Continue reading Top 100 Films on Netflix (UK)
Continue reading Top 100 Films on Netflix (UK)
Ding dong, merrily on high – Steve’s pants are wet and minging.
Don’t worry. He just got a bit over-excited on last week’s Star Wars podcast. But before Steve worked himself up into that state, you can listen to his usual mildly-subdued-self as he hosted our Christmas special podcast, recorded the week before he exploded in a fit of fan-geekery over The Force Awakens.
Joining him in our festive celebrations during this most unholy Winterval and non-religion-specific season are Owen Hughes, Andrew Brooker and Brian Plank. As is tradition, we start off with a Christmassy quiz – quite possibly the worst quiz we’ve had on the podcast all year. Possibly ever. But moods are soon lifted as the team run through which Christmas movies they’ve been watching over the holiday period.
In lieu of any main releases to talk about, we have a special triple bill where each member of the crew pick their films of Christmas past (favourite first watch of a non-2015 film during this year), Christmas present (favourite 2015 release) and Christmas future (which movie they’re most looking forward to in 2016). It really isn’t as confusing as I’ve made it sound.
There’s still one more podcast to go this year – our Failed Critics Awards end of year wrap up (deadline for votes is 27th Dec) – so you can join us again later this month. Until then, Merry Christmas from all of us here at Failed Critics!
As we’re now well and truly past the half-way mark for the year, it seems like as good a time as any for a few of the Failed Critics contributors to bundle together and reveal which films they’ve enjoyed the most so far. Come December, we’ll still be running the annual Failed Critics Awards, giving you the opportunity to cast your vote for your favourite films of 2015.
In the meantime, let’s have a quick run through of what some of our writers and podcasters have chosen as their five favourite films of the year. Will the biggest film of the year so far, Jurassic World, be featured? Will United Passions somehow infect this article too? Will anyone pick anything other than Mad Max?? Find out below…
by Andrew Brooker (@Brooker411)
Fighting the urge to fill my word limit with just paragraphs of me repeating the words “Perfect”, “Awesome” and “The most fun I’ve had this year with clothes on”, I’ll try and be a little more cohesive in my description. It had been thirty years since the last film in the iconic Mad Max franchise, to bring a fourth entry to a series after that long is a massive undertaking at the best of times. But when its original star is as iconic as the film’s that made him famous, replacing him as well would be a recipe for disaster in any other filmmakers hands. Thankfully for all of us, the series’ creator made a triumphant return and gave us one of the greatest films I’ve ever seen. A breathtaking, visceral two hours (on three occasions) in the cinema left me shellshocked and shaking with excitement and almost unable to write my review when I got home I was so pumped. Oh, and there’s a dude on a truck made of drums and speakers playing heavy metal on a flame throwing guitar! No more needs to be said!
2] Ex Machina
4] Still Alice
5] It Follows
WORST: Avengers: Age of Ultron – Years of subtle hype and weeks of actual hype in the buildup to this, the biggest Marvel movie yet. What we got was a more than two hour long wet fart of a film that left me blindingly disappointed with a really bad taste in my mouth.
by Paul Field (@pafster)
1] Wild Tales
Dark, twisted and utterly enthralling anthology from Argentina. All of the stories are great, no fillers here as is often the case with anthology films. I love a revenge film, and to have 6 served up in one sitting is a real treat. Hard to pick my favourite… the parking ticket is brilliant, the plane passengers unsettling and hilarious, the overtaking motorist caper that escalates out of all control…..but I think the Wedding. Pissing off the bride on her wedding day is an absolute no no, and here, she conveys her displeasure in spectacular fashion. As a first feature from Damián Szifron, this is outstanding and will take some toppling come the end of the year.
WORST: Lost River – Ryan Gosling believing his own hype, delivers the most pretentious load of cobblers ever committed to film. Utter, utter toilet.. and yes, I’ve seen United Passions, Accidental Love and the new Danny Dyer film this year too. Its worse than all three of those, on repeat, for eternity.
by Owen Hughes (@ohughes86)
Released in the UK on 1 January 2015, I still don’t think I’ve seen a funnier, more entertaining film in the cinema all year. Michael Keaton is absolutely phenomenal as the flailing former superhero movie star attempting to reinvent himself as a stage actor and producer. His manic behaviour, coupled with director Iñárritu’s frenetic, constantly adapting story shot as if the whole production was just one long take; I just loved every minute of it. However, I was hesitant to put it as number one on my list, given a couple people I’ve recommended it to have hated it! But ultimately, despite seeing it only two days into the year, nothing else has managed to better it yet for me.
2] Mad Max: Fury Road
5] John Wick
WORST: United Passions – Technically not even released in the UK this year, and unlike Jupiter Ascending (cinema) and The Man With The Iron Fists 2 (VOD), I didn’t even watch this legally. But if there’s a more abhorrent, reprehensible piece of offensive propagandist garbage with as high a budget and released globally within the next decade, I’ll be surprised.
By Matt Lambourne (@LamboMat)
I’m still thinking about this movie, weeks after seeing it. The action, the character, the dialogue, the music and most importantly, the SCALE. It’s over the top in every sense and works for me on every level. I can’t wait to get hold of the home release and enjoy it without the hindrance of 3D. Absolutely superb movie!
3] Furious 7
by Steve Norman (@StevePN86)
The Stephen Hawking biopic earned lead man Eddie Redmayne an Oscar and deservedly so. His portrayal of a genius of a man going through various stages of a terrible, life changing illness was extremely believable. The film also put over a side of Hawking you don’t often see, the friend, parent and husband, not the man who invented time. Or something.
2] Ex Machina
5] Furious 7
WORST: United Passions – Garbage of the highest order. I found Tim Roth less deplorable playing a racist in Selma than I did playing Sepp Blatter in this tripe. It’s offensive that it was even made.
by Callum Petch (@CallumPetch)
1] Mad Max: Fury Road
Fury Road is the kind of film whose existence is a reminder that this Movies thing might be alright after all, a beacon of hope that we can all look to in dark times and remind ourselves that we can, in fact, have it so much better. From its uncomplicated story, to its unique world and set design, to its outstanding special effects, to its jaw-dropping practical stunts, to its brilliantly subtle Tom Hardy performance, to its mesmerising Charlize Theron performance, to its openly and furiously feminist and matriarchal heart, every last frame of this utter masterpiece is what I have heard perfection is supposed to be like. It is everything that modern Hollywood blockbuster filmmaking isn’t, a purposeful pushback against everything wrong with those films right now that, in a just world, will have everyone following its example in the years to come. Both times that I saw this movie, my veins pulsed with pure adrenaline from frame one and the feeling did not stop until long after I left the screen in tears of pure joy at that perfect final shot. I foresee nothing else coming anywhere close to it for the rest of this year, mainly cos I have no idea what’ll happen to me if there is a better film than Fury Road to come.
3] The Voices
With the 2015 BAFTAs coming up, Callum Petch guides you through the likely winners and losers of all of the major categories.
by Callum Petch (Twitter: @CallumPetch)
We have one final stop on the awards train before we reach The 2015 Oscars in almost exactly one month’s time, and that’s The 2015 British Academy Film Awards. The BAFTAs, for those who don’t know, celebrate the best in the past year of film with an added British tinge due their being a British awards body and all. Although their main purpose for people like us is to get one last indicator as to how The Academy will be voting come February 22nd, since all of their nominations and eventual awards typically line up with one another.
So, that’s what we’re here to do. With the awards themselves in just over two weeks, and my having seen just about every single one of the major nominees, I am here to guide you through the major categories, tell you who I feel deserves to win, who you should probably put your money on if you’re a betting kinda person, and any snubs, rule-flaking inclusions or just plain weird things that caught my fancy. We’re not covering all of them, because we’ll be here all day – although other members of the site may fill in those blanks later if they wish – but we’re doing most of them. So, without further delay, GRAPPLING HOOK!
Nominees: Big Hero 6, The Boxtrolls, The Lego Movie
Who Should Win: Soooo… I know that I’m supposed to say The Lego Movie, and I do really, really like The Lego Movie, but… Big Hero 6 is currently playing to my heart way more. I’m sorry, but it is! I was actually sat writing about Kung Fu Panda 2 the other day when this quietly devastating yet heart-warming scene from Big Hero 6 popped up into my head and now I just want to go and spend more time with that cast again. I’m sure whenever I eventually get around to watching The Lego Movie again, I’ll put that back on top but, yeah, I guess I’m switching teams and rooting for Disney. Sorry, folks.
Who Will Win: Time was that I would say that this was The Lego Movie’s to lose, but with How To Train Your Dragon 2 upsetting it at the Golden Globes and not even being considered in the Oscar category – although I still find that a mostly strong list, so I’m not going to complain much – I really don’t think this is a safe bet anymore. Big Hero 6 is Disney, so that will always be in the running, and awards bodies are really loving The Boxtrolls – it just racked up 13 nominations at this year’s Annie Awards (which, incidentally, is a very lazy set of nominees this year, but this is not the place to talk about that) – so that has a good shot. My money’s still on The Lego Movie leaving with the award, but don’t be surprised if either of the other two take it instead.
Other Notes: The BAFTAs have always only had three nominees for this category, so that makes snubs more obvious but also, sometimes, more understandable. Although I was lukewarm on it, I am glad to see Laika rack up another nomination with The Boxtrolls and it deserves that spot more than How To Train Your Dragon 2. That being said, colour me disappointed that there’s no room for The Book Of Life, which sadly seems destined for cult status rather than mainstream acceptance. Also, even though there was clearly no chance in hell of it ever happening, I would like to have seen the genuinely excellent My Little Pony: Equestria Girls: Rainbow Rocks get a look-in.
