Where does a pirate keep his buccaneers? Apparently on the bucking Failed Critics Podcast this week, as Steve Norman and Owen Hughes are joined by both Andrew Brooker and Brian Plank for some jolly rogering – and to talk about Marvel’s latest space adventure movie, Guardians of the Galaxy Vol. 2!
Ooga-shaka, I’m hooked on a Marvel Cinematic Universe franchise and it keeps getting better. Owen Hughes reviews James Gunn’s Guardians of the Galaxy Vol. 2.
Look at me, listeners! I love you! It’s all for you, Damian— I mean, whatever your name might be! Happy birthday to us.
Yes, backs are slapped and circled are jerks as we celebrate reaching the fifth year of the Failed Critics Podcast. Hip, hip…
Winking self-acknowledgment is not an acceptable substitute for actual self-improvement.
by Callum Petch (Twitter: @CallumPetch)
WARNING: The following article contains MAJOR SPOILERS for Ant-Man, and SPOILERS OF VARYING AMOUNTS for other films in the Marvel Cinematic Universe.
Throughout most of Ant-Man, Hope van Dyne spends her time being considerably irritated by the fact that Scott Lang is the one stepping into the Ant-Man suit instead of her. She has good reason to, though. Hope is tougher than Scott, she’s smarter than Scott, she already knows Pym Technologies inside out, and she’s close enough to Derrick to be able to be kept in the loop at all times. Essentially, there is no good reason for her not to be wearing that suit. She knows it, everyone else knows it, and the film itself knows it. Yet, she is told time and time again by her overprotective father that she can’t. Instead, Scott is the one in the suit because he’s expendable, and Hank can’t bear to think about what would happen if things went bad with Hope in that suit.
In addition to being an arc for both Hank and Hope – him learning to accept that his wife (and Hope’s mother) Janet chose to sacrifice herself and that him trying to control the women in his life, even if he does genuinely think that it’s in their best interest, is wrong; her learning not resent her Dad for his decisions in life – the stuff with Hope also works as a meta-text for Marvel’s reticence to just allow women to suit up, kick ass, and headline their own damn movie already. There’s a character that’s basically a stand-in for every single audience member who is sick of waiting for women to get their shot at the limelight, she is told by the hunky white guy that he’s there because he’s expendable if anything goes wrong, and a big part of big daddy Hank’s arc is learning that keeping women from being superheroes out of some misguided paternal instinct just breeds resentment. The first of the film’s two big mid-credits scenes involves Hank revealing a prototype Wasp costume and giving Hope permission to use it, to which she responds with the big-hell-yes line, “It’s about damn time.”
Here’s the thing. Yes, I really like Hope. Yes, I agree with what Ant-Man is saying. Yes, I appreciate that Marvel seems to understand the criticisms levelled against it. And, yes, my heart did swell with joy at the reveal of the Wasp costume. But, no, I don’t think that we should be giving Marvel credit or praise for any of this. After all, they are part of the problem. Kevin Feige has constantly shot down the idea of a Black Widow solo movie, Captain Marvel isn’t due until November 2018 (and every single one of these movies from now on is getting mentally marked-down if they don’t feature Carol Danvers in at least a 10 second post-credits sequence), and this franchise still hasn’t been making any particular strides towards bettering itself when it comes to its female characters.
Yet here’s Ant-Man, self-consciously pointing out how ridiculous this situation is and expecting a round of applause for doing so, instead of actually trying to fix the issue. It’s like an architect of glass houses pointing out all of the structural dangers and safety concerns inherent in his work, and how ridiculous it is that he’s doing this, and then expecting a ticker-tape parade and a knighthood because at least he admitted to it, right?
Look, it’s not that I don’t approve of a big movie pointing out the fact that this is a problem that needs fixing, I just don’t think that Marvel are the people who should be doing so. Black Widow is still one of only two Avengers to not have their own solo movie because… well, quite frankly, Kevin Feige can’t seem to come up with a genuine answer. If the issue is brought up, he’ll instead spout some rhetoric about how they have “gone for the powerful woman versus the damsel in distress” as if that excuses them continually side-lining these characters over their male counterparts.
In fairness, Marvel films do typically have better-written female characters than most blockbusters, in that most of them do actually contribute to the plot in ways that aren’t solely “jumping into the hero’s pants”. But they’re still not great. For one, most of these “powerful women” arrive from the same school that most “powerful women” in popular media do: the ones who kick ass and/or snark but otherwise lack much distinctive personality. Lady Sif, Gamora, Maria Hill, Sharon Carter… My affection for these characters are born less out of what I’ve gotten to know about them in their respective films and more out of my love for their actresses and hints of what could possibly be done with them in the future. Instead, they’re always the least-served characters in their respective movies, asked to do nothing more than occasionally beat people up and snark before getting out of the way of the men’s stuff.
Otherwise, despite Feige’s assertions, these women still mostly fall into the camps of “love interest” or “damsel”, and sometimes both! Jane Foster’s main role in both Thor movies is “bland love interest” whilst her contributions to helping Thor save the world are forced at best. Pepper Potts, despite spending much of the first two Iron Man movies being depicted as Tony Stark’s intellectual equal, is relegated to being just another damsel throughout Iron Man 3 with her last minute Extremis powers being an utterly laughable attempt to combat arguments like mine about the near-total destruction of her character. (There’s also the fact that Iron Man 3 itself is borderline misogynistic, but that’s a whole other article.) And despite acting as a walking meta-commentary on female marginalisation in the MCU and how this needs to change, Hope still spends the majority of Ant-Man on the sidelines and ends the movie as the girlfriend of Scott Lang, despite the only build-up being a begrudging respect for him and a flustered look at some fine Paul Rudd abs, because… that’s how these things are supposed to go, I guess.
