits back-to-back, Raiders in 1981 and E.T. in 1982. The former’s adjusted gross would be $532 million, and the latter, another cultural phenomenon, would bring in $850 million in today’s dollars, for a combined total of $1.382 billion. That’s simply amazing by any standards. Charlton Heston had two films in the 1950s that were mammoth hits, The Ten Commandments and Ben-Hur, which collectively in today’s dollars would translate to something like $1.345 billion, an astronomical sum, but with 1956 and 1959 release dates respectively, they weren’t back to back. Still, that’s an accomplishment that only a handful of performers have achieved.

So, Johnny Depp, we love you as Captain Jack Sparrow, you’ve created one of the most endearing film characters of all time, and your last two Pirates films, released back-to-back, will bring in collectively about $733 million. That’s a helluva lot of money, but less than half of what Julie did. Tom Cruise, you may be a flake but you’re a big star as well, and you’ve had a slew of box-office hits, but in 1992, 1993 and 1994, your three films A Few Good Men, The Firm and Interview with a Vampire brought in a combined $645 million in today’s dollars. Impressive, yes, but not enough to cause you to start jumping on couches.

With all the focus on box office and money, let’s keep matters in perspective. Even with today’s inflationary ticket prices, for a star to bring in over $100 million for a film is an accomplishment… just ask Steve Carell. But also let’s keep the back-slapping and adulations to a minimum, for no matter how well one star does, there’s always another one who’s done better. And when we focus too much on the celebrity du jour, and forget those how have made the significant contributions, what we wind up with are pages of newsprint and hours of airtime on Paris Hilton and Lindsay Lohan. And we wouldn’t want that, would we?

© TLA Entertainment Group

Hairspray

Hairspray

(2007, 117 min) You can’t stop the beat, indeed. As the title of the closing song suggests, the beat goes on and on in this deliriously entertaining screen adaptation of the Tony Award-winning Broadway hit. From the opening number, a sly, “affectionate” tribute to Baltimore (complete with cameo from John Waters who created the first film that all this is based upon) to the toe-tapping, wanna-get-out-of-your-seat-and-join-the-fun finale, Hairspray is an old-fashioned joyride down memory lane to when Jackie Kennedy was the final word in fashion, big hair was all the rage and social protest could actually make a difference.

This journey all started when cinematic provocateur John Waters made Hairspray in 1988, his most accessible film to date, about Tracy Turnblad, an overweight high school girl (Ricki Lake) who lives to dance. It also had the audacity to star transvestite Divine as a housewife, playing it “straight” as laundry woman and loving wife and mother Edna. In 2002, it was adapted into a stage musical starring one-time drag performer Harvey Fierstein as Edna (who was an absolute knockout on stage). Keeping with the theme, a male performer once again dons Edna’s wigs and dresses, and his appearance here in no small way helps make the film musical Hairspray such a rousing success.

That would be John Travolta, the macho star of the ‘70s who reinvented himself in the ‘90s thanks to Pulp Fiction, and now throws caution, hell, everything but the kitchen sink to the wind to give a performance of such charm as to beguile any and all in his path. This isn’t camp. Just as Divine and Fierstein weren’t camp in the role (Divine in Pink Flamingos is camp; Fierstein in Mrs. Doubtfire is camp; Travolta in Two of a Kind is camp). This is a male actor seriously portraying a comedic woman’s role, and why it’s worked all three times.

Faithfully following the stage musical, minus a song or two and one particularly memorable prison sequence, Hairspray joyously sets the story of being true to one’s self at the time of the birth of the civil rights movement, and here they go hand in hand.

Tracy Turnblad (Nikki Blonsky in a wonderful film debut), a plump high school senior whose sweet disposition is matched only by her love of dancing, anguishes through classes each day with her best friend Penny (Amanda Bynes) waiting to rush home to watch her favorite TV show, “The Corny Collins Show,” a local Baltimore version of “American Bandstand.” It features the nicest kids in town, “nice white kids who like to lead the way, and once a month, (they have) Negro day.” This show’s Frankie and Annette are Linc (Zac Efron) and Amber (Brittany Snow), and like most all the girls, Tracy harbors a crush on Linc.

When one of the regular girls must leave the show (just for nine months), Tracy defies the odds and wins the coveted spot, becoming overnight one of the most popular dancers on the show. This sets her in direct competition with Amber, who doesn’t like the new girl, and an overweight one at that, taking the spotlight away from her. Nor does Amber’s mother (Michelle Pfeiffer as a former beauty queen and now station manager). And to make matters worse, Tracy is now trying to integrate the all-white program. To the establishment, Tracy has to go.