Nominees: ’71, Paddington, Pride, The Imitation Game, The Theory Of Everything, Under The Skin
Who Should Win: Under The Skin is a film that deserved far more love and attention from awards bodies than it has gotten, although the fact that it’s slipped away with barely any recognition outside of the BAFTAs – Mica Levi’s excellently unsettling score is also up for an award – is kinda fitting really. It is really not a film for everyone, but its quiet study of gender, sexuality, and gender performance – as well as its quietly furious screed about how casually, and occasionally outwardly hateful, sexist society views and treats women – is utterly gripping and compelling viewing for those willing to work for their films, and Scarlett Johannson puts in the single best performance of all of last year in it, too. It’s my no. 5 film of 2014, and it deserves this award.
Who Will Win: It won’t, though. Not by a long shot. Nor will Paddington – which I did like but don’t get the intense passionate love that critics and audiences are throwing its way – nor will ’71, and most certainly nor will Pride. See, The Imitation Game and The Theory Of Everything are up for Best Film and it looks real bad if the films that are up for Best Film don’t win Outstanding British Film. The Weinsteins have been campaigning hard for Imitation Game, but this is the home turf of Working Title’s Tim Bevan and Eric Fellner, which may sway voters towards The Theory Of Everything. I’m leaning more towards the former, though, so those of you looking for a definite bet should put money on The Imitation Game.
Other Notes: Starred Up should really be in contention. One of the best British dramas in years and it’s kept out by two slops of porridge? Ugh. Ditto for Richard Ayoade’s The Double, which everybody seems to have let undeservedly slide into the background since last April. I can’t really complain too much, though, 2014 was a very good year for British film and I’m just glad we’ve gotten actual British films filling up the list this year. You know, unlike last year.
Nominees: Wes Anderson & Hugo Guinness for The Grand Budapest Hotel, Damien Chazelle for Whiplash, Dan Gilroy for Nightcrawler, Alejandro Gonzalez Iñárritu and Nicholás Giacobone and Alexander Dinelaris Jr. and Armando Bo for Birdman, Richard Linklater for Boyhood
Who Should Win: Nice strong list here. As much as I like Whiplash and Birdman, though, I feel that they are great scripts that are elevated to excellent scripts by everything else from the movie – performances, direction, editing, etc. – so I’m not particularly rooting for them. The script for The Grand Budapest Hotel is excellent, managing to balance whimsy and light-hearted farcical caper antics with this constant undercurrent of sadness and melancholy, a tale of men born out of time and a nostalgic longing that is admirable but foolhardy. Meanwhile, Nightcrawler’s script has a tonne of things to say about capitalism, the media, classism, business, and the kind of sociopathic monster that one can be yet still win in our broken society. I’m good with either of those taking it, leaning more towards Nightcrawler.
Who Will Win: This will be The Grand Budapest Hotel’s consolation prize. Sure, it received 13 nominations overall, but most of those were in the technical categories that, although deserved, most people, and especially headline writers, don’t care about. This is where it gets its due in the major categories, to apologise for it having no chance in anything else. Whiplash has garnered enormous traction as of late, but I still don’t see it going over Grand Budapest here; this one’s basically set in stone.
Other Notes: You will notice that I left out Boyhood whilst I was going through complimenting the nominees. We’ll come back to that.
Nominees: Jason Hall for American Sniper, Gillian Flynn for Gone Girl, Paul King & Hamish McCall for Paddington, Anthony McCarten for The Theory Of Everything, Graham Moore for The Imitation Game
Who Should Win: Gillian Flynn for Gone Girl. Duh. I really don’t have to say any more than that, do I? Considering the rest of this field, I really don’t think I do.
Who Will Win: This field is suspiciously weak, full of films that have nothing to say or actively steer themselves away from having anything to say about their subjects or themes (although I do find that a plus in surprise nominee Paddington’s case), almost like it’s been designed with the express purpose of making sure that Gillian Flynn will win. Hmm, funny that.
Other Notes: Something that became immediately clear to me when this season’s awards films were lined up like this: this was very much a year of films, and especially biopics, about men that spectacularly failed to have anything to say about the men that they’re about. I mean, this is often a problem with awards bait films – failing to have any thematic arc or insight into their subjects but superficially arranging the beats of a feel-good story to create the illusion that something is being said – but it’s especially true this year. Maybe that’s a sign that we should diversify who we tell our stories about?
Nominees: Steve Carell as Jon du Pont (Foxcatcher), Ethan Hawke as Mason Evans, Sr. (Boyhood), Edward Norton as Mark Shiner (Birdman), Mark Ruffalo as Dave Schultz (Foxcatcher), J. K. Simmons as Terence Fletcher (Whiplash)
Who Should Win: J. K. Simmons, hands down, no contest. If you disagree then, quite frankly, you just haven’t seen Whiplash. Simmons takes the two registers that he typically operates on – hammy shouting fury, and warm paternal comfort – and weaponises them to stunning effect, adding nuance to the character of Fletcher whilst still frequently keeping him at the level of a complete monster. He is utterly sensational as this utterly inhuman force of nature and rage and he deserves this award far more than anyone else.
Who Will Win: Good thing that he’s guaranteed the win, then. He’s basically been on a well-deserved awards tour which, on February 22nd, will culminate with the 60 year-old taking the stage at the Dolby Theatre in Los Angeles to collect his first ever Oscar. For one of our best and most consistent character actors for the last 20 years, in a career-defining role, it will be incredibly satisfying to see. We’ll get a taste of that feeling at the BAFTAs and it will be wonderful.
Other Notes: Two well-earned nominations for Foxcatcher, although Steve Carell’s appearance here reeks of canny studio awards gaming. I mean, Best Actor has been a tight lock for months and the chance of anybody unexpected breaking in is slim, so why not position one of the leads of the film as a Supporting Actor in the hopes of at least scoring a nomination? Of course, there is a case to be made for Ruffalo also being the main character in Foxcatcher, too, but I think this all says more about the clever protagonist shuffling nature of Foxcatcher than anything else.
Nominees: Patricia Arquette as Olivia Evans (Boyhood), Keira Knightley as Joan Clarke (The Imitation Game), Rene Russo as Nina Romina (Nightcrawler), Imelda Staunton as Hefina Headon (Pride), Emma Stone as Sam Thomson (Birdman)
Who Should Win: It takes a damn strong actress willing to put in the extra work to not have the film completely whisked away from them by Jake Gyllenhaal in Nightcrawler, but Rene Russo was more than up to the task. She excellently embodies a woman who has to fight every day for the power she wields, who hates having to rely on Lou Bloom but recognises his value, and seizes on every possible advantage and opportunity in a desire to raise her stature and influence. She’s a more socially acceptable version of Lou Bloom, basically, only with some inherent sympathy ingrained in her due to the institutionalised sexism of her line of work, and Russo nails it all totally. So, yeah, I’m on the Russo train.
Who Will Win: Patricia Arquette has been the front-runner since the second Boyhood had its festival premieres, she has been sweeping practically every awards body that nominates her, and if she doesn’t win the Oscar I will be utterly floored. She’s going over here. I am fine with that, she is quite literally the only thing I actually liked about Boyhood, but I’m still going to be a little bitter regardless.
Other Notes: Nice to see Pride get a non-Britain-specific nod! Really annoyed that it’s not for any of the cast members who played a homosexual – who were the actual goddamn protagonists for that film which, lest we forget, is the reason why Pride works – but at least it’s being recognised for something; that film was a very nice surprise for me. In terms of snubs, four words, to be repeated for Best Actress: where is Emily Blunt? Seriously, between Edge Of Tomorrow, Into The Woods, and even her voice work in the dub of The Wind Rises, she’s spent the last year reminding us all that she’s one of the best actresses in film today, but we’ll snub her totally come awards time? I don’t get that.
Nominees: Benedict Cumberbatch as Alan Turing (The Imitation Game), Ralph Fiennes as Gustav H. (The Grand Budapest Hotel), Jake Gyllenhaal as Louis Bloom (Nightcrawler), Michael Keaton as Riggan Thomson (Birdman), Eddie Redmayne as Stephen Hawking (The Theory of Everything)
Who Should Win: My heart wants Keaton to win, because it’s Michael Keaton, he is great in Birdman, and I want nice things to happen to the guy. However, my head has to admit that Gyllenhaal put in the better performance this year – the much better performance – and so I’m backing him to take home the statue. Plus, based on how The 2014 Failed Critics Awards went, you all would probably tear me shreds if I didn’t.
Who Will Win: All signs point to Eddie Redmayne taking this one with very little effort. This category has been a constant fight between Redmayne and Keaton since awards season started up in earnest, but the splitting of their performances into separate “Drama/Comedy” categories has made it harder to gauge which is taking the biggest prize home with them. Keaton has the comeback and long-overdue narrative ingrained in a victory that awards bodies love, but Redmayne has the exact kind of showy, yet empty and trying-way-too-hard performance that awards bodies love. I think Redmayne is going to take it here, also because he’s on home turf, and then he’ll also pick it up at the Oscars. Dammit. Maybe he’ll at least be good in Jupiter Ascending.
Other Notes: Very nice to see Ralph Fiennes get a nomination for Grand Budapest. This does make me wonder why, mind, Tony Revolori has been totally skipped over for any Best Supporting Actor nominations. He is very much the heart of the film, arguably more so than Gustave, and Revolori puts in a quietly strong and personal performance that has curiously gone uncelebrated. Also, we’ll nominate Benedict Cumberbatch but not Ben Affleck for Gone Girl? Fine, sure, whatever.
Nominees: Amy Adams as Margaret Keane (Big Eyes), Felicity Jones as Jane Hawking (The Theory of Everything), Julianne Moore as Dr. Alice Howland (Still Alice), Rosamund Pike as Amy Elliott-Dunne (Gone Girl), Reese Witherspoon as Cheryl Strayed (Wild)
Who Should Win: We all saw Gone Girl, yeah? We all saw Rosamund Pike with her captivating note-perfect Lauren Bacall-referencing performance? Good, then I don’t have to explain myself further.