Now, I’m not saying that there aren’t some really genuinely well-drawn female characters in the MCU – everybody keeps bringing up Black Widow for a reason (even if Age of Ultron dropped the ball by handing the sterilisation and Bruce Banner developments less-than-well), but Peggy Carter has also blossomed into an outstanding character, and Scarlet Witch is, in my opinion, the real star of Ultron – and I’m also not saying that strong female characters (how I hate that phrase) can’t also be love interests, pre-Iron Man 3 Pepper was absolutely one of the strongest and most well-written characters of this franchise regardless of gender. But what I am saying is that this currently isn’t good enough and that there is room for substantial improvement. And I do mean substantial; this is not something that can be fixed purely by the existence of Captain Marvel, although Feige worryingly gives off the impression that he thinks it can.
A female-led superhero movie is a good start, but it’s not a be-all-end-all. These movies need more better-written women across the board. It’s not just that Hope is better suited to the Ant-Man suit than Scott, it’s that her character is honestly not that interesting beyond her meta-text and Evangeline Lilly’s charm offensive. It’s not that Gamora is boring, it’s that her few moments of genuine personality (which call to mind Starfire from DC’s Teen Titans, natch) are just that. Moments, compared to the extensive character studies we get for Peter Quill and Rocket Raccoon in the rest of Guardians of the Galaxy. It’s not that Jane can’t be Thor’s girlfriend, it’s the fact that she doesn’t really have a distinctive personality beyond being his girlfriend who occasionally quips about how ridiculous this world she’s been shunted into is, and she’s outperformed at that by Darcy.
The reason why everybody keeps calling for a Black Widow solo movie is not because we just want a movie in which a female superhero is fronting things instead of a man. It’s because, through the four films that she’s appeared in so far, Black Widow is one of the most richly-drawn, well-defined, and just plain interesting characters in the MCU. And she’s a woman, which makes that prior fact a goddamn miracle. This is what everybody seems to misunderstand. DC and Warner Bros. seem to be under the impression that throwing Wonder Woman into Batman v. Superman and giving her a prominent three-second shot in the trailer is going to be enough to get them showered in bouquets of roses. And whilst it is more than nice to finally see Wonder Woman up on the big screen, it’s going to mean jack sh*t if she hasn’t got an interesting character with stuff to do and only shows up to kick arse and snark indiscriminately. Because then she’s not Wonder Woman, she’s just yet another in a long line of quote-unquote ‘strong female characters’.
That’s why the Hope stuff in Ant-Man irritates me so. Yes, it’s nice that everyone seems to recognise that this is a problem, and that they are going to put Hope in the Wasp suit at some unspecified point in the future assuming the inevitable heat-death of the universe doesn’t murder us all to death first. It’s the fact that the film still doesn’t actually do anything to fix the problem, still mostly marginalising Hope’s role in the story, still giving her a rather interchangeable personality, and still shunts her far out of the way of the important concluding parts of the story. Openly acknowledging a problem is not an acceptable substitute for actually trying to fix the problem, and the time and effort spent on this “look at us, we’re so self-aware and clever” routine is time and effort that could have been spent actually bettering the situation.
Hope’s “it’s about damn time” is meant to be a satisfying fist-pumping indicator that things may finally be turning a corner, but forgive me for holding off on the party poppers and champagne until I see actual evidence that things are getting better. And, no, just throwing Carol Danvers into a post-credits sequence alone won’t be enough.
Ant-Man is a heist movie AND a father-daughter relationship movie, so it’s alright in my book.
by Callum Petch (Twitter: @CallumPetch)
OK, that’s exaggerating a little, but it gets at the precarious little platform that I am currently stood on. Unlike most people (that I hang around with), I am still all aboard the Marvel Studios train. I have liked or loved every film they’ve put out to various degrees, except Iron Man 3 which is just garbage save for The Mandarin twist, and I will continue to like them until they start putting out multiple bad movies in a row. That said, I am nearing the verge of burnout and plain old cynicism about superhero movies as a whole. The Marvel movies are formula, I know and understand that, which will one day soon wear out its welcome, whilst everybody else seems to be on a mission to drain every last strain of fun out of the genre with an even stricter adherence to rote formula, deathly seriousness, and blatant franchising during the initial birth stages.
It’s a recent occurrence, but it’s not one that I’m particularly happy with. Even though I don’t read comic books, I love me some good superhero movies! But most of them nowadays aren’t good, and the sheer number of them on the horizon is now, for the first time, genuinely daunting to me. I love this genre, but it needs to try new things or it risks losing me. Of next year’s load of superhero flicks to come, Deadpool is the one I’m actually looking forward to most because, even though the trailer isn’t particularly funny by most metrics, it looks different instead of more of the same, or needlessly and endlessly miserable.
Which, with that context out of the way, brings us onto Ant-Man, a heist movie wearing the clothes of a superhero movie. In stark contrast to most every other movie released during Marvel’s Phase Two, and this includes Guardians of the Galaxy, Ant-Man is a very small-scale film that focuses in on a tight cast of characters, withholds basically all of its action until the last 30 or so minutes, and has stakes that only really affect our immediate cast more than anything else. In fact, there’s something that rings false whenever anybody tries to insist that the central technology that everyone is fighting over would cause untold chaos if released into the public, like saying so is just a reflex that everyone involved can’t kick. The truth is that the stakes are small, the pacing is deliberate, and the focus is on the characters more than the plot.
Said plot, and the characters that populate it, follows Scott Lang (Paul Rudd), a recently freed convict who was arrested for robbing from a powerful company and handing out its funds to their employees. He wants to do right by his young daughter Cassie (Abby Ryder Fortson), but is drawn back to crime when his attempts at finding a job go as well as you’d expect for an ex-con. Fortunately, this time he’s being secretly swept into the world of Hank Pym (Michael Douglas) who is trying to recruit Scott to pull off a daring heist. Darren Cross (Corey Stoll), the head of Pym Technologies and Hank’s ex-protégé, has managed to crack the formula and technology required to shrink human beings down to insect size – the same technology that allowed Pym to become the first Ant-Man back during the Cold War – and Hank is very worried about the effects that selling the tech would cause. So, rejecting the help of his more-than-capable daughter Hope (Evangeline Lilly), Hank tasks Scott with using his old Ant-Man suit to break into Pym Technologies and destroy Cross’ research and prototypes, with both Hank and Scott possibly earning their shots at redemption as a result.