This all leads to more rousing musical numbers, sprightly directed comedy and towering hair-dos. The infectious musical score by Marc Shaiman and Scott Wittman defies you not to swing and sway to the beat, and director Adam Shankman (whose work on Bringing Down the House and Cheaper by the Dozen 2 gave no clue as to the talent demonstrated here) opens up the play to great effect and his choreography befits the snappy, lively tunes.

You gotta love the cameos: Jerry Stiller (Edna’s husband in the '88 version that’s nicely played by Christopher Walken here), Lake, Waters, Paul Dooley – they’re all having fun, as is the ensemble, highlighted by Queen Latifah as Motormouth Maybelle, the hostess for Negro Day, newcomer Elijah Kelly who brings down the house in “Run and Tell That” and James Marsden, who displays a wicked grin, a hilariously cynical streak and surprisingly good pipes as Corny Collins.

By the time this all ends, and Tracy has found her dream, and Edna takes center stage (as she should), and all the outcasts have had their day, it’ll be hard to say goodbye to these delightful characters. They were right: You can’t stop the beat. And the way they sing and dance and carry on, you would never want them to.

© TLA Entertainment Group

Thursday, July 26, 2007

"It can only be attributable to human error"

According to CNN, NASA says it has found wires which may have been deliberately cut on computers bound for the international space station. I'm with Hal 9000 on this one. I think that kooky Lisa Marie Nowak had something to do with it.

And this is probably not related to the drunk astronauts. Anytime I've been drunk, the only thing I've ended up cutting was myself by accident; I couldn't cut something deliberately if I tried.

Oooh, wonder if they were drinking Ratatouille brand wine?

© TLA Entertainment Group

A delicious double standard

In a wonderful bit of irony, two items ran simultaneously in today's edition of Lew Irwin's Studio Briefing, an invaluable resource for movie news. It seems that Disney is making a stand against smoking in their movies. While the Looney Tunes have always had a bit of a tobacco fetish, the only smoking in Disney films that we can remember are courtesy the villainous Cruella DeVil and possibly the forest in Bambi, which was smoking for a different reason but still claimed a life. So while it's a symbolic gesture, it's an important one, as we all know how influential movies can be (including influencing young smokers), and most of us have been touched at one time or another by the ill effects of cigarettes.

Two items down, however, comes this gem: A winery has obtained a license to sell Ratatouille brand wine. That's right, the Pixar/Disney G-rated film is now being marketed in alcohol form... the other most lethal drug in America.

I'm guessing that this is merely a reflection of our times; even I am a regular drinker and adamant non-smoker. In the nascent days of the movies, pretty much everyone smoked: on-screen, off-screen, and even in the audience during the movie itself. It probably won't be long, though, before this kind of wine-licensing deal (and even on-screen drinking as depicted in Ratatouille) becomes unthinkable. In the meantime, it's 5pm here in Philadelphia... time to meet my friends for happy hour.

101 Dalmatians image © Disney / The Internet Movie Posters Awards

More on the deal from Bloomberg.com

© TLA Entertainment Group

Box Office Predictions 7/27/07 - 7/29/07

David Gorgos: The question is, will people want to pay for what they already get for free? They sure did with The X-Files, but The Simpsons Movie is by far the biggest experiment of its kind. It is also the rare movie to arrive in theaters while the TV show is still being produced. And will its PG-13 rating mean that it will attract a broader audience than traditional animated fare, or will it turn off parents with the youngest children? All I know for sure is that I haven't watched the TV show in about 4 years, and yet i'm eagerly anticipating this Cinemascope offering.

Other new release fare is tightly targeted: No Reservations will do typical romance business, while I Know Who Killed Me will fail to draw the thriller crowd and Who's Your Caddy? won't even appeal to the urban market.

Kudos this week go out to Bruce Willis who, to everyone's surprise, now has the highest-grossing Die Hard entry; try to find another franchise whose 4th film was its biggest. (You win if you said Star Wars.)

David Bleiler: Doh! The Simpsons Movie will open big, but just how big? Some forecasters are calling for $50 million or more for opening weekend. After 18 years on the air, Homer, Marge, Bart and Lisa finally hit the big screen… and a built-in audience is a guarantee. How far reaching will it be? I’m gonna be a little more conservative and suggest that – even in light of that great trailer (“Spider-pig, Spider-pig”) – this will probably see about an $11,000 average on 3,800 screens for a $41.8 million opener. That’s a lot of slices of processed American cheese. Ummmm… cheese.