Who Will Win: Julianne Moore has been due for decades, she’s finally going over here. The problem is that she shouldn’t. I don’t mean this in a subjective opinion way, either, I mean that the BAFTA Eligibility Rules should disqualify her from contention. As you can check on their own website, only films released in UK cinemas to the general public between January 1st and December 31st of any given year are eligible. However, if you are a film released in UK cinemas for the general public between January 1st and February 14th of the year in which the awards take place, then you are still eligible for awards contention as long as you screen the film to BAFTA members by December 19th.
Yes, this does all sound more than a little shady and cop-out-y. It gets worse. See, even with that very generous window, Still Alice still doesn’t qualify – it doesn’t receive a UK cinema release until March 6th, well past the closing eligibility date – and, therefore, shouldn’t be here! Selma meanwhile, which does qualify – UK cinema release: February 6th – and which I haven’t seen but I’ve heard is great, is shut out completely. So, yeah, I am against all of this. Julianne Moore could put in the single most outstanding performance I have ever seen, and I will still be against her winning. I’m sorry, but it’s against the rules and am I the only one around here who gives a shit about the rules?
Other Notes: Scarlett Johannson. Emily Blunt. That is all.
Nominees: Wes Anderson (The Grand Budapest Hotel), Damien Chazelle (Whiplash), Alejandro Gonzalez Iñárritu (Birdman), Richard Linklater (Boyhood), James Marsh (The Theory of Everything)
Who Should Win: Look, I really dislike Boyhood, but I cannot deny the commitment, the energy, the time, and the skill that Richard Linklater put into making the thing. To shoot one film over 12 years, the logistical and financial nightmare of organising and lining up everyone’s schedules to get this thing to happen, the hard work put in to keeping everyone’s character consistent, and to keep the film looking and remaining visually consistent despite progressing as a director significantly in the space of a decade… Yeah, I have to respect that and admit that this is an award he should walk away with.
Who Will Win: Like hell is this not going to Linklater. Maker, from the second this film was in the can, every Best Director gong going today was pre-packaged and all set to be FedExed to his front doorstep. If he doesn’t win, then I quite frankly have no idea what to believe any more.
Other Notes: No Ava DuVarney for Selma, which is the sole thing that I am saying on the subject until I finally get to see the thing. More egregiously, no David Fincher – the man who BAFTA quite rightly acknowledged as a superior filmmaker to Tom Hooper 4 years ago, and who put out quite possibly his best work ever, or at least his best directing work ever, this year, is apparently just no match for James Marsh’s directing for The Theory of Everything, a film that I fell asleep during for about five minutes. Sure, of course he isn’t.
Nominees: Birdman, Boyhood, The Grand Budapest Hotel, The Imitation Game, The Theory of Everything
Who Should Win: Despite this sudden backlash that has collectively greeted the thing – because apparently we don’t even wait two months now before we try and backpedal on our opinions – I still think Birdman is brilliant and maybe even quietly genius in the way that it’s able to walk so many tightropes without ever properly falling over into un-self-aware “Artist Rants About Mainstream Film, Critics, The Internet and Clouds”. However, I find The Grand Budapest Hotel to be the best of all of these nominees by a country mile, so I am flying that flag all the way.
Who Will Win: I know that the current narrative is that this is a straight fight between Birdman and Boyhood, with The Imitation Game sneaking its way into contention thanks to the usual Weinstein efforts, but those people are just trying to spice up a narrative to which the ending has been pre-ordained since June. Boyhood will win with no contest and Richard Linklater will finally pick up a Best Film award, along with finally getting the Oscar equivalent a few weeks’ later. Shame the film in question sucks. I broke down here why I strongly dislike Boyhood and why it is objectively a bad film beyond its central gimmick, so I won’t waste time repeating myself. Just know that I am against this disappointingly inevitable outcome.
Other Notes: 2014 Awards Season. Otherwise known as “Yay, White Men: Hooray for White Men”. In fairness, it’s been a pretty poor awards season and Grand Budapest absolutely deserves its spot up there – and I don’t object to Birdman showing up, either. But it’s also such a safe and blindingly obvious list with little of interest and few of the genuinely interesting or exciting films from this past year. Where’s Nightcrawler? Starred Up? Whiplash? Foxcatcher? If you’re gonna choose films about men, why snub the ones that actually have something to say about masculinity and men and challenge current societal notions? How about Under The Skin? Gone Girl? Films that look at the female gender, gender performance, and how society views them? What happened to Pride, which had things to say about sexuality – far more so than The f*cking Imitation Game – or Belle and Selma, which said cogent things about race (and which I haven’t seen yet but heard excellent things about)?
Look, I and everybody else wouldn’t be getting so angry and worked up and vocal about this if you awards bodies didn’t keep shutting films like those out in favour of paint-by-numbers surface-level slop like The Imitation Game or The Theorzzzzzzzzzzzzzzzzzzzzzzzz. When you shut out genuinely original and diverse films in favour of interchangeable porridge like those, it’s a slap in the face to those films that try, that offer up a different perspective, and to those of us who demand and wish for diversity and greater representation in film. You awards bodies carry way more power than you think you do in this day and age, so what you nominate and reward matters. So when the awards end up as white and male as this, with many of them genuinely not being the best films released in the past 12 months, you’ll have to excuse us for getting upset and calling you out on it.
That’s the rundown. The BAFTAs themselves occur on February 8th. Feel free to throw your insights and predictions for the ceremony into the comments below!
As announced earlier in the week, the podcast has undergone a bit of structural reform. The first guests to join Owen and Steve in the new series should be familiar to listeners old and new! Returning after more than a year since his last appearance, Gerry McAuley returns to review new(ish) release Enemy and newer release The Theory of Everything. Not only that, making a third consecutive appearance on the podcast for the first time ever is Matt Lambourne to expand on his Exodus: Gods and Kings review. We just can’t get
rid enough of the guy!
New Hammer Horror prequel The Woman In Black 2: Angel of Death, Angelina Jolie’s directorial debut Unbroken and the eagerly anticipated Birdman: Or (The Unexpected Virtue of Ignorance) all feature on this week’s episode as well as a thoroughly good mulling over of the Golden Globes nominations.
Join us next week when we’ll have more guests, less inappropriately judged film quotes (you’ll see) and lots of new reviews for Tak3n, Wild and awards hoover Foxcatcher.
Bonkers, brilliantly acted, funny, completely absorbing plus other labels.
by Owen Hughes (@ohughes86)
For most of the latter part of last year, I had to put up with only being able to hear about and read other reviews of Birdman: or (The Unexpected Virtue of Ignorance). You see, in the UK, sometimes we get films much later than in the US, excluding press/festival screenings and so on. Most of the time, that doesn’t bother me so much. But when a film like Birdman comes around, and every other review is declaring it one of the best of 2014, with as interesting a premise as it has, then that kind of sucks.
Come the 1st of January 2015, a little worse for wear with an aching hangover, I began my plans to find a cinema near me showing this existential comedy. And I did, on Friday 2nd. Since which time I have been processing, re-thinking and trying my damned hardest to work out exactly what I think of Birdman beyond simply “that was bloody brilliant.” I will endeavor to describe it – and my feelings towards it – as best I can.
It’s directed by Alejandro González Iñárritu, a critically acclaimed Mexican filmmaker who is arguably best known for his first feature film, the award winning, compelling, intelligent Amores Perros. Although, virtually all of his films are just as highly regarded by the majority of people. Biutiful (starring Javier Bardem), 21 Grams and Babel too were all very well received upon release and have each been nominated for and won many different prestigious awards. It’s fair to say then than Iñárritu had a fair bit of pressure on his shoulders to produce yet another groundbreaking drama of as equally high quality.
In which case, surprising as it is, his response to this weight of expectation was to produce what is his effectively first foray into the comedy genre. In saying that, it’s not what you might describe as a typical, gag-a-minute, Airplane!-esque joke-reel. Straying away from conventions, as he did so stunningly with Amores Perros, it’s… a bit odd. Bloody brilliant. But odd.
Unlike the title probably suggests to anybody unfamiliar with exactly what Birdman is, it’s actually not a superhero film at all. It’s about an aging actor, played by Michael Keaton in a career-best performance, who used to be in a trilogy of blockbuster superhero films 20 years ago, playing the character Birdman. Obviously considering Keaton’s rise to fame playing the caped crusader Batman in Tim Burton’s series of films, it’s probably the most apt piece of casting you’re likely to see for, oh, I don’t know.. all of 10 minutes? Right up until Ed Norton appears as the most arrogant actor known to man, clearly playing on his exaggerated reputation.
Much as Keaton is now a lot older, so is his character Riggan Thomson. For the sake of Michael Keaton’s mental well-being, hopefully unlike the real actor playing Riggan, the sleep-deprived movie-star constantly hears the sarcastic voice of Birdman in his head, patronising him and making snide remarks at every turn in his desperate attempts to get his career back on track. Ploughing his own money into the production, Riggan claws at his last moments of sanity and languishes on his reputation as he pushes himself to adapt the Raymond Carver story What We Talk About When We Talk About Love as a stage play on Broadway. Gradually the toll it takes on him being writer, director, producer and starring in the lead role begins to wear him down. He notices how his own relationships to his ex-wife and rebellious daughter, as well as his co-stars and longing for adoration/attention from fans and critics alike, mimic those of the character in his play.