So, immediately, Ant-Man is pressing two of my major weakness buttons: heist movies, and films about father-daughter relationships. The latter ends up being the emotional and thematic backbone of the movie, as Hank and Hope try to reconcile things after a life of Hank not being there for Hope, whilst Scott tries to become “the hero [his daughter] already sees [him] as”. Hank and Hope’s strand has issues that I’ll come back to shortly, but Scott and Cassie’s relationship works gangbusters primarily because the film doesn’t belabour the point. Their on-screen interactions are minimal, but they, coupled with the genuine remorse that Scott shows throughout the movie, already clue the viewer into just how much they both mean to each other. Plus, in a rare turn-up for the books, her new soon-to-be-step-father, Paxton (Bobby Cannavale), is not painted as a douchey hateful nuisance we’re supposed to despise. The film understands that he’s a good guy just trying to do his job and never treats him as some kind of villain to wish death upon, a nice change of pace compared to usual.
Meanwhile, the heist side encompasses all of the traits that you expect from a good heist film: extended training montages, detailed step-by-step plans that are slowly put together (often in montage), the smaller heist to build up to the real heist, the moment where certain failure is just avoided, the moment where everyone has to improvise, the bit where everything goes to hell in a handbasket. I’m a sucker for heist movies, basically, and the standard heist mechanics get a nice shot in the arm from the fact that we’re watching this take place in a superhero movie, allowing for more inventive ways of executing acts like frying circuitry or making an escape from a hairy situation. What’s most impressive is the way that the two elements balance so smoothly, although there are times when the superhero part of things takes over, as the addition of the Ant-Man suit and the power to control ants shifts sequences like desperately trying to hide plans or briefing new last-minute team members in slightly different yet distinctive ways.
On the note of “new team members”, Ant-Man spends a lot of its time developing its cast, either through character arcs or just letting them hang out. I bring this up not to mention that Scott Lang is wonderfully charming, or that I really like Hope despite most everything attached to her character, or that Darren is a surprisingly menacing and sadistic villain who is one of the few genuinely good MCU villains that have come along so far. No, I bring this up to make reference to Scott’s friends, headed up by his ex-cellmate Luis (Michael Peña). They are, to be blunt, racial stereotypes whose ethnicities are played up at every opportunity, yet they still feel like three-dimensional characters because their actors (which also include Tip “T.I.” Harris as Dave and David Dastmalchian as Kurt) commit totally to them and the film cares enough for them to give off the impression that they actually do have real lives outside of the times where Luis gets all motor-mouthed or Dave plays up his blackness to try and get out of trouble with the police. It’s a very fine and tough line to walk, but the film, in my opinion for whatever that’s worth, just manages to pull it off.
Again, that smaller-scale is what helps here. Characters like Luis would usually be lost in the shuffle in a giant world-ending stakes movie, like most Marvel movies are, but because the film commits to that smaller scale, to building its stakes out of personal legacies and character relationships, it allows for a deeper emotional connection than most typical Marvel films. Sure, there are multiple characters that just get shunted to the sidelines – which is the kind way of saying that Judy Greer is in this movie and we are all currently part of 2015: The Summer of Completely Wasting Judy Greer – but the central relationships get time to properly develop and blossom. Plus, the film finds time to invest in some more idiosyncratic relationships: Scott ends up taking a fancy to one particular ant, whom he dubs Anthony, in a way that’s pretty funny but gains genuine resonance because the film is always completely sincere about how much Scott likes it.
It would also be remiss of me to not mention the film’s final third, the point where one would expect the film to expand its scale for those big action setpieces that all superhero movies apparently must close with by law. Instead, once again, Ant-Man remains committed to keeping those stakes small and personal, with the main conflict coming from Darren’s inferiority complex towards his former mentor, his rapidly deteriorating mental state, and his desire to punish Scott for being everything he wanted Hank to see him as. That also extends to the final setpiece, one of only three times in which the film really lets loose with the suit, which utilises the size-changing mechanics to allow for a big pyrotechnic battle to take place in a little girl’s bedroom. It’s a load of fun and more inventive than any other Marvel setpiece I’ve yet seen, where the fusion of the superhero and comedy aspects works to brilliant effect.
As much as I do really like Ant-Man, though – and that’s not even mentioning Peyton Reed’s stylish direction or the across-the-board-excellent performances – it does have several notable flaws. For one, although this is one of the most stand-alone Marvel movies yet, there are moments where the broader universe intrudes itself on the rest of the film. Now, I am not opposed to this concept, when pulled off right it can excellently give off the feeling of this universe existing outside of each hero’s individual movies, but it’s very hit-and-miss here. Scott immediately asking aloud why Hank doesn’t just contact The Avengers is an example of it working, since it’s an acknowledgment that these films don’t exist in a bubble and provides justification as to why they wouldn’t work on this kind of story. An extended setpiece about midway through the film with a surprise cameo (that I won’t spoil) is one that doesn’t. Oh, sure, it is pretty fun, but it still feels a little clunky, like it was forced in there either because somebody panicked and feared that holding off on proper action until the last third would bore the audience, or somebody just thought it was a really cool idea and threw it in there regardless of whether it fit the film or not.
More of a problem is Hope van Dyne. Now, I like Hope – a combination of Evangeline Lily’s winning charm offensive and my natural love for women who can get sh*t done made sure of that – but her existence in this movie is part of a meta-text that I am not really comfortable with Marvel making. See, Hope is clearly the one best suited to donning the Ant-Man suit and undertaking the heist – she’s tougher than Scott, a fair bit smarter than Scott, more accustomed to the labs and technology – but Hank keeps refusing to let her for personal, ultimately unfair reasons. It’s played as this meta-commentary on how Marvel seem similarly resistant to making a female superhero movie, instead constantly trading on white guys cos if one fails, in the words of Scott in this very film, “[they’re] expendable”. It’s a nice acknowledgement of a genuine problem, and builds to a promising payoff, but that doesn’t change the fact that Marvel still aren’t actually doing anything to fix the problem and ultimately just made me even more annoyed that we still won’t get a fix to this problem until November 2018.