Lost in the Simpsons buzz is the romantic comedy No Reservations, which (if those trailers are any indication) could set the genre back 20 years. Catherine Zeta-Jones and Aaron Eckhart… is it me or is that romantic pairing the biggest recipe for disaster since Orlando Bloom and Kirsten Dunst in Elizabethtown? On 2,300 screens, this should see about $5,100 a screen for $11.7 million opening frame. Even less appetizing is the latest from celebrity train-wreck-of-the-month Lindsay Lohan in the thriller I Know Who Killed Me. We’re all tired of dear little Lindsay’s shenanigans, and the constant press coverage, and that should translate to her movie as well. Let’s call this a rehab-busting $5.4 million. If this does flop, we’ll know what killed her career.

Of the holdovers, here’s hoping the delightful Hairspray falls less than 50%... word of mouth is good, the reviews are great, the film is infectious, so let’s call this a respectable 40% decline and a $16.5 million second weekend. Could John Travolta receive an Oscar nom as Best Supporting Actor for his wonderful turn as Edna? Stay tuned.

Our Predictions
Film Gorgos Bleiler
The Simpsons Movie $45.1 million $41.8 million
I Now Pronounce You Chuck and Larry $18.1 million $18.8 million
Harry Potter and the Order of the Phoenix $16.9 million $17.3 million
Hairspray $15.1 million $16.5 million
No Reservations $9.7 million $11.7 million
Transformers $9.8 million $10.9 million
Ratatouille $5.5 million $6.8 million
I Know Who Killed Me $3.3 million $5.4 million
Live Free or Die Hard $3.9 million $4.5 million
Who's Your Caddy? $2.2 million $3.0 million
Theater counts obtained at www.boxofficemojo.com

Content © TLA Entertainment Group

The Simpsons Movie picture © Fox

Wednesday, July 25, 2007

Factory Girl

Factory Girl

(2007, 99 min) So, would everyone in this film like to be famous for another fifteen minutes? If you were/are the original stars and superstars of Andy Warhol’s Factory, the answer would be a resounding, yes! George Hickenlooper (Mayor of Sunset Strip) carefully recreates the aura of early-to-mid-sixties Lower East Side, New York City. He and his production designer resurrect the Factory in all its silver glory and pack it with the madcap antics of Ondine, International Velvet, the Velvet Underground, Gerald Malanga and of course, little miss Edie Sedgwick herself, dancing to wild abandon under the watchful eye of the immaculate Warhol. Miss Sedgwick, played with graceful aplomb by Sienna Miller, is eager to go to the big Apple and prove that she is the quintessential party girl of the sixties, which she does almost immediately. Soon, she meets Warhol (played with solid conviction by Guy Pearce) who falls for her as only the consummate pop icon could.

Of course, some will malign this film as superficial and one-dimensional, but it hardly fails here. Much of what occurred then was exactly that, no surprises there. And it sketches its characters quickly and to great effect, especially the questioning natures of the principal actors. Life (and death) is but a play in the Factory and all kinds of freaks are the players, says Factory Girl.

The film surprisingly exudes a sympathetic air that envelopes the entire cast, making the viewer more able to empathize with an era and behavior long passed by. It is sad and melancholic to watch the beautiful flower that was Edie, wither and fall so quickly from the stem, almost shocking in its swiftness of descent. In the end, it becomes apparent that no one really cared about anyone else. The dark, reflecting mirrors of Warhol’s Screen Tests were perfect signifiers of the rampant narcissism exemplified by the stars and Superstars.

© TLA Entertainment Group

1408

1408

(2007, 94 min) Based on a short novella by horror icon Stephen King, 1408 follows Michael Enslin (John Cusack), an alcoholic writer recovering from a devastating family tragedy. Having authored several books promoting haunted tourist destinations, he works primarily as a paranormal investigator. He has, however, been greatly disappointed by previous findings and suspects that he will never make contact with an otherworldly being.

Enslin becomes determined to stay in room 1408 of New York City’s Dolphin Hotel after receiving a mysterious postcard warning him against it. Upon his arrival, he is further warned by Gerald Olin (Samuel L. Jackson), the Dolphin’s hotel manager. Olin informs that the room has played host to a total of 56 deaths. In addition to seven window jumpers, a man who drowned in a bowl of chicken soup, numerous overdoses, hangings, stranglings and mutilations, 22 people have died natural deaths from heart attacks and strokes. According to Olin, the room itself is evil. No one person has survived inside for more than one hour.