From the way I’ve described it above, it doesn’t exactly sound like the kind of film to make you laugh out loud as frequently as it does. In fact, I’m well aware that by putting it in black and white like that, I’ve made it sound kind of boring. The genius in the film lies with the way the story has been told and the way it has been made. It’s almost two hours long in total, however, it’s all filmed as if the whole movie is just one continuous single shot. This isn’t a completely unique concept for a film to attempt; indeed the Director of Photography on the film, Emmanuel Lubezki, was praised for very similar shots during Gravity. The twist is that the plot takes place over the course of about three days. From the early scene re-casting of one of the characters in the play at the last minute, to the disastrous preview show and Keaton’s breakdown, all the way through to the morning after the opening night; it appears as if all you’ve witnessed is one camera on record for two hours solid. The pace of the film, the way it’s been stitched together, even just little things like keeping the lighting right, it’s seamless. A remarkable achievement by all involved. I’ve read a few reviews and articles and I still cannot fathom how some of the scenes were even created.
Honestly, it is absolutely bloody brilliant from start to finish. Even something so simple as the soundtrack is, well, not so simple. Just one bloke who improvised some drum beats, banging away on his kit in a rather jazz percussion sort of way (who occasionally pops up on screen himself) fits the organised-chaotic tone.
I’ve already mentioned Keaton and Norton, but I’m still struggling to decide who was better. I genuinely, hand on heart believe this tops any performance of theirs in any other movie. And yes, even better than American History X, by the way. It’s just a joy to watch two actors simply be that good. If someone put a gun to my head (you’ll get why that’s a funny reference after you see the film), then I’d lean slightly more towards Keaton who really is sensational. He’s extremely funny, manic, completely absorbed in his role and it’s like finally seeing that guy who showed such promise in Beetlejuice just completely fulfilling his potential. And that makes me happy. It isn’t just those two, though. The entire ensemble cast, including the likes of Naomi Watts, Emma Stone, Andrea Riseborough, Zach Galifianakis; they’re all fantastic too.
To be a bit of a dick for a minute and put a label on something (or rather take it off), I suppose it isn’t ‘perfect’. The dialogue is not always its best asset. Although I did really like Emma Stone’s performance as Keaton’s recently out of rehab daughter-turned-Personal Assistant, it’s just that some of the role her character plays seems a tad out of place. A scene on a rooftop shared with Norton starts out really well, as a chemistry between them begins to fizzle, but ends up with a rather cringing game of truth or dare. A scene later on in the dressing room between Naomi Watts and Andrea Riseborough was.. well.. meaningless beyond simply giving in to what the audience supposedly want.
It doesn’t detract really, it’s still overall an absolutely amazing movie. It’s so deliberately and anarchically hypocritical. One minute it’s slagging off blockbuster movies and the kinds of people who throw money at the likes of Michael Bay to make shitty Transformers movies, and studios who churn out superhero flick after superhero flick. And then in the next moment, it’s subtly mocking the pretentious, holier than thou snobs who sneer and turn their nose up at things they’re ignorant of in order to appear superior. There’s rants, there’s tirades, there’s beautifully delivered put downs and some more emotional aspects that almost catch you unawares. Yet Birdman is totally self aware, fully prepared to poke fun at itself all whilst maintaining something spectacular.
The more I’ve thought about it since leaving the cinema earlier this month, the more I’ve wanted to go and watch it again. It was the first new release film that I watched in 2015 and already it’s going to have to be a hell of a film to top it at some point during the rest of this year. I urge you to see it before it leaves cinemas!
You can hear Owen talk about Birdman plus other new releases Unbroken, The Theory of Everything and more with Steve, Gerry and Matt on the upcoming Failed Critics Podcast.
The people were rather unmoved by Exodus: Gods And Kings, Top Five thankfully makes the top five, Inherent Vice has the worst opening of anything ever, Wild runs wild on you, brother, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
For those of you keeping track at home, 2014 has only had one faith-based drama that was worth anybody’s time released in its twelve months, despite this sub-genre being strangely thriving this past year. I am of course referring to Darren Aronofsky’s sublime and surprisingly moving and beautiful Noah, and most certainly not Ridley Scott’s, by all accounts, insipid Exodus: Gods And Kings. Fortunately, in this instance, it seems that most of the public agreed and, although Exodus is still our new box office #1 by dint of being the first new wide release in two weeks, it reached that summit with only $24.5 million in ticket sales. Noah, meanwhile and having to follow surprise hit Divergent, opened to $43 million. VICTORY!!
In more good news, Chris Rock’s Top Five, which by most accounts I’ve heard is something really special, was an out-of-the-box success! Playing at 979 theatres, with a full-on nationwide release coming soon, the film broke into the top five with wondrous ease, finishing in fourth with $7.2 million in ticket sales and a $7,000 per-screen average. That’s $1.6 million more than Chris Rock’s last directing gig, 2007’s I Think I Love My Wife, opened with and that film had the luxury of almost double the number of screens that Top Five did! So, not only did Top Five manage to send Chris Rock back on the interview circuit – seriously, I want him to keep making movies purely so he can keep going around giving interviews like this one and this one – it’s also apparently a really damn great movie and managed to make a fair bit of money! DOUBLE VICTORY!!
Unfortunately, it’s not all good news, folks. Paul Thomas Anderson’s adaptation of Inherent Vice was released in those five New York and Los Angeles art-house cinemas that all major awards season wannabes have to start off their life in if they want to taken seriously, apparently. It managed $330,000, which sounds really great, and a per-screen average of $66,000, which is probably more than anybody working for this site or reading this article makes in a year. But that’s also less than There Will Be Blood and The Master made opening weekends (per-screen in Blood’s case, overall and per-screen in Master’s case), so therefore Inherent Vice is a colossal failure of epic proportions that has ruined the careers of everyone involved. Sorry Inherent Vice, thanks for trying!
In further limited release news, the Weinstein-backed The Imitation Game – so look for Benedict Cumberbatch to steal the Best Actor awards of whoever we’ve arbitrarily decided as a collective hive mind deserves it this year – continues to rake in the cash like Scrooge McDuck on a hot streak at the casino Blackjack table. Expanding to 25 screens, the film took $875,000 this weekend for a per-screen average of $35,000, so look for it to crack the full list some point soon. And finally, before we get down to business, we have Wild, which added 95 more screens this past weekend, cracked the Top 10 and allowed me to make a dreadful Hulk Hogan reference in the headline. Yay films!
This Full List used to be a visionary, but has spent the past decade phoning it in with boring sh*tty spectacle pieces instead of anything decent.
Box Office Results: Friday 12th December 2014 – Sunday 14th December 2014
1] Exodus: Gods And Kings
$24,500,000 / NEW
Nope, can’t do it. I can’t get over the fact that they cast white actors to play the roles of Middle East natives. Especially since the good leads are lightly tanned, whilst the bad leads are made much darker in skin, and that the slaves are still people of colour. I mean, sweet lord, how f*cking tone deaf do you have to be to not get that?! We were raking The Last Airbender over the coals for trying to pull this sh*t back in 2010, and you thought that you were honestly going to get away with it now?! Ridley Scott’s explanation doesn’t help matters, either, as all it does is remind us all of just how broken the Hollywood system is and… well, it’s not like casting recognisable names has helped much at the box office, has it?
2] The Hunger Games: Mockingjay, Part 1
$13,200,000 / $277,398,000
This is going to close around $750 million, I’d say. It’s already at $611 million, it’ll pass The Hunger Games some point in the next week or two, and it shows no real signs of slowing down. It’ll wrap up lower than Catching Fire’s $865 million worldwide, but it’s definitely going to be, in be within spitting distance of being, the biggest grossing film domestically of 2014 when all is wrapped up. Does this mean we’re now done calling this a box office disappointment, even though it never was one to begin with?
3] Penguins Of Madagascar
$7,300,000 / $58,839,000
Well, sh*t. At least I’ll be at the forefront of the “This movie was criminally overlooked at the box office!” brigade in a few years’ time! Or more likely, considering how quickly we are to label things as underrated and “cult classics” and the like nowadays, two months’ time.
4] Top Five
$7,210,000 / NEW
March 20th. March 20th. What did I do to deserve withholding of this level, American film industry? Huh? Got a halfway acceptable answer you’d like to share with me or are you withholding that, too? Look at you, getting off!
5] Big Hero 6
$6,145,000 / $185,325,000
You should see how quickly I sprint out of whatever screen I’m seeing new release movies in when the trailer for this comes on. I refuse, I completely refuse, to have even one second of this film spoiled for me. It’s a new Disney film, I am there. You don’t need to throw jaw-dropping setpieces, trailer-ready quips, Fall Out Boy songs or anything else at me to get me in. Just, “YO! DISNEY PUTTING OUT NEW FILM! IT’S CALLED [X], IT’S OUT [Y]!” and you have my attention.
$5,500,000 / $166,800,000
Next week is The Hobbit, so expect this to sink like a stone as Peter Jackson confiscates all of its IMAX screens. Still, pretty good run, all things considered. In fact, I find it strange that people keep insisting that the box office has been in a horrendous state of affairs this past year when, week in week out, I keep typing out Total Grosses that stretch into 9 figures for many films featured in this list…
7] Horrible Bosses 2
$4,630,000 / $43,601,000
I don’t really have anything to put here. Here’s an It’s Always Sunny In Philadelphia clip instead.
8] Dumb And Dumber To
$2,757,000 / $82,117,000
This isn’t tracking particularly well overseas. Still, I do find it rather comforting that the only people who were crying out for a Dumb And Dumber sequel 20 years later are apparently all contained on one mass of land. Good to know the crazy is bottled up, kept from being spread, and not in control of anything particularly important.
9] The Theory Of Everything
$2,525,000 / $17,148,000
Adds 394 screens, to cross the 1,000 screen mark, makes less money than the week before. Maybe this signals the upcoming slide out of my goddamn chart! It’s all going to be OK, folks! It’s all going to be OK.
$1,550,000 / $2,423,000
The Dissolve’s Tasha Robinson, following on from her piece this past Summer about The Trinity Effect (which I referenced in this week’s DreamWorks Retrospective entry, *plugplug*), wrote an excellent piece last Monday about how the new breed of genuinely strong female characters are those that are relatively weak. You should go and read it. Like, right now. Don’t worry about missing anything, we’re done here for the week.