(For more on this, keep an eye on the site over the next few days, I have an article about this in the ideas oven as I type these words.)
That said, I do still really like Ant-Man. For every moment it adheres to the standard Marvel formula, there are many more where it tries something completely different or twists the familiar into something that’s atypical for these kinds of films. It’s still recognisably a Marvel Movie, but its commitment to keeping things small and personal provides a shot-in-the-arm and a nice change of pace for the Marvel Cinematic Universe. It’s not massively different, so those completely averse to Marvel/superhero movies are unlikely to get much from this one, but it is a positive step in the right direction. As stated up top, I do still like these kinds of movies, but I need them to be trying something different if I’m going to stay a fan of this stuff. Ant-Man is a good start.
In the run up to the latest hotly anticipated Marvel blockbuster Avengers: Age of Ultron, Steve and Owen have been busy putting together a series of short 20-25 minute long minisode podcasts. With clips from the films, trailers, retro reviews taken from our archived podcasts as well as brand new retrospective reviews featuring a varied mix of different guests for each episode, we’ll be running through all of the MCU movies thus far in chronological order.
Welcome to the very last episode in our Avengers Minisode series! Here we take a look back on the second best film of 2014, as voted for by you in our Failed Critics Awards. I am of course referring to the spectacular space-adventure, Guardians of the Galaxy, the tenth film in the Marvel Cinematic Universe.
First conceived as a movie to enter the franchise back in 2009, when writer Nicole Perlman pretty much hand picked it herself, it wasn’t until 2012 that the ball really started rolling on production when director James Gunn was attached to the project. Released two years later, the film was a huge success for Marvel Studios, nearly quadrupling its budget by grossing approximately $774,000,000 worldwide – most of those ticket sales courtesy of our special guest for the retrospective review, Mike Shawcross, who saw the movie 23 times at the cinema!
Featuring the likes of Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Lee Pace, Michael Rooker, Karen Gillan, John C. Reilly, Peter Serafinowicz, Glenn Close and Benicio del Toro, it had an enormous ensemble cast that rivaled even that of Marvel’s Avengers Assemble some two years earlier. All of whom were fantastic in their individual ways as the MCU ventured into the realms of space-opera, with the Starlord and his “group of wrong-uns” attempting to stop the psychopathic Ronan the Accuser from getting his hands on a powerful orb containing an infinity stone and thus destroying the Nova Empire.
As through the rest of our Avengers Minisodes, this episode will feature clips and trailers, as well as retro review taken from an archived podcast released last year when we were joined by Carole Petts. As mentioned earlier, the brand new retrospective review sees occasional writer and podcast guest Mike Shawcross share his educated opinion on the film.
We’ll be back next week with a review of Marvel’s Avengers: Age of Ultron, released here in the UK tomorrow!
Warning: these minisodes may contain spoilers
So here we are then. We are at the literal half way point in the decade, albeit the final point in our Half A Decade In Film spin-off mini-series. Yes, the fun ends here (well, about 2000+ words on from here) as Andrew, Paul, Liam, Mike and Owen each pick their favourite film of 2014.
Anybody who listened to our End of Year Awards podcast released not three months back will know just how much Failed Critics loved last year’s selection of movies. From the disturbing and eerie sci-fi Under The Skin, to the disturbing and eerie thriller Gone Girl and all the disturbing and eerie films in between, it was a hell of a year for disturbing and eerie movies, as voted for by you people.
Still, we’ve managed to find five more films to talk about, not all of them dark, violent, disturbing and / or eerie. Well, maybe one or two. Starting with…
Directed and co-written by Yoon Jong-bin, of Nameless Gangster fame, Kundo is a Korean action packed drama set in the middle of the 19th Century.
I’m not a fan of Action films in general but I do love a good Western and thoroughly enjoy Martial Arts fight-fests. Kundo manages to combine the look, feel and sound of the former with the thrills and messy spills of the latter.
The basic story is not overly original in its theme. Jo Yoon, the illegitimate son of a nobleman, is knocked down a rung of the ladder when a fully legitimate heir is born. When he starts to show resentment toward to the new heir he is disciplined and eventually packed off to a life in the military. Many years later the nobleman’s son is killed and Jo Yoon returns to the family as a bitter, corrupt, evil and violent despot hell bent on claiming his birthright and milking his subjects for all he can get.
He hires a lowly butcher, Dol Moo Chi, to kill his dead brother’s pregnant widow to prevent the birth of a new legitimate heir that could challenge his claim as head of the dynasty. When the hitman fails in his mission, Jo Yoon’s vengeance is so brutal that Dol Moo Chi joins a secretive clan of mountain dwelling warriors and monks dedicated to righting the wrongs of despotic nobles and saving oppressed peasants from a life of slavery.
The story then follows the to-and-fro battles between the heartless Jo Yoon’s army of mercenaries and the altruistic mountain clan with Dol Moo Chi in the front line.
Although the basic plot cannot be said to be breaking new ground as a story, the way it is told is thoroughly enjoyable. The best analogy I can come up with is to imagine Quentin Tarantino (at his peak), Sergio Leone and Ennio Morricone getting together and deciding to retell the Robin Hood story.
It is beautifully shot, the acting throughout is superb, there are some fantastic fight scenes and just the right number of humorous little interludes.
There are a few issues with it though. The quality of the CGI used is pretty poor. They are not pivotal to the story but are glaringly clunky. One horseback chase sequence, in particular, is terrible. It’s less convincing than those stock moving backgrounds you see out of the window of a car in old black and white movies. There are a few countryside scenes where flocks of birds have been overlaid. They make Hilda Ogden’s “Muriel” look a masterpiece. Even little touches as insignificant as glowing embers drifting away from a fire look like afterthoughts.