Enslin still insists upon visiting 1408 and, shortly after his arrival, becomes much less skeptical. A clock radio counts down the last hour of his life while blaring “We’ve Only Just Begun” by The Carpenters. Toilet paper folds itself, the thermostat switches back and forth between polar extreme temperatures, ominous paintings seem to come to life, and the television displays highlights of his most painful memories. Malevolent forces deliver Enslin to the brink of insanity as he attempts survive the entire hour in what seems to be the portal to hell.

Carrying the larger majority of the film by himself, Cusack offers his most engaging performance in years. His animated reactions add an appropriate mix of both humor and tension to the largely clichĂ©d but highly effective scares offered in the promising first half of the feature. Unfortunately, Hollywood-happy Swedish filmmaker Mikael HĂĄfström – director of the equally illogical Derailed – squanders his promising exposition. Shocks and suspense are eventually abandoned in favor of unnecessary special effects and an overly dramatic, audience-tested climax and denouement that seem implausible even within the confines of a supernatural thriller.

For many discerning horror fans, the ending is likely to stigmatize the film as a whole. Still, the eerie production design and spooky initial occurrences should prove enjoyable enough to warrant a stormy night home viewing with the lights out.

© TLA Entertainment Group

Friday, July 13, 2007

Gone Fishin'

Sorry folks but we have to take a break from the blog for about two weeks as we head off on a business trip and then take some much-needed R'n'R. Yes we've heard of things called Blackberries and laptops, but we choose to pretend that they don't exist. We do the same thing when we think about credit card debt, or the 20% of the population that still thinks Bush is doing a good job. We'll be back with reviews of 1408 and hopefully The Simpsons Movie in no time.

© TLA Entertainment Group

Thursday, July 12, 2007

The Astronaut Farmer

The Astronaut Farmer

(2007, 104 min) What happens when you take a premise with a forgone conclusion and fashion a shooting script around it? You might get something resembling The Astronaut Farmer. Filled with good old cornpone platitudes and cliched soliloquies, the monologues and dialogues feel somewhat forced and prefabricated. Michael Polish, along with brother Mark, more known for quirky, indie films like Twin Falls Idaho and Northfork, are here turned into the typical Hollywood generic director and writer, why they were given this project or why they bid for it, is anybody’s guess.

Billy Bob Thornton, playing the would-be astronaut, Charles Farmer, displays his typical characterization of the troubled individual loner, smoothly taking the lead. Virginia Madsen plays a strong supporting role as his wife, investing as much emotion as possible. Farmer comes up hard against the FAA when his plans to launch himself into space make him a celebrity in his small Texas town. Redeeming qualities of the film include an above average eye for compositional framing and a wide, cinematic approach to the country landscape.

The world seems to be against Farmer, making him automatically the heir apparent for the title of bona fide “American Hero.” Constantly painting with wide strokes, leaving no room for much needed character development, the script is almost always sinking into oblivion. The centerpiece is a spectacular misfire as Farmer prematurely launches himself horizontally across the ranch lands, seriously injuring himself. This turns the film into a greater illustration of a personal struggle, pitting a man and his vision against reality. This failure leads to the third act, a second attempt to launch with a rocket dubbed, “The Dreamer.” These final minutes are the most satisfying, developing a contemplative tone with realistic special effects. Still, one leaves the film wishing much more had transpired.

© TLA Entertainment Group

Wednesday, July 11, 2007

Box Office Predictions 7/13/07 - 7/15/07

David Gorgos: Judging by our blog hits alone, anticipation is huge for the fifth installment of the Harry Potter series. Each film has reliably opened with an average of around $25,000 per screen, and this one should be no different. A huge theater count of 4285 (and most of those showing the film on multiple screens) should push Order of the Phoenix to a new record.

Transformers has good news and bad news: It’s not a sequel, so its drop shouldn’t be too severe, but Harry is going after the exact same audience. A dip of about 50% sounds right.

The only other new opening is Captivity, the latest torture-porn flick, which should draw a miniscule crowd. For those wondering why the director of The Mission and The Killing Fields would stoop to generic horror, remember that Roland JoffĂ©’s recent resume includes such dreck as Goodbye Lover and The Scarlet Letter (complete with happy ending).

David Bleiler: With one whimsical zap of his wand, Harry Potter will turn those morphing autos into scrap metal as this weekend the anticipated fifth entry in the Potter series, Harry Potter and the Order of the Phoenix, opens on nearly 4,300 screens. Perfectly timed to coincide with the release of the seventh and final book, “Harry Potter and the Deathly Hallows” on July 21, the film should see near-record performance for the Potter films. The last two, Goblet and Azkaban, opened with $26,600 and $24,300 per screen averages, respectively. They both opened on less than 4,000 screens, so Phoenix’s per screen average probably won’t top those numbers, but it should equal it. Let’s call it $25,000 per screen, for a magical $107.1 million opening weekend. That will top Goblet’s $102.7 million opening.