Dropped Out: Gone Girl, The Pyramid, Birdman
Self-fulfilling prophecy comes true as nothing really makes money or switches places since nothing came out, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Well. Hello, there. Welcome to the Box Office Report, I guess. How are you doing? Not too bad? That’s good to hear. Call your parents recently? See any movies this past weekend? No? Yeah, well, that’s you and everybody else, don’t fret. Post-Thanksgiving weekend is a dead zone according to studios, so nobody ever releases anything that weekend. Kind of a self-fulfilling prophecy, if you ask me, but that’s how it is. Also means that nothing happened in the chart this week, which makes writing up this report rather pointless. I, however, have nothing better to do, so let’s see what scraps we can work with instead, eh?
Ooh, there were two new releases this past weekend! First off we have The Pyramid, a dreadful looking and barely marketed horror movie crapped out at the beginning of December because it’s not like there’s any better weekend for it. Dumped into 589 screens to die a painful death, it did meh-y, raking in $1.3 million for ninth place and a $2,292 per-screen average. Second off we have Wild, an adaptation of the memoir of the same name about a woman who did a solo 1,100 mile hike along the Pacific Coast Trail in order to better herself as a human being and deal with her traumatic life beforehand. Notice how I didn’t make any jokes, there? I am capable of compassion! Anyways, opening on 21 screens, the Reese Witherspoon-starring, Nick Hornby-adapted, Jean-Marc Vallee-directed awards season contender managed a very great $630,000 and a per-screen average of $30,000.
In expanding news, The Imitation Game doubled its screens to 8 and managed another $402,000 for a per-screen average of $50,250. The Homesman jumped up a good 104 screens to 154 total and banked a good $501,000 for the weekend, although its per-screen average was a decidedly not-good $3,253. The Babadook, meanwhile, terrified 19 new screens, bringing its total up to 22 and a weekend haul of $66,600. I will refrain from making the obvious hack joke to instead sadly inform you that the thing’s per-screen average is still only $3,027, which at least is slightly more than The Pyramid’s if nothing else.
And… yeah, that’s about it. Everything else that’s worth mentioning is located in the Top 10 and I don’t much fancy blowing my material all early. Also, Penguins Of Madagascar collapsed 56% between weekends and is now pretty much guaranteed not to cross $100 million. That is really bad news for both DreamWorks as a whole – Christ, even Mr. Peabody & Sherman crossed $100 mil domestic and that was their lowest non-Antz CG earner ever – and for the movie – which is one of the absolute best animated films released this year. For f*ckssake, America, can’t you at least try making decent animated movies successful!? If this ends up finishing lower than The Nut Job domestically, then I am going to take out a vendetta on the lot of you. First The Boxtrolls, then The Book Of Life, now this! When will the bad public film-skipping choices end?!
This Full List… Nope, I got no particularly great puns for this week. Such is the state of the chart. Let’s just get on with it.
Box Office Results: Friday 5th December 2014 – Sunday 7th December 2014
1] The Hunger Games: Mockingjay, Part 1
$21,600,000 / $257,700,000
I have actually had a desire to go and see this again recently. A real full-on, “I should find time to go and see this again” desire. Consider me completely amazed at this development. Of course, I’m not sure how much of that is just down to that “Hanging Tree” song randomly worming its way into my brain at every opportunity, but it’s there none the less. I’m referring to both the desire and the song. “Are you, are you…”
2] Penguins Of Madagascar
$11,100,000 / $49,591,000
Saw it first thing on Friday, finished the review the same day, was posted on Saturday, obviously. I loved this movie and need to find the time to go and see it again. Seriously, I haven’t had this much pure fun in a cinema since Lucy, which doesn’t sound like that long but one needs to remember that fun has been in rather short supply this past year in film, so a film that is pure fun is going to get a very high grade from yours truly. Also, my heart went all fuzzy and warm whenever something nice happened to Private and I liked that feeling.
3] Horrible Bosses 2
$8,600,000 / $36,075,000
A pretty strong hold – only a 44% drop – which doesn’t sound too bad until one remembers that the film opened to $15 million and that this thing will be very lucky if it crosses $60 million. Ah, well, least everybody realised they could just stay home and watch It’s Always Sunny In Philadelphia on Netflix instead! I call that a win!
4] Big Hero 6
$8,130,000 / $177,548,000
My local Cineworld now has a big inflatable Baymax stood up in some out-of-reach corner of the lobby to advertise this film and it is so freakin’ adorable! I just want to take it home with me, install it in the corner of my uni apartment and give it hugs whenever I feel close to down!
$8,000,000 / $158,657,000
It’s within spitting distance of $600 mil overall, with China and South Korea going wild for the thing, so I think it’s safe to say that Christopher Nolan’s box office rep isn’t going to take that big of a hit after this is all said and done. Weirdly, in real life, most everybody I’ve talked to loves the heck out of this movie and my “Eeeehhhh” keeps getting misconstrued as pure outright hate for the thing. It’s weird, what did I not get when I saw the film?
6] Dumb And Dumber To
$4,169,000 / $78,081,000
Only one more weekend left to go until I get to join in with everyone’s strangely high disappointment to this thing! I mean, it’s a 20 years’ late sequel to a comedy film, The Farrelly Brothers haven’t made anything worthwhile in over a decade, Peter Farrelly helped mastermind Movie 43… and you actually thought this was going to be good? That’s just wilful ignorance, is what that is.
7] The Theory Of Everything
$2,688,000 / $13,613,000
… … … … … That’s how little I care about this thing.
8] Gone Girl
$1,500,000 / $162,861,000
If you had told me back in September that Gone Girl would be one of the year’s most successful films financially and would even make it to double digits on the “Weeks In The Top 10” counter, I genuinely would not have believed you. Yet, that is the world we live in because sometimes, just sometimes, good and just things occur. If it makes it to 11 weeks, I will be utterly astounded but I don’t think it will. Thanks for everything, Gone Girl! Sorry about Life Itself stealing the “My Favourite Film Of The Year” title from you!
9] The Pyramid
$1,350,000 / NEW
Well, that looks like yet another indistinguishable crappy horror movie crapped out for a quick buck! Guess we’ll just mov… wait… is that James Buckley?! Is that… no! No! Jay from The Inbetweeners is not in this thing! He can’t be! He jus… WHAT?!
$1,150,000 / $18,919,000
It’s going to be between this and Boyhood for all Best Picture awards this season, isn’t it? Brilliant. I look forward to seeing Birdman, disliking it immensely and therefore just not giving a shit about all award bodies this coming January and February! I kid, of course; I really want Birdman to be good and I’ve got a good feeling about it! I just really, really, really, really dislike Boyhood and the fact that it’s guaranteed all of the awards forever irritates the living hell out of me. I really want to be proven wrong on this, but we all know what award bodies are like.
Dropped Out: St. Vincent (which was fantastic, by the by)
Mockingjay insults the rest of the chart, Penguins Of Madagascar smile and wave goodbye to a lot of money, nobody particularly like Horrible Bosses now, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
This past weekend, Americans were witness to a dystopian future. One with barely restrained tensions, majorly unfair financial differences, and a complete lack of fairness and generosity. These disparate groups would congregate under one roof to try and make it through proceedings in a civilised fashion, until one side insulted Peeta at which point all bets were off. Proceedings were violent, conflicts escalated, both sides exited wondering who had really won that round, filled with feelings of unsatisfaction, like the resolution had been postponed for another year or something. But enough about Thanksgiving with your family. At the box office, much like my joke construction, The Hunger Games repeated its Thanksgiving first place status to diminishing returns with Mockingjay, Part 1 taking home $56 million this year. Expect history to repeat itself next year and for me to basically copy-paste this dreadfully unfunny paragraph again in the hopes that you won’t notice.
It’s not like Mockingjay, Part 1 had much in the way of competition, though. Continuing an absolutely dismal year for DreamWorks Animation, Penguins Of Madagascar decidedly underwhelmed in its opening weekend. Even with the 5-Day Thanksgiving bump, it could only manage $36 million. Without it, that’s $25 million over the weekend which, for a spin-off of one of the few remaining cash-cows that DreamWorks has and as promoted to hell and back as this film has been, is dismal. The one saving grace for the film is that Annie and Night At The Museum 3 aren’t out for another 3 weeks, so there’s still a chance that it can make up some of that cash before it gets dogpiled. I’m sorry, you were expecting snark? Nope, no snark here, this news genuinely bums me out and has me majorly worried considering the position DreamWorks is in right now.
Still, could be worse. You could be Horrible Bosses 2. Yes, the widely-trashed comedy sequel that quite literally nobody was ever asking for didn’t do so hot. Over the five-day weekend, it barely reached $23 million and over three days it could only make $15.7 million for fifth place. Yeah, safe to say we are all being spared from Horrible Bosses 3: The Final Chapter, Part 1. What we are unfortunately not being spared from, however, is The Theory Of Everything which went nationwide this past weekend and managed to bank $5 million from 800-odd screens. If Eddie Redmayne takes the Best Actor Oscar from Dan Stevens in The Guest (or Jake Gyllenhaal in Nightcrawler), then tables will be flipped. Just warning you Academy; you don’t want no part of this shit.
In more limited release news, The Imitation Game finally reached American shores this weekend and the typical Weinstein push ensured a very solid opening. $482,000 from 4 screens for a per-screen average of $120,500, putting it only behind The Grand Budapest Hotel in Best Limited Release Openings of 2014, is most definitely more than “very solid”. One can only imagine how the latter film would have done if it had a legion of Benedict Cumberbatch fangirls and fanboys filling the back rows with their… Yeah, OK, I’m just going to move on. Foxcatcher added another 48 theatres to its run and broke past $1 million, meaning we should see it in the Top 10 soon enough. The Babadook, meanwhile, finally got a release in America and it did OK: $27,000 from 3 theatres for a per-screen average of You Do The Math. In other words, it’s The Guest all over again. Goddammit.