But, to be brutally honest, I’m a real grump when it comes to CGI and rarely miss a chance to moan about it, I seriously doubt these issues would bother the majority of normal people.
A genuinely enjoyable film, it may lack originality but is both beautiful to look at and fun to lose yourself in.
by Liam (@ElmoreLTM)
Another late comer in the film year that I had little or no expectation for. Director Matthew Warchus hadn’t done a feature film for 15 years (his previous film, Simpatico, I’d never even heard of) but this managed to push all my buttons. The soundtrack was for me: Heaven 17, Dead or Alive, Tears for Fears, The Smiths; this was so absolutely in my wheelhouse. The period setting, the 80s, I grew up in the 80’s and it’s always portrayed poorly on film. All that miserable Shane Meadows stuff. I was born in 1970, that was a miserable shit decade, the 80’s were fucking awesome!
We get to meet two very different groups in Pride. Gay activists and striking miners. So we get a double dose of fish out of water, elderly working class Welsh ladies going to gay clubs and party boys going to a working men’s clubs for a spot of bingo. Joyous, absolutely joyous. There’s so many jokes to be had right there.
The cast are all first rate, and mainly unknown to me, though Imelda Staunton, Paddy Considine & Bill Nighy all pop up and do a turn. There’s a decent coming of age story, the mad culture clash to explore, issues of bigotry and discrimination, and yet it all hangs together beautifully and made me laugh, a lot. Proper belly ache, tears down the face, laughter. Looks great, sounds amazing, and absolutely the best of British – oh and to quote Imelda Staunton….. ““We’re just off to Swansea now for a massive les-off!”
by Paul Field (@pafster)
As a series of films, the Marvel Cinematic Universe (MCU) was always just a bit of fun. I’m not denying the quality, not at all. What I’m saying is while they are all good films, I never saw any of them as “great”. Until Captain America: The Winter Soldier rocked up and smacked me around for making such stupid statements.
For the most part, the story of Steve Rogers teaming up with S.H.I.E.L.D and fighting the bad guys, all while trying to find himself in a world he doesn’t know or really fit in to, foregoes the fantastical elements of previous Marvel films and the universe they created. Instead choosing to ground itself in some kind of reality and weave us a tale of conspiracy rivaling that of most other espionage thrillers.
Make no mistake, this is an MCU film through and through. But this time around the Marvel universe feels more like a way to get some of the sillier ideas onto film. Ideas that haven’t really been acceptable since early 90’s James Bond. You know? Mechanical wing suits, hover-carrier thingies and, well, super soldiers!
Cap 2‘s greatness comes when you realise that you can take all those elements out and still be left with a top-notch spy film. A complex and engaging espionage film about shady little men trying to take over the world by using their own little terrorist army headed by a larger than life super-bad-ass bad guy. All of which can only be stopped by one man. Jason Bourne. No, James Bond? Nope. I got it, Ethan Hunt? Oh. Well, you get the idea.
My favourite part though? The fighting. I’ve said it a thousand times. A well choreographed and filmed fight can make a film great. Cap 2‘s fights hurt. Every hit is a bone crunching treat for fight fans that ramps up the stakes and forces you to feel every single punch. Captain America’s confrontation with UFC legend George St. Pierre and the first fight with the titular Winter Soldier are particularly great examples.
It’s Bourne with extra toys. Old school Bond with the ability to still have old school fun. Most importantly, it’s a brilliantly built thriller that’s grounded itself in the real world and, at least as far as I am concerned, is the best MCU film yet.
by Andrew Brooker (@Brooker411)
Some of you may have already read my review on the main site about Dan Gilroy’s atmospheric thriller. There’s not too much point in me running through the film with a fine tooth comb again, except to say that it is still my favourite movie of 2014. I had a blast watching Guardians of the Galaxy on the big screen, big tub of popcorn in hand. I loved Kundo for all the reasons Liam has stated above. Under The Skin, The Attorney, The Raid 2, Inside Llewyn Davis, Moebius; it was just a fantastic year for film. But none of those that I saw during the year, none of those that I’ve caught up with since the turn of 2015, seriously, none have bettered this expertly made, tense, psychological dark masterpiece.
Brooker touched on Jake Gyllenhaal’s resurgence in our 2011 article, yet as good as he’s been in films like End of Watch, Prisoners, Zodiac and Source Code (and that crazy violent slightly NSFW music video thing he was in), it’s definitely with Nightcrawler that he reached his apex as an actor. The sheer ludicrousness of his omission from the Academy Awards list last month was bafflingly moronic. How he could’ve been overlooked for a Best Actor award is quite frankly beyond my understanding. As the crime-scene videographer Lou Bloom, living out his twisted version of the American dream, it was arguably the best performance of the entire year.
It managed to tread that very thin line of being both sickeningly realistic and uncomfortably amusing. Not just Gyllenhaal’s performance, although that obviously is the central piece in the jigsaw, but the film as a whole. He has a suitably talented cast of actors around him including Bill Paxton, Rene Russo and Riz Ahmed; a director/writer who appears to have hit the ground running with his debut feature as a director; and some excellent cinematography courtesy of the very experienced Robert Elswit. It’s a film that has gotten even better the longer time has passed since I last watched it and I can’t wait to see it again.
by Owen Hughes (@ohughes86)
Over the last few years I’ve watched quite a lot of films at the cinema, and the ones I’ve enjoyed I’ve gone back to see again, sometimes more than just twice. When 2014 came along, there was a film which I was looking forward to seeing. Another entry in the Marvel universe. As usual I had avoided seeing any trailers or even any footage for this film. On my first viewing I was blown away at how much I enjoyed it. Even on a 2nd and 3rd viewing I was enjoying it more each time, my kids loved it, and so I embarked on what turned into a marathon number of watches of Guardians of the Galaxy.