Harry will be taking a bite out of Transformers, but not necessarily a huge one. Word of mouth seems to be good for the actioner, so it may not approach the 50% second-week drop that many of this year’s big films are experiencing. Anticipating a 45% drop, the film should bring in $38.8 million. That’s still a total after two weekends of over $225 million! These robot cars are driving all the way to the bank.

The only other opener is the horror title Captivity, what looks to be a Saw rip-off. With no stars and little buzz, this shouldn’t see more than $3,500 per screen for an opening of $5.3 million on 1,500 screens.

Two mediocre comedies in release, Evan Almighty and License to Wed, should see the biggest drop, nearing or topping 50%; all the other films in the top ten should be in the 30%-45% range, with Ratatouille looking to have the best percentage drop. Now we wait for Hairspray and Chuck and Larry next weekend.

Our Predictions
Film Gorgos Bleiler
Harry Potter and the Order of the Phoenix $106.2 million $107.1 million
Transformers $36.0 million $38.8 million
Ratatouille $18.8 million $18.1 million
Live Free or Die Hard $9.7 million $10.8 million
License to Wed $5.9 million $5.8 million
Captivity $3.8 million $5.3 million
Evan Almighty $4.7 million $4.7 million
1408 $4.2 million $4.4 million
Knocked Up $3.5 million $3.6 million
Sicko $2.7 million $2.7 million
Theater counts obtained at www.boxofficemojo.com

Content © TLA Entertainment Group

Harry Potter picture © Warner Bros. Pictures

The Last Mimzy

The Last Mimzy

(2007, 97 min) Robert Shaye, founder of New Line Cinema, returns to directing with the help of screenwriter Bruce Joel Rubin (Deep Impact, Jacob’s Ladder), crafting an interesting new age young person’s film, The Last Mimzy. Newcomers Chris O’Neil and Rhiannon Leigh Wryn play the children who find a mysterious box washed ashore near their Seattle beach-house. It contains a stuffed bunny and other inscrutable objects that soon will become the centerpiece of a science fiction fantasy with many current ideas on spirituality thrown into the mix. Timothy Hutton and Joely Richardson play the increasingly befuddled parents as their kids start to exhibit signs of genius and paranormal activity. Emma (Wryn) maintains her childlike wonder throughout the film as her only concern is her attachment to Mimzy (the bunny rabbit).

There are many interesting concepts presented throughout the film including Tibetan Buddhist mandalas, clairvoyance and clairaudience, levitation and nano technology. The special effects are spectacular in an understated manner, such as when Noah (O’Neil) begins to see the underlying geometric perfection in the world around him after activating a mysterious slab from the magic box.

Issues of national security are also raised when an agent (Michael Clarke Duncan) investigates a city-wide blackout caused by Noah’s manipulation of a generator formed from elements of the box.

At times, there seems almost too much information is presented, clouding the natural unfoldment of the plotline. This is a minor quibble however as the film reveals a future time where scientists still grappling with world dilemmas, await the return from the past of Mimzy, who is really an amazing feat of nanotechnology manufactured by Intel.

Adults will be interested to learn that The Last Mimzy is not a lowest common denominator kid flick but a thoughtful rumination related to E.T., Close Encounters of the Third Kind and What the Bleep Do We Know?

© TLA Entertainment Group

Monday, July 9, 2007

Transformers: Exactly what meets the eye

Even though many fanboys lined up during the weekdays, Transformers still scored an impressive $70 million-plus over the 3-day weekend. Dave B. had even higher expectations, but due to decent reviews and its newfound freshness as a franchise, it could continue to draw strong crowds in the weeks ahead. Many of the films grossed somewhere between the two Daves' estimates, befitting a weekend that was kind of a holiday, kind of not. But there was one film that caught us off-guard, and probably shouldn't have: 1408's opening weekend was very similar to that of Disturbia, and its second weekend saw a similarly small drop; what do these films have that makes them track so differently from other horror flicks? (That's a real question, not a rhetorical one. If you know the answer, you could make big money in Hollywood.) Finally, the two Daves give themselves a collective pat on the back for gauging the lack of interest in Robin Williams and his depressing post-Oscar® career.