This Full List is gonna take ya riiii-ght in-to the DANGER ZONE!!
Box Office Results: Friday 28th November 2014 – Sunday 30th November 2014
1] The Hunger Games: Mockingjay, Part 1
$56,875,000 / $225,693,000
Have you heard the CHVRCHES track from the Mockingjay, Part 1 soundtrack, yet? If not, go do so immediately! It is SO GOOD! Like, “this could’ve gone on their debut album” good, and The Bones Of What You Believe is a bloody damn good album! In fact, from what I’ve experienced of the soundtracks to all three films so far, everybody brings their A-game when they’re called upon for a track. Nobody coasts. I love that about them. Think it’s time I took the plunge and bought the lot.
2] Penguins Of Madagascar
$25,800,000 / $36,000,000 / NEW
Friday. It’s out here Friday, I am seeing it first thing Friday, I will not go to bed that day until there is a review ready to run on Saturday. I’m genuinely really excited for this. In the meanwhile, the DreamWorks! A Retrospective archive is here. Go amuse yourself and make me feel like I haven’t wasted 5 months of my life.
3] Big Hero 6
$18,770,000 / $167,209,000
Only a 7% drop between weekends, which is pretty darn astou-WHY IS THIS MOVIE NOT IN FRONT OF MY EYEBALLS RIGHT NOW?!! IT’S NOT FAIR!! (*proceeds to have a mini-breakdown*)
$15,800,000 / $147,090,000
I would really like to go and see this again on the big screen for a second try, especially since I’m still not 100% solid on my opinions on it. However, six films are coming out this week in the UK and I have way too much work to do to find time to see it again. Plus, I have to give up a good 15 hours of my life to The Lord Of The Rings and The Hobbit in the next 11 days. I genuinely don’t have the time.
5] Horrible Bosses 2
$15,700,000 / $23,010,000 / NEW
Saw it on Friday and I’ll see if I can find time to get a review out – I’m currently working on one for Paddington in between essay work, DreamWorks work, other articles, and social commitments so this will more than likely fall by the wayside – but the skinny is this: I laughed a good consistent amount, but it is still an utterly pointless sequel and it drops the ball and crosses the line on the Julia stuff spectacularly. Think of it as the American equivalent of The Inbetweeners 2 and you’re about there. If you have nothing better to do or just want to get some easy laughs for 100-odd minutes, this is fine but it’s still ultimately pointless.
6] Dumb And Dumber To
$8,295,000 / $72,205,000
So… Jim Carrey’s not making a full-on box office comeback, is he? (*dejected sigh*)
7] The Theory Of Everything
$5,082,000 / $9,604,000
Still refuse to believe that this is anything other than dreadfully mediocre slop. Still can’t be proven right or wrong until New Year’s Day. Still going to bitch and moan about its existence until then.
8] Gone Girl
$2,470,000 / $160,557,000
I was going to say that we must bid adieu to Gone Girl, but then I looked at the release schedule for next week and saw that nothing at all is coming out. Wild is only in 5 theatres, and The Pyramid is being sent to die on 550 screens, like Fox have been reading the signs with regards to Horror films at the box office this past year or something. So, we’ve got one more week before this inexplicably long-lasting flick finally drops out. Seriously, I love this film to death and I have absolutely no idea how it has managed to make over $330 million worldwide.
$1,880,000 / $17,237,400
10] St. Vincent
$1,773,000 / $39,327,000
So maybe it won’t have the courtesy to stick around for its UK release after all. That sounds very much like Bill Murray. Always leaving the parties that he crashes before I have the chance to book the plane ticket to take me there! That prankster! Of course, this joke only works if I actually went to parties and nobody ever invites me to theirs because I’m… I’m… (*breaks down sobbing*)
Dropped Out: Beyond The Lights, Fury
Mockingjay fails to catch Fire – a headline that literally every other writer has already used in a week where literally nothing else happened, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Well… Er… Hi. … … …how are you all doing? I am tired, I will tell you that much. I’m currently running on less than six hours sleep, and that is currently the lowest reason on my list as to why I could faceplant this keyboard at any second today. My life has just been non-stop these past few weeks, just one thing after another like “boom, boom, boom” without stopping. So many commitments, films to see, articles to write, essays to prep and pen, lectures to attend, radio stuff to thing-that-you-do-to-stuff… is this what being a responsible adult is like? I both hate and love it, I’ll tell you that much. Anyways, I still have a written review to crank out and a radio show to do before I can collapse onto my bed, so let’s just get this blasted article done and over with, eh?
The good news for my slowly vacating sanity, and my long vacated energy, is that there was literally only one release this past weekend. Seriously; just the one. No other saturation releases, no wide, no limited, nothing. Everything else vacated November the 21st of 2014 in order to avoid The Hunger Games: Mockingjay, Part 1. For comparison’s sake, there will be two big saturation releases going up against The Hobbit: Battle Of The Five Armies this December. That should demonstrate just how commanding an amount of power that The Hunger Games currently has, as every other release possible went “f*ck that noise!” and upped sticks. Mockingjay, Part 1, then, would prove just how much those fears were worth by underwhelming majorly opening weekend.
Now, of course, I need to specify that a $123 million opening weekend – the biggest that we have seen, and will see, all year – is not in itself underwhelming. I mean, $123 million is a lot to the likes of you and I. Unfortunately, though, we have to look at that opening through Hollywood Accounting in order to understand why people aren’t exactly rushing to break out the party poppers. For one, there’s the fact that many people had predicted Mockingjay, Part 1 to open in the $150 million range, so seeing it come up short, and so thoroughly at that, is gonna sting. For two, the previous Hunger Games both opened in the $150 mil range, and third instalments in popular franchises are supposed to not retreat so much opening weekend. For three, it didn’t magically cure Hollywood’s haemorrhaging money problem that’s been plaguing it all year, so f*ck the film.
So, yes, unfortunately The Hunger Games: Mockingjay, Part 1 is a major financial failure. That $123 million domestic and $152 million overseas – which combine to already make both this and Part 2 break even financially – means absolutely nothing. Jennifer Lawrence’s box office clout has been majorly hit, Lionsgate stock is plummeting to an all-time low, Elizabeth Banks will never be involved in another movie ever again because this is all her fault somehow, and it seems that the search for the next true successor to the box office invincibility that Harry Potter held for a full decade goes on!
I mean, that’s what I’m supposed to write, yeah? Because we can’t just congratulate the thing and realise that this dip only exists because it’s “Part 1 of 2”, can we? We have to get out the Doom Parade and have a whinge and a moan, don’t we? I mean, Christ, lighten up, would ya? Sure, it’s been a bad year at the box office. Let’s maybe temper the gloom with some positivity about the few films that are actually making money, eh? Instead of crying about successful movies that make executives rich arseholes not being mega-successful movies that make executives even richer arseholes.
This Full List is locking up everyone that ever laid a finger on it.
Box Office Results: Friday 21st November 2014 – Sunday 23rd November 2014
1] The Hunger Games: Mockingjay, Part 1
$123,000,000 / NEW
Saw this Thursday, review will be up tomorrow at some point. Short version: loved what I got, but its one flaw is major, near-fatal, and right there in the title.
2] Big Hero 6
$20,086,000 / $135,708,000
If you live in America and have seen this, know that I hate you. Nothing personal, and I love the fact that you’re making Disney films mega-smashes again, but I am stranded on the wrong side of the Atlantic being punished for something severe that I must’ve done in a past life, and so can’t see this until January as I will keep complaining about until somebody at Disney FIXES THE GODDAMN ISSUE!!
Also, turns out that The Wild, which wasn’t even made by them, is in the Disney Animated Classics canon in the UK. I’ll have to tell you about that sometime.
$15,100,000 / $120,692,000
I wrote a piece last Thursday where I lamented the lack of notable scores from 2014, and somebody wrote back listing a good 4 more than the ones I put in my article. Whilst I appreciate his disagreement and concede that none of the scores he listed jumped out at me during the viewing of those films in question, I think he may have missed the point. It’s not that 2014 hasn’t had any good scores, it’s that the majority of cinema for a good while now hasn’t bothered to try to create scores with any distinct personality. There are exceptions to the rule, but that’s what they are: exceptions, and I want those exceptions to become more frequent than they currently are.
That, or my article was terribly written and I was talking out of my arse. … …it’s probably the second one.
4] Dumb And Dumber To
$13,820,000 / $57,473,000
Mega-steep 62% drop between weekends signalling that everybody has wizened up to the fact that The Farrelly Brothers have been incapable of creating anything good for, ooh, 13 or 14 years now. You know, in case the fact that Peter Farrelly was the diabolical monster responsible for helping Movie 43 come together hadn’t already given that away.
5] Gone Girl
$2,185,000 / $156,823,000
You know what’s amazing? This is Gone Girl’s eighth straight week in the Top Five. You know what’s pretty much unbelievable? I think I’ve found a film from this year that I love more than it. Stay tuned to the site this week, you’ll know when the relevant review goes up.
6] Beyond The Lights
$2,630,000 / $10,124,000
I got nuthin’. Moving on…
7] St. Vincent
$2,354,000 / $36,613,000
I have no idea how this has managed to hang around in the Top 10 for so long. I really, really don’t. Hey! Maybe it’ll stick around for another two weeks, when it actually comes out in the UK and I can therefore actually talk about it, instead of just spouting nonsense! Wouldn’t that be something?
$1,900,000 / $79,150,000
In the most tenuous link possible – Fury, The Furious Five – allow me to use this space to ask you to check out this week’s entry into the DreamWorks Animation Retrospective, Kung Fu Panda! In fact, if you have a spare afternoon or, more accurately, a spare day, why not get caught up on the series so far? Seriously, I put a hell of a lot of effort into those and am really proud of how most of them have turned out – and I am never proud of anything I ever do, so this means a lot – so if you could take time out to give them a read and fling feedback or insults my way, it would be highly appreciated!