Oh go on then, I saw it 23 times in the end! “Why” I hear you cry? Mainly because (I have a Cineworld card and 3 kids who loved it as well) I just enjoyed the hell out of it. Everything about it entertained me, from the characters to the score and the soundtrack which was rather cool. It had action, it was lots of fun and had some fantastic looking spacecraft and it was just 2 hours long, a decent run time for once. I missed – or rather never got on board as Star Wars changed the world of films, and while I’ve seen films that have blown me away, they have disappeared into my collection only to see the light of day once in a blue moon. Maybe Guardians is my Star Wars, or even my kids Star Wars..? I’m not sure, I just know I really wasn’t expecting to like it so much.
James Gunn has produced a Marvel film like no other. While the other films tend to return to earth for some or most of the film, Gunn left Earth way behind. Taking his hero Peter Quill as a child into space and with some back story to give Quill a little character, just enough for us to like him, Gunn just lets the film fly. With a great opening sequence, the film powers along, and soon we are introduced to the full team, though they don’t know it yet. Rocket, a talking Racoon; Groot, a tree, who doesn’t talk much, Gamora a green assassin and Drax a beast of man looking for revenge. Really with that line up of characters this should fall flat on it’s face or at best just about hold together. Yet Gunn and his cast breathe so much life into the film that it soars. Chris Pratt is superb as Quill, he might be a rogue be he is extremely likable. Zoe Saldana is also great as Gamora, while Rocket and Groot and both voiced well by Bradley Cooper and Vin Diesel. It is Drax played by Dave Bautista who really steals the show; his deadpan delivery is wonderful and nothing goes over his head (his reactions are too fast!) As for the rest, Karen Gillan gives a solid performance as Nebula and Michael Rooker (a constant in Gunn’s films) is also excellent. Lee Pace continues to impress as Ronan and his one of Marvel’s better villains.
The design of this film is also superb; the look of the space crafts, the clothes, the outer space sequences are all stunning to look at. The chase sequences are exhilarating and the final battle is superb leading to a one of the best moments of the film, the dance off! Yet while the plot is rather weak it does add some weight to Thanos and may give some clues to wear Marvel are taking the films. Even so it’s still a pretty strong origins film, as it relies on its energy and the energy of the cast to get us through it. Gunn’s trick is to continue this with the sequel, it’s a big ask, but I think Gunn and his cast might just pull it off again.
by Mike Shawcross (@Shawky1969)
And there we go, we’re done, no more new Half A Decade In Film articles to go (until perhaps five year’s time when we attempt the same thing again perhaps?) You can catch all of our prior entries here, or even click this link to view the entire back catalogue of features for the Decade In Film series. As always, let us know in the comments below if you think we’ve crucially overlooked or overrated any films so far.
Notice: Apologies for the return of our audio issues this week. We’re currently investigating the issue and will update this page in due course.
This week, as you’ve probably guessed already, the team mull over the teaser / trailer / pre-trailer-teaser / clip things for Jurassic World and Star Wars: Episode VII – The Force Awakens and decide if they’re ‘clever girls’ or just stinky old nerf herders. Also on this episode, we have a review of the first part of the third part of the Hunger Games series with Mockingjay, Part 1; as well as brand new docu-drama about the life of the titular artist, Hockney.
Amongst all of this and the mayhem that is the dramatic conclusion to our ongoing quiz, there’s still time for Carole to review the gorgeous new Guardians of the Galaxy steelbook; Steve questions dodgy accents in Ocean’s Eleven; and Owen explains why he “quite liked” Life Is Beautiful.
Join us again next week for more news and reviews. Until then, may the force be–no sorry I can’t do it. Just.. come back next week. I’m sure you’ll find a way.
The Judge has a Terrible, Horrible, No Good, Very Bad weekend, Dracula does makes Untold millions, Kill The Messenger is DOA, the full list will give you Whiplash, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
This weekend, a terrifying curse was placed upon a certain set of people. One that rendered them scared, confused, worried about the changes and its effects, and unable to go out during the daytime (primarily because they don’t go out during the day, anyway). I am of course referring to the 48 hours in which the website known as Box Office Mojo ceased to exist. We film writers were thrown into a panic. “How on earth can we do our jobs now? What other monstrous websites will we have to patronize instead? Why hast thou forsaken us?!” we cried skyward to the heavens. But then, right on cue, the site returned this morning with no explanation for its absence! And so our great national nightmare was over!
You could say, then, that it was a Terrible, Horrible, No Good, Very Bad weekend, in an incredibly lame segway towards referring to the box office stats. It was most certainly one for the “Robert Downey, Jr. has a space on his fireplace that he’s just freed up for some awards statues” flick known more commonly as The Judge. Not only did critics collectively shrug it away from any possible awards buzz, the film underwhelmed severely at the box office, despite featuring Robert Downey, Jr. doing that Robert Downey, Jr. thing that the people like, only debuting in fifth place with $13 million in ticket sales. Alexander, then, much like its titular character, ended up passing off that yadda yadda weekend to somebody else, opening with a surprisingly strong $19.1 million for third place.
That left it comfortably sat behind the number two film, Dracula Untold which debuted to a very surprisingly strong $23 million. Couple that with its currently-really-rather-successful overseas performance, and you have one genuinely surprised writer. In any case, that still puts it very much behind the weekend’s number 1 film, Gone Girl, which shed only 28% between weekends to hold onto the top spot. Couple that with its currently-very-successful overseas performance, and you get one very, very happy writer. Also sneaking into the Top 10 was the moderate release drama-thriller Addicted, which managed to overcome the handicap of apparently being complete garbage to score a seventh place debut and a near-$9000 per screen average.
As for those limited release films outside of the top 10, there’s a lot to parse through. First off, Meet The Mormons, which resides in 11th place on our countdown with a weekend gross of $2.7 million, from 317 screens, that are presumably from people who thought it was an expose on the making of The Book Of Mormon. It is, though, the second biggest opening for a documentary all year, at any rate (behind Bears). Next up, we have the Jeremy Renner-starring and Mary Elizabeth Winstead-featuring Kill The Messenger, which tanked with only $939,000 from 374 screens. You know, because Mary Elizabeth Winstead is cursed at the box office. St. Vincent, a film starring Bill Murray and I know that’s all it needs to do to earn your ticket because that’s all it took to earn mine, managed to take $121,000 from 4 screens worth of people who had the exact same thought processes as us. Meanwhile, the critically lauded Whiplash kick-started its assault on the public with $144,000 worth of people in 6 screens wanting to see J.K. Simmons mentally and physically abuse the f*ck out of Miles Teller. The real abuse, as should be obvious, though, is withholding this film from us Brits until January the goddamn 16th of 2015!!