Actual Grosses for the Weekend of July 6 thru July 8:
Rank Film Total
1 Transformers $70.5 million
2 Ratatouille $29.0 million
3 Live Free or Die Hard $17.7 million
4 License to Wed $10.4 million
5 Evan Almighty $8.7 million
6 1408 $7.1 million
7 Knocked Up $5.2 million
8 Fantastic Four: Rise of the Silver Surfer $4.2 million
9 Sicko $3.6 million
10 Ocean's Thirteen $3.5 million

© TLA Entertainment Group

Transformers image ©DreamWorks SKG / Paramount

Box office figures © Box Office Mojo

Harry Potter and the Order of the Phoenix

Harry Potter 5

(2007, 138 min) There’s no doubt about it – Harry Potter has grown up. The only question is how much has he matured? That’s at the heart of Harry Potter and the Order of the Phoenix, the fifth, entertaining entry in the vastly popular series based on the J.K. Rowling novels. In the hands of yet another director, this time British helmer David Yates, whose last film for HBO, The Girl in the CafĂ© received good notices (and whose critically acclaimed mini-series Sex Traffic has yet to play in the U.S.), the film is a lot more talk than action. But the characters have matured so well over the years, and Yates gives such attention to the big and small things, you can’t help but enjoy sitting through what is basically a build-up for the final confrontation between Harry and the evil Lord Voldemort (Ralph Fiennes) in the next two chapters.

It’s like waiting to see Anakin Skywalker turn to the Dark Side in Revenge of the Sith – you know it’s coming. You know it’s inevitable. It’s the how that you want to see. Only this is more satisfying.

Ready to begin his fifth year at Hogwarts, Harry has just been expelled for using magic in front of a muggle. From the start, it appears that the suspension, spearheaded by the Minister of Magic, is acting upon his own agenda. And the court is clearly divided between those who believe Harry’s story that Voldemort has returned, and those who don’t and who are quite ready to silence the young wizard any way they can. This sorcerous congress could very well be taking sides on the Iraq war or whether there were weapons of mass destruction. Torture of suspected plotters, violations of long-standing civil rights (or in this case wizardry rights) – there are many shadings of George W.'s administration in this Ministry.

And their Cheney is marvelously played by Imelda Staunton, who gives what may be the best performance in any of the Harry Potter films to date. Her Dolores Umbridge is a classic creation of contradictions: a superficial mouthpiece who speaks in homespun certainties but whose smiling façade masks sinister intent. And when Dolores comes to Hogwarts to take over the department of Defense Against the Dark Arts, the smell of napalm is in the air as she gets ready to battle both Harry and Hogwarts Headmaster Dumbledore (Michael Gambon).

She is only one foe that Harry must face. For Lord Voldemort is an ever-present danger, and Harry is plagued by dreams of the dark wizard that are threatening his own sanity. How he handles these and other obstacles clears the path for the showdown to come, and comments on how far Harry has come over the last five years. This includes the student becoming the teacher, as Harry commands a covert team of witches and wizards called “Dumbledore’s Army” in preparation for Voldemort. And, yes, Harry also receives his first kiss, though it's a minor affair.

A great majority of the characters from the last four films are here, as are the quirky and charming magical antics that have long characterized Hogwarts and the series. Director Yates brings back a lot of the humor that the first two films featured, while not ignoring the darker, more fearful story aspects that made the third and fourth films stand out. For the first time, a regular character will die, and the safety of others will be in great doubt.

Being a smattering of all the films, Order of the Phoenix doesn’t quite have the identity and velocity of the two best films, Prisoner of Azkaban and Goblet of Fire. But between the laughs and the thrills, the plot developments and the wicked scene-stealing of Staunton, this lively fifth entry goes to some lengths to ensure that Harry Potter is, and remains, one of the best film series of all time.

Has Harry matured? You bet he has. Just as Daniel Radcliffe now wears his role with a regal authority and seemingly unflappable verve. Just as Hermione and Ron and their counterparts Emma Watson and Rupert Grint are integral parts to the whole, and act every bit the troubleshooter and best friend. And now the promise of adulthood and the next chapter – bring on the next course.

© TLA Entertainment Group

Thursday, July 5, 2007

Transformers

Transformers

(2007, 144 min) It’s becoming somewhat of a tradition: Since Independence Day, movie audiences are treated to alien attacks at our nation’s theaters on July 4. War of the Worlds, the two Men in Black films, even Terminator 3 all had heroes fighting villains from beyond time or space to celebrate the fourth with a bang. 2007’s entry is Transformers, a loud, slick, silly, exciting popcorn movie that isn’t nearly as accomplished as any of those other films, but you certainly do get a bang for your buck. And from all the fireworks on the screen, this is gonna make a lot of bucks.