$1,855,000 / $14,407,000
So, I guess this isn’t going to break out of the art scene, after all. Figured as much. More pertinent question, is Birdman in any way related to Dayman? These are the questions that need answering, folks!
10] The Theory Of Everything
$1,500,000 / $2,796,000
This film is sh*t until it can prove itself otherwise. Unfortunately for it, the UK release date is New Year’s Day, so I have plenty more time to rag on just how absolutely putrid this film looks until then!
Dropped Out: Nightcrawler, Ouija
Dumb and Dumber audiences turn up in droves for Dumb And Dumber To, Beyond The Lights exists an imaginary pile of cash, Christmas is doomed, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Surprisingly, it turns out that the audience size for a sequel to Dumb & Dumber is about equal to that of the audience for a second week Disney film, which I genuinely did not see coming. Dumb And Dumber To ended up taking the top spot this weekend with about $38 million in ticket sales, just $2 million more than what Big Hero 6 managed. For those wondering, my surprise keeps alternating between “that many people turned up for a 20 years later sequel to Dumb And Dumber?” and “only that many people turned up for a 20 years later sequel to Dumb And Dumber?” I dunno. I’m in shock, I just don’t know what I’m in shock at.
In any case, unlike next week, there was more than one new release this weekend. With regards to the wide releases, bottom of the pack was Beyond The Lights – a film whose trailer just caused me to vomit profusely in sickening anger – which could only manage a very mediocre $6.5 million from 1,800 screen for a distant fourth place. Birdman continued its slow expansion nationwide and managed to crack the Top 10, albeit with about the same haul as last week but in more theatres. Whiplash, meanwhile, continues to be punished for NOT BEING IN FRONT OF MY EYEBALLS RIGHT NOW DAMMIT by struggling to find a non-arthouse audience – its expansion to 441 theatres could only manage $801,000.
In limited release land, we have a pair of successes, an OK performer, and a hilarious failure in more ways than one. Most successful of the lot was the speculative fiction drama Foxcatcher which rode a near-literal wave of buzz and good press to a weekend total of $288,000 from six theatres – a ridiculous per-screen average of $48,000. Performing much less great than that – but still great, it must be said – is the Tommy Lee Jones-directed western drama The Homesman which managed a very respectable $48,000 from 4 screens for a $12,000 per-screen average. Whilst in expanding news, The Theory Of Everything infected another 36 theatres and raked in an average of $18,000 from each of them. Yes, I do think that film looks insufferable, don’t act surprised.
Elsewhere, John Stewart of The Daily Show (as every mention of his name must be suffixed with by royal decree) released his directorial debut this past weekend and Rosewater did… OK. It managed $1.2 million from 371 theatres for a per-screen average of $3,325, which is OK. Not great, not poor, OK. It’s fine, could’ve been better but still enough to crack the Top 15. Much less OK, and more closer to straight up “bomb” territory, was Saving Christmas which could only manage $1,012,000 from 410 screens for a dismal $2,468 per-screen average. This means that either Americans don’t give a sh*t about the threat that faces Christmas, or that stoners who want to laugh at inept entertainment with no redeemable value except MST3K sessions were too busy staying at home watching Adult Swim. In either case, America is doomed.
Oh, and The Book Of Life collapsed out of the Top 10 because you people hate good movies.
This Full List is Dumberer than the other box office reports you could be reading elsewhere. Also, it just reminded you that Dumb And Dumberer: When Harry Met Lloyd existed and now you hate life.
Box Office Results: Friday 14th November 2014 – Sunday 16th November 2014
1] Dumb And Dumber To
$38,053,000 / NEW
So the film that my Secondary School Physics teacher would throw on almost quite literally whenever he couldn’t be bothered to teach us finally got a sequel, eh? Well, if it leads to a late-career resurgence for Jim Carrey then I won’t complain. I still really like Jim Carrey and that streak he had in the mid-to-late 90s still predominately holds up! I’d like to see him get one last run at the spotlight.
2] Big Hero 6
$36,010,000 / $111,653,000
There are people on this world that do not like The Emperor’s New Groove. I do not know who these people are or why they are incapable of experiencing joy, but they exist and I want nothing to do with them. I defy you to watch scenes like this, or this, or this without cracking a smile at least once – I think science has deemed doing so to be physically impossible.
$29,190,000 / $97,810,000
Not too bad a drop, quite frankly, especially considering the near-non-stop toxic word-of-mouth on this thing. Look, folks, I am not Interstellar’s biggest fan either – I barely think it’s good, even if I did enjoy it – but maybe calm the vitriol somewhat, eh? It’s not the worst film ever, it’s nowhere near the worst film this year! It’s just a rather disappointing mess that tried to do too much and failed in its lofty ambitions. Perspective, people!
Now, if you wanna talk Worst Film Of The Year candidates, let me talk to you about Nativity! 3: Dude, Where’s My Donkey?!…
4] Beyond The Lights
$6,500,000 / NEW
Will this be the next Ride Along or the next Obsessed? Well, which do you think it’s going to be? Come on.
5] Gone Girl
$4,625,000 / $152,699,000
Rosamund Pike is not going to get a Best Actress nomination, is she? Let’s get real, we all know that the Academy are not going to go for Gone Girl, despite the fact that I still haven’t seen anything that comes even slightly close to its level so far this year. Since we all know that Scarlett Johannson getting a Best Actress nomination – let alone deservedly running away with the statue before the nominees have even been announced – for Under The Skin isn’t happening, Pike would have been my backup “I approve” choice. But, again, getting realistic, that probably isn’t going to happen. Siiiigh…
6] St. Vincent
$4,025,000 / $33,258,000
You should really listen to St. Vincent’s self-titled album if you haven’t already. It’s one of the best albums of the year.
$3,810,000 / $75,941,000
I… err… don’t really have anything to put here. What can I say? Not every film has an endless bountiful stream of material to mine on a week-by-week basis. And so it goes.
$3,038,000 / $25,000,000
Going back to the cinema to see this again on Tuesday. I’ve wanted to go and see it again for a good while now, but I have just been way too busy and way too swamped. Bright side: cinema screen should basically be empty! Woo! In the meanwhile, and on a related note, Matt Lambourne has a short piece on why we are all to blame for his crappy movie choices up on the site if you have a spare five minutes.
$3,025,000 / $48,105,000
Oh, just fuck off.
$2,450,000 / $11,575,000
As I mentioned last week, this doesn’t hit the UK until January. You know what else I found out doesn’t hit the UK until next year? Chris Rock’s Top Five which looks brilliant and doesn’t get here until March. MARCH. I’ll tell you right now, Penguins Of Madagascar better be next-level amazing because it’s the sole thing making up for this incredibly dull-looking Rest Of 2014 Schedule for me.
Dropped Out: John Wick, Alexander And The Terrible, Horrible, No Good, Very Bad Day, The Book Of Life
Ouija makes contact with idiot spirits who have money to burn, St. Vincent is the kind of clown that’s crying on the inside, Laggies doesn’t lag behind, John Wick underwhelms goddammit, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
The world is a cruel, horrible, and uncaring place where anything good will fail miserably whilst anything bad rakes in the cash hand-over-fist. That’s my theory, in any case, as to why Ouija triumphed over John Wick at the box office this weekend. The former, a strongly-marketed PG-13 horror film with dreadful reviews released near-Halloween to capitalise on a seasonal desire to be spooked in some way, took first place with $20 million in ticket sales. The latter, a lightly-marketed R-rated action film with excellent reviews slotted into a free weekend of a ridiculously cramped release schedule, took second place with $14 million in ticket sales. Sure, you could point to other factors that would cause a film like John Wick to underwhelm, but I’m sticking with my initial conclusion: people suck.
Ah, well. At least John Wick wasn’t 23 Blast, the faith-based sports biopic about Larry Freeman, a man who lost his eyesight but still managed to go on and play in the NFL anyway. That film got its start in 617 theatres, maybe even had big aspirations as to overall total gross and its standing in life, only to have them snatched away from it by a cruel, uncaring public. It only managed to make $402,000, making its opening weekend the 11th worst for any wide release film ever, and with a dismal $652 per-screen average to boot. This would be the point where I make cruel tasteless jokes at the film’s expense, but I find this just too sad to crack wise at. On the bright side, it still opened better than last week’s Men, Women & Children. So at least it has that going for it.
In limited release news, Laggies, the new film from Lynne Shelton which has been renamed to Say When in the UK for some reason, got its start in 5 theatres and banked a respectable $78,500 – for a per-screen average of $15,700. Citizenfour, a documentary about Edward Snowden and the NSA spying scandal, did much better, managing to confiscate itself $125,000 from 5 screens worth of people who fancied a change of pace; one has their limits when it comes to buzzed-about Indie Dramedies, after all. Meanwhile, Studio Ghibli’s The Tale Of The Princess Kaguya expanded to 20 theatres and raked in a far less impressive $63,500, for a per-screen average of $3,175, as a sad reminder that most people don’t seem to give a sh*t about Ghibli if the film isn’t made by Miyazaki. Dammit.
Finally, we have multiple expanders, the most successful of which was the Bill Murray-led St. Vincent. Admittedly, it’s the only one that went nationwide and boats the advantage of having Bill Murray in the lead role, but it still managed to crack the Top 10 with $8 million in ticket sales. Whiplash, which I want in my life now DAMMIT, added 25 more theatres to its slow conquest of America and managed a decent $266,000 from all 46 of them. The provocative Dear White People, which still looks amazing and still doesn’t have a UK release date for NO GODDAMN REASON, jumped up to 384 screens and finished with a much more down-to-earth and expected total of $1,384,000. Birdman, meanwhile, expanded to 50 screens and did exactly as well as a film like Birdman is expected to do – $1,436,000 and a per-screen average of $28,720.