Oh, and One Chance, that biopic about the opera singer from Britain’s Got Talent, finally got released in America this past weekend. $32,800 from 43 screens. Absolutely worth the constant release date circle-jerking.
This Full List is being held in contempt of court! Everything that guy just said is bullsh*t! The Bible is a good book, but it’s not the only book! I believe there is justice in our hearts! You can’t handle the truth!
Box Office Results: Friday 10th October 2014 – Sunday 12th October 2014
1] Gone Girl
$26,800,000 / $78,281,000
Saw it again this weekend and again loved every second of it. It’s just such a brilliant film, and trying to articulate the reasons as to why I love it so in less than an A4 page when it inevitably ends up in the highest possible echelons of my Top 10 of 2014 list is going to be a monumental task. Look forward to that inevitable train-wreck of a series (yes, series, I’m planning in advance here, got a feeling the overall article would be in excess of 10 goddamn pages otherwise) in the future! For now, go see Gone Girl! Yes, even if you have already seen it. Go again.
2] Dracula Untold
$23,457,000 / NEW
So, yeah. Gonna be frank, I fully expected this one to out and out bomb. Like, straight flop as soon as it left the starting gates. It still could, next week has plenty of releases ready to steal its thunder and rumours are going around that the $70 mil price tag the film is sporting is significantly lower than its true budget, but it’s not an immediate and total failure, which I will likely never stop being surprised by. You people did see the awful trailer, right?
3] Alexander And The Terrible, Horrible, No Good, Very Bad Day
$19,100,000 / NEW
Oh, Christ, this one. Look, I refuse to believe that it is anything less than a total steaming, nigh-on insufferable dud until I inevitably see it with my own eyes in the near-future. I’m also guessing that his work as Childish Gambino is not paying anywhere near enough to keep Donald Glover away from dreck like this. That’s a bit of a shame; because the internet isn’t too bad of an album.
$16,365,000 / $62,156,000
A 56% drop between weekends, which is a little steeper than The Conjuring’s but is still not too bad overall. Again, it’s got no direct competition for the whole of October, which is weirdly empty with regards to horror films this year, and Ouija, which drops at the very end of the month, will bomb to some degree (I have never been so sure of anything in my entire last 15 minutes of life). Annabelle will keep making money. Whether that’s a good thing or not is for you folks to judge.
5] The Judge
$13,300,000 / NEW
Robert Downey, Jr. really does just play the Robert Downey, Jr. role now, doesn’t he? That’s kind of a shame. I mean, don’t get me wrong, I really like Robert Downey, Jr., but he is capable of more and I’d rather he stretch himself and try to mitigate the risk of just coasting by on Iron Man. On a related heathen note, all three Iron Man films are my least favourite of the Marvel Cinematic Universe, with the exception of The Incredible Hulk. Yes, even Iron Man 3. Expect my firing to be made public in a few hours.
6] The Equalizer
$9,725,000 / $79,885,000
Skipped it last Tuesday, before you ask. I fulfilled the “seeing Dolphin Tale 2” part of that plan and then was too “eeeeeeeeeehhhhhh”’d out to bother seeing The Equalizer on top of it. Guess I’ll never see it now. Oh, boo hoo. How I weep for such a missed opportunity.
$7,600,000 / NEW
It wasn’t until I watched the trailer that I realised why this film came out of nowhere to make big, big bucks: it predominately stars, and is targeted at, black people. Let me be clear, that’s not meant to be an insult – for the love of God, it really is not. It’s instead an observation that there is a large segment of America that very much enjoy watching films aimed at them regardless of quality, and which are not white. In fact, it’s an observation that keeps being made every single time a film like that becomes successful, almost like it’s a fact about a mostly untapped market instead of an observation about trend that will die out soon…
8] The Maze Runner
$7,500,000 / $83,840,000
Penning my review as soon as I’ve finished with this. Short version: surprisingly, genuinely great until the abysmal ending cocks everything up. You should have seen me in the cinema; I visibly went from “Hell yes, bring on the sequel!” to “(exasperated groan), I guess I’ll see the sequel because I have to,” in the space of about 10 minutes. Again, review will be set for tomorrow, so sit tight for in-depth thoughts, but man I was so disappointed by this one.
9] The Boxtrolls
$6,676,000 / $41,032,000
Oh. Oh. OK, remember last week when I said Laika were going to be OK? I want you to disregard that and instead hit all of your panic buttons. The budget is $60 mil, which it has only barely cleared thanks to foreign grosses, it’s currently sitting at less domestically than notorious under-performer ParaNorman, and The Book Of Life (side note: PLEASE DO NOT SUCK) is coming along next week to hijack its audience. It may end up a hit on home video, which it deserves to be because Laika deserve all the success even with films that aren’t up to their usual standards, but I’m going to panic the f*ck out until somebody at Laika tells me I don’t need to.
10] Left Behind
$2,909,000 / $10,920,000
Still not going to make any obvious jokes at the expense of its title. I am above that. I have limits, y’know.
Dropped Out: This Is Where I Leave You, Dolphin Tale 2, Guardians Of The Galaxy, No Good Deed
Gone Girl disappears with a lot of cash, Annabelle scares up big bucks, Nas: Box Office Gross Is Illmatic, you already know the obvious pun for Left Behind, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Defying typical David Fincher luck, Gone Girl obliterated the weekend and took first place with $38 million in ticket sales. Why do I say “defying typical David Fincher luck”? Well, because David Fincher films do not open past the $20 million mark, the only exceptions being The Social Network (and even then just barely), The Curious Case Of Benjamin Button (which had Brad Pitt and enough crowd-pleasing Oscar bait schmaltz to drown kittens in) and the prior biggest opener Panic Room (which… OK, I’ve got nuthin’). Plus, you know, the fact that the film is bleak and nihilistic and preposterous and nasty as all hell. But, hey, it’s the date movie of the year! I mean, I don’t know about you folks, but I find that films about psychopaths and sociopaths are just the most hopelessly romantic!