Director Michael Bay (Armageddon, Pearl Harbor) isn’t exactly known for his subtlety, and subtle Transformers isn’t. But someone had the good sense to bring on Steven Spielberg as Executive Producer, for the production values are outstanding, all you would expect from probably the most successful director/producer of all time. Throughout most of his career, Spielberg could always be counted on for bringing out the inner child in all of us, and at its best, Transformers does exactly that.

The Everychild in this instance is Sam Witwicky (Shia LaBeouf), a nerdy but cute high school 11th grader who, like most boys his age, pines for the local beauty (Megan Fox), worries to excess about everything and is looking forward to his first car. It is the latter that sets the story in motion when Sam and his father (Kevin Dunn in a nice turn) go to Bobby Bolivia’s used car lot (Bernie Mac in a neat cameo as Bobby) and buy a beat-up yellow Camaro. When Bobby says that the car picks the owner, he isn’t kidding.

As it turns out, the car is one of several robot soldiers called Autobots from the dying planet Cybertron. They can transform at will back and forth from a mechanical being (car, plane, cell phone, portable CD player) into their real selves: giant robots with Edward Scissorhands appendages. Sam’s great-grandfather had made a discovery of the Autobots’ archenemy, Megatron, leader of the evil Decepticons, and now Sam is unknowingly in possession of a map that both the Autobots and Decepticons are after.

Throw in the standard cast of characters – a secret government organization, so secret that even the Secretary of Defense (Jon Voight) doesn’t know about it; a gung-ho group of grunts who escape the film’s opening carnage of a U.S. military base in the Middle East by the Decepticons; and a couple of youthful computer geeks – and there’s the making of a by-the-book, color-inside-the-lines military adventure that plays more like a recruiting film rather than CGI magic show.

But the effects are just that: magical. The semi-destruction of Los Angeles, the couple of lengthy battle sequences and, of course, the Transformers themselves are all remarkably done. The latter are the raison d’etre of the film, and do not disappoint.

The state-of-the-arts effects are not even the best thing in Transformers; that belongs to LaBeouf as Sam. The young actor has such a genuinely appealing quality to him, it’s difficult to imagine that Transformers, effects and all, would have worked half as well without him. It’s not an award-caliber performance per se, but it’s one of great heart and personality. The supporting cast ranges from good to barely bearable, with Voight giving much more conviction than the one-dimensional role deserves.

It’s probably safe to say that if loud explosions (a lot of them actually), a juvenile script and cardboard-cut-out characters can’t be overlooked for the sake of effects, Transformers is definitely not for you. But for the kid looking for pure visceral excitement, this will suffice until the next big-budget Hollywood formulaic epic – or at least the latest alien invasion come next July 4th.

© TLA Entertainment Group

Box Office Predictions 7/6/07 - 7/8/07

David Bleiler: There’s no doubt that Transformers will be big – the question is just how big? Bringing in $27.5 million on its opening day on Tuesday, the popcorn movie of the summer brought in nearly $7,000 per screen. Let’s cheat, and use that as our guide, suggesting that the three-day weekend per screen average will hit $20,000. That equates to somewhere in the low $80 millions on 4,011 screens. And, since weekends are always higher, this could hit $23,000 per screen… so I’ll be calling it at $92.2 million opening weekend gross. If it’s even in this neighborhood, then this would indicate we’ll have a fourth film this summer that will gross over $300 million!

The only other new release – read: only other film company stupid enough to go up against giant robots from outer space – is Warner’s License to Wed. The studio must think that this is great counter-programming, that Robin Williams as a hipster priest will appeal to those not lured by Megatron and his friends. But those trailers make Williams’ Patch Adams look like The Departed. Still, there are enough fans to suggest this could do at least RV business, so let’s call it $4,500 per screen on 2,400 screens for a $10.8 million opening. Don’t expect the legs that RV had unless this is truly funny and not the sap-fest the ads suggest.

Of the holdovers, look for Ratatouille, Sicko, Live Free or Die Hard and the usual suspect Knocked Up to have the least percentage drops from last weekend.

David Gorgos: I confess that while all my friends were absorbed in the Autobots and the Decepticons, I was watching Looney Tunes and "The Price Is Right" (I would totally buy a Best of TPIR DVD). So I really don't understand the excitement surrounding Michael Bay's noisy adaptation. However, the numbers don't lie. Comparing its Tuesday gross to previous Wednesday grosses yields: Superman Returns ($21 Wednesday, $52.5 weekend); War of the Worlds ($21.3 Wednesday, $64.5 weekend); Men in Black II ($18.6 Wednesday, $52.1 weekend). Transformer opened about 35-40% higher than these comp titles on Tuesday, so a similar weekend would result in a 3-day gross of over $70 million. Surprisingly, this will be Michael Bay's biggest opening weekend ever, proof not only that you can't go broke underestimating the taste of the general public, but that Bay hadn't plumbed so far already.