This Full List was a final gift from John Wick’s dying wife.
Box Office Results: Friday 24th October 2014 – Sunday 26th October 2014
$20,006,000 / NEW
This seems like as good a time as any to tell Owen that I will not be coming into “work” for a week commencing on January 23rd. That’s when Saints Row: Gat Out Of Hell comes out and I sequester myself away from the world for a straight week to do nothing but play it. I live for the simple things, like a new Saints Row with an increased focus on Kinzie Kensington, the greatest character in anything ever. So, yeah, sorry Owen. Can’t say you weren’t notified, though!
2] John Wick
$14,150,000 / NEW
This is no longer coming out in the UK this year. I have to wait until January 2nd to watch John Wick. This was NOT THE GODDAMN DEAL, LIONSGATE!! I was supposed to get John Wick at Christmas! It was all-but-guaranteed a spot on my Top 10 of 2014! To withhold it until next year is evil, ya hear?! Pure evil! HOW COULD YOU DO THIS TO ME?! (*goes on like this for another 5 or 6 pages*)
$13,000,000 / $46,050,000
OK, that’s not a good hold at all. Considering the star attached to it, the level of advertising that it’s received, and the fact that pretty much nothing came out this week, this should have held better than a 45% drop. Owen’s review went live last Tuesday if you want to know if there’s a reason as to why few came back for repeat showings.
4] Gone Girl
$11,100,000 / $124,093,000
Battle lines have been drawn in my Film Studies course over Gone Girl. You either love it, like I and several students do, or you hate it, like most of our lecturers seem to. If this doesn’t end with a full-on all-out war, then I am going to be sorely disappointed. At least I know that I will be on the right side of history if everything does kick off!
5] The Book Of Life
$9,800,000 / $29,913,000
Of course I saw it this weekend, who do you think I am? The only reason as to why I haven’t reviewed it yet is quite simply because I haven’t had the time. It’ll be up by Wednesday at the latest. Short version: really good, best looking animated film I have seen all year, last 30 minutes are incredibly rushed. It absolutely needs to be seen, definitely way more than it currently is. If you’re still on the fence though, quite rightly believing that my opinion means sh*t, then know that the film is Lauren Faust and Craig McCracken approved!
6] St. Vincent
$8,058,000 / $9,189,000
There’s a part of me that wants to just talk about the music of Annie Clark instead, but I get the feeling that this one is going to hang around next week, so I’ll hold off on bombarding you with links until then. You should listen to St. Vincent anyway, though.
7] Alexander And The Terrible, Horrible, No Good, Very Bad Day
$7,023,000 / $45,544,000
So I was all set to see this Saturday but, before I’d even set off for the cinema, the screening I was planning on going to had sold out. That came as a surprise, but rest assured that I will be seeing this at my next free occurrence, which is Wednesday! I may accidentally miss awards bait dramas, I may miss horror flicks, and I may even accidentally miss awful-looking action flicks, but I shall never miss an insufferable looking live-action family film! That’s just not my style!
8] The Best Of Me
$4,736,000 / $17,663,000
…THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST, THE BEST…
9] The Judge
$4,345,000 / $34,377,000
Yeah, I ended up missing this one. I was too busy in its opening week and all showings were pulled this week at my Cineworld, so that was the end of that. I could have gone to a different cinema and paid money, but my remaining cash went to My Little Pony: Equestria Girls: Rainbow Rocks (review here) and bis gig tickets and like f*ck am I willingly spending money on this cure for insomnia! So, goodbye, The Judge! At least be glad that I didn’t make any Arrested Development references during your stay! That takes restraint!
10] Dracula Untold
$4,302,000 / $48,328,000
… … … …nope. Can’t do it. Can’t let The Judge escape without an Arrested Development reference. Hit it, William Hung & His Hung Jury!
Dropped Out: Annabelle, The Equalizer, The Maze Runner
Sound and Fury signify a change in the top spot, Birdman will be able to buy law books with pictures this time, Nicholas Sparks is not getting the best, the best, the best, The Best Of Me, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Movies, successful movies at that, often go about trying to solve questions that the public need answers for. For example, our new number 1 film, Fury, finally helped to answer our year-long conundrum, “So, is this what caused Shia LaBeouf, who wasn’t exactly the most stable and upstanding citizen to begin with, to finally go completely off the deep-end?” As marketing hooks for World War II movies go, it’s a pretty unique selling point, and one really should commend LaBeouf for starting so far away from the film’s release date and sticking with it for so long, too; professional wrestlers can’t commit to a bit this much! $23.5 million worth of Americans ended up tempted enough by the possibility of a train-wreck to pony up and watch an apparently pretty alright film.
In release news that doesn’t involve me making really tired and terrible jokes about a man who is most likely suffering from some kind of mental health problems, The Book Of Life continued the trend of animated films not made by established companies, and not outstandingly marketed to hell and back, opening rather soft with a third place debut and $17 million in ticket sales. By contrast, Studio Ghibli’s second-to-last planned film, The Tale Of Princess Kaguya, opened in limited release to a very respectable $51,700 from 3 screens – which sounds small, but one must remember that this is the return feature of Grave Of The Fireflies’ Isao Takahata and that not everybody wants to be reduced to blubbering, incoherent wrecks at art-house cinemas filled with snobby judging art-house crowds.
Meanwhile, and thankfully for people absolutely f*cking sick of his goddamn signature brand, the latest Nicholas Sparks adaptation, The Best Of Me, bombed majorly, only managing $10 million for sixth place and allowing hacks like me to make unfunny Foo Fighters references. Admittedly, Nicholas Sparks films have very fluctuating performances – The Notebook was followed by Nights In Rodanthe, whilst The Last Song was followed by Dear John – so we can’t break out the party poppers just yet, but it’s still the lowest opening for any of his adaptations ever so I’m calling this a win! Along similar total-failure lines, Jason Reitman’s Men, Women & Children expanded to 608 screens this past weekend and scored the fifth worst nationwide debut ever, with just $320,000. Films that managed a better per-screen average than it ($526) include Let’s Be Cops in its 10th week ($795), The Giver in its 10th week ($561), Lucy in its 13th week ($778), How To Train Your Dragon 2 in its 19th week ($566) and… well, pretty much everything else on the list.
Finally, we have the limited releases and the big success story of the weekend: Birdman. The new film from Alejandro González Iñárritu starring Michael Keaton as somebody who once played a superhero now trying to make it on Broadway and filmed in a way that gives off the illusion that the film is just one continuous shot… actually, now that I think about it, it’s absolutely no surprise that the LA and NY cinemas that got this film ate it up so massively. In any case, $415,000 from 4 theatres makes it the second-biggest-per-screen-average for a limited release of the year (behind The Grand Budapest Hotel) and the ninth best live-action limited release opening ever. Also doing great business on 11 screens, for a very impressive $31,273 per-screen average, was Dear White People with a weekend total of $344,000. I don’t really have anything else to add, to be honest, the film looks way too good for me to get snarky at.
This Full List has got another confession to make, it’s no fool, it’s getting tired of star- (*is forcibly pulled away from keyboard*)
Box Office Results: Friday 17th October 2014 – Sunday 19th October 2014
$23,500,000 / NEW
Owen will be handling review duties on this one, folks. Be gentle with him. I also find it interesting to note that Fury has made more domestically in one weekend than David Ayer’s other 2014 film, Sabotage, did worldwide throughout its entire run. Good to see his year has turned around significantly!
2] Gone Girl
$17,800,000 / $107,069,000
Gone Girl has been embraced by Men’s Rights Activists, just as I feared it would be. Sigh… I guess that’s the risk one gets when trying to tell stories like this one, but it is saddening to know that I am going to have to spend the rest of my life lengthily explaining myself when I tell more Internet conscious people that I love Gone Girl, so that they don’t get the idea that I’m some kind of woman-hating psychopath.
3] The Book Of Life
$17,000,000 / NEW
Out here on Friday, so one last time for good luck: I ORDER YOU TO NOT SUCK!
4] Alexander And The Terrible, Horrible, No Good, Very Bad Day
$12,039,000 / $36,871,000
And this is out this weekend, too. Well, I guess you gotta learn to live with the bad days to ap- (*looks down to see hands have somehow become sentient and are strangling the author to death*)
5] The Best Of Me
$10,200,000 / NEW
Should probably clarify that the strangling that occurred in the previous joke involved my throat, not anything dirty like I know some of you more childish readers were attempting to misconstrue it as. There are no such uses of toilet humour in these articles. This is a family feature.
6] Dracula Untold
$9,889,000 / $40,735,000
A pretty large 58% drop between weekends, so it’s a total flop domestically. Unfortunately, it’s almost cleared $100 mil overseas, mainly thanks to Russia and Mexico of all places, so I can’t smugly sit here and claim that it completely bombed like I predicted it was going to. Drat and blast!
7] The Judge
$7,940,000 / $26,843,000
No, seriously, watch the trailer for Dear White People. It looks absolutely excellent and the kind of film I need in my life right f*cking now.
$7,925,000 / $74,127,000
Yes, that is a really close gap between The Judge and Annabelle, but actuals have yet to actually flip the places of two films that are dead close to one-another in estimates under my watch, so don’t expect anything to actually happen here. You know, except for the realisation that I just managed to sufficiently kill time by making a big deal out of nothing with this entry.
9] The Equalizer
$5,450,000 / $89,170,000
10] The Maze Runner
$4,500,000 / $90,837,000
OK, I’m not stupid. I know you haven’t actually watched the Dear White People trailer yet. I have no control over you and can’t force you to visit every single link I attach to these articles. You’re busy people with places to be. So I’m just going to leave this here and we’ll all reconvene next week for me to do this dance with another completely different film possibly maybe.
Dropped Out: Addicted, The Boxtrolls, Left Behind