Score one for American taste, however, as Robin Williams unleashes another bomb. His career is mimicing Eddie Murphy's in that only his kiddie-friendly and cartoon fare is hitting big. This forced romantic comedy is not aimed at kids, and adults are sick of his schtick. On a side note, I think when Howie Mandel and Carrot Top leave the MGM Grand, Robin would be a perfect fit for a long-term run in Vegas.

Die Hard will probably dip big like other sequels, while Ratatouille will see a drop somewhere between Cars and Finding Nemo, just under 40%. Dave seems to believe that all films will have a holiday bump, while I don't think either weekend (before and after July 4) is truly a holiday weekend, which accounts for much of the difference in our predictions. And Sicko, while still a success, isn't nearly approaching the heights of Fahrenheit 9/11. Democratic politicians should take note: Americans aren't nearly as mobilized around health care as they are with our misguided wars on terror and Iraq.

Our Predictions
Film Gorgos Bleiler
Transformers $72.5 million $92.2 million
Ratatouille $29.6 million $35.3 million
Live Free or Die Hard $15.0 million $21.7 million
License to Wed $9.4 million $10.8 million
Evan Almighty $8.6 million $9.0 million
1408 $5.1 million $6.0 million
Knocked Up $4.5 million $5.1 million
Fantastic Four: Rise of the Silver Surfer $4.0 million $4.6 million
Sicko $3.1 million $4.2 million
Ocean's Thirteen $3.5 million $3.7 million
Theater counts obtained at www.boxofficemojo.com

Content © TLA Entertainment Group

Transformers picture © DreamWorks SKG

Tuesday, July 3, 2007

Rats Scurry to #1; Bruce Lives Hard

The Big Cheese Rat-a-Tat-Tat: As expected, the animated Pixar feature Ratatouille was #1 at the box office last weekend, bringing in $47.0 million. Less than Disney/Pixar's Cars ($60.1) but more than Meet the Robinsons ($25.1), the well-reviewed kidpic looks like it should be in the mid-range of animated hits – with a potential gross that could top $150 million. The Two Daves were both within 10% accuracy on their estimates. Industry estimates were as high as $60 million for the Parisian-set comedy, which should benefit over the next few weeks from good word of mouth.

With a Vengeance: Bruce Willis showed there’s plenty of life after 50 as the fourth film in the Die Hard series, Live Free or Die Hard, brought in nearly $10,000 per screen over the weekend for an action-packed $33.4 million. Add the $15 million from the pre-Friday opening, and the film has already grossed $48.4 million. The second week may suffer slightly from Transformers opening, but Bruce should see this installment easily pass the $100 million mark. Dave B. was closest with his guess of $32.0 million.

Doctor, Doctor: The Two Daves both enthusiastically overestimated the opening for Michael Moore’s acclaimed documentary on the U.S. health care system, Sicko. Playing in only 441 theaters, the film brought in over $10,000 per screen, down from Moore’s Fahrenheit 9/11 numbers, but still excellent for a documentary. The theater count should expand and the final result should show that audiences care as much for the environment (An Inconvenient Truth finished with $24.1 million) as they do about health care.

Nighty Night: That great cast of actresses including Meryl Streep, Glenn Close and Vanessa Redgrave in Evening could only produce $3.5 million on nearly 1,000 screens, proving once again that serious drama can be a serious problem when released in the summer.

Holdovers: Pirates of the Caribbean and Knocked Up had the best weekly drops, both only in the low 30% range. At this rate, Knocked Up will surely pass $150 million. That’s about half of Pirates, which this week will become the third film of the year to pass $300 million.

Actual Grosses for Weekend June 29 thru July 1:
Rank Film Total
1 Ratatouille $47.0 million
2 Live Free or Die Hard $33.4 million
3 Evan Almighty $15.1 million
4 1408 $10.7 million
5 Fantastic Four: Rise of the Silver Surfer $9.1 million
6 Knocked Up $7.3 million
7 Ocean's Thirteen $6.1 million
8 Pirates of the Caribbean 3 $5.0 million
9 Sicko $4.5 million
10 Evening $3.5 million

© TLA Entertainment Group

Ratatouille image © Buena Vista Pictures

Box office figures © Box Office Mojo