Anyways, the success of Gone Girl means that, for once, justice prevails at the box office! My favourite film of the year so far managed to hold off blatant coat-tails riding cash-grab Annabelle, which entered in second with $37 million! Admittedly, that is still extremely close and could lead to a switch in positions when the actuals come in, but I am going to pre-emptively do my happy dance jig right now, if you all don’t mind. The fact that its opening is still massive and that it’s guaranteed to make crap tonnes due to it being the only horror movie out for the majority of October (Dracula Untold will bomb, just you watch) are both irrelevant. Gone Girl came out on top! Everything’s going to be OK, folks! Everything is going to be OK.
Other films came out this past weekend, though, so we have to talk about them. Left Behind, an adaptation of a faith-based book series starring noted religious man Nicholas Cage and directed by former stuntman Vic Armstrong, was resoundingly… you know what? I am above the obvious joke that everyone else has already made, I draw the line at jokes this easy. All I’ll say is that Left Behind took almost $7 million for sixth place. Faring infinitely worse was the “mother of God, this trailer is so offensive and offensively treacly that a crazed homeless man could jump out of nowhere and scoop my eyeballs out of their sockets right now, and it would honestly be preferable to having to see the rest of this trailer or the film that it’s promoting” The Good Lie, which could only manage $935,000 from 461 screens despite Reese Witherspoon being somebody whose name we should all know.
Doing much better than both of those was the Bollywood epic (and I do mean “epic”) Bang Bang!, a remake of that world-famous and widely-revered Tom Cruise/Cameron Diaz vehicle Knight & Day that you all totally didn’t forget about 5 minutes after watching. In any case, its 271 screens, as part of one of the biggest release roll-outs for a Bollywood movie ever, convinced $1.2 million worth of people to finally try this Bollywood thing they keep hearing so much about, the highest opening of the year for a Bollywood film in the US. Faring much, much, much worse was the latest film from once bright directorial star Jason Reitman: Men, Women & Children, which has been absolutely savaged by critics, only managed to take $48,000 from 17 screens for a per-screen average of $2,824 which is horrible. The film might do better when it expands nationwide in a few weeks, but that’s still two straight critical drubbings in the space of 10 months for Reitman. Dude, what the f*ck has happened to you?
Finally before we get into the full list, Nas: Time Is Illmatic, a documentary about the creation of one of the greatest, if not the greatest, rap albums of all-time and the people behind it, managed to open to $23,200 from 2 screens. I mention this purely for the reasons of I think that’s genuinely awesome and to tell you to listen to Illmatic right now if you haven’t yet. In fact, listen to it even if you already know it front-to-back, it’s never not a good time to listen to that album!
This Full List sneaks a uzi on the island in its army jacket lining.
Box Office Results: Friday 3rd October 2014 – Sunday 5th October 2014
1] Gone Girl
$38,000,000 / NEW
My review, in which I battled against an unrelenting cold and a desire to avoid spoiling anything to tell you why I think Gone Girl is the best film I have seen all year and likely will see all year. Before anybody shouts “BUT INHERENT VICE HASN’T COME OUT AND CHANGED ANYONE’S LIVES YET” or some such like, UK release dates mean that films like Inherent Vice don’t make it over here until January because Americans just can’t get over that one time we forcibly colonised them. In any case, no film has made me as excited about films and cinema and going to the cinema this year as Gone Girl did. It’s going to be divisive, but I f*cking adore it and, for me, it’s the bar to clear for everything else this year.
$37,200,000 / NEW
I am so glad this comes out next week here. Then I can finally stop hanging around outside cinema screens for films I want to see waiting for the trailers to finish in case this one starts up and gives my easily-scared self a heart-attack. Instead, I’ll be hanging around outside cinema screens for films I want to see waiting for the trailers to finish so that other films I want to see aren’t spoilt for me; a totally legitimate reason for doing so.
3] The Equalizer
$19,000,000 / $64,500,000
Fine, I guess I’ll see this tomorrow or whatever. I’m probably going to hate it, but at least then we’ll all know together!
4] The Boxtrolls
$12,425,000 / $32,539,000
A 28.1% drop between weekends, which is excellent. Now, yes, considering the soft opening, that’s still a bit too much of a drop for my liking, but it’s actually really excellent. Why? Well, again, stop-motion animated films open soft anyway and a near 30% drop is rather expected between weekends for them, it’s better than ParaNorman’s near 40% plummet two years back and is equal to the fall that Wallace & Gromit: The Curse Of The Were-Rabbit took between weekends. Boxtrolls will pass Frankenweenie by Friday in terms of total domestic grosses, it’s doing well overseas, and it may close closer to Tim Burton’s Corpse Bride than initially thought. Overall, things are going to turn out alright for Laika. I’ve got a good feeling about this!
5] The Maze Runner
$12,000,000 / $73,921,000
OK, then, Friday, bring on The Maze Runner. I’m ready to give it a fair shot. My expectations are low but my mind is willing to give the film a chance to win me over. This is your shot, Maze Runner. Impress me.
6] Left Behind
$6,850,000 / NEW
Yeah, I’ll just stick to watching The Leftovers, is that’s alright with everyone.
7] This Is Where I Leave You
$4,000,000 / $29,003,000
So… have we all come around to Arrested Development Season 4 yet? Granted, I haven’t watched it since it came out (I have been busy, but I’d like to have a run back through all of Arrested Development yet again some point soon), but it fulfilled pretty much all of my expectations when I saw it; I spent pretty much three straight days in varying levels of hysterics with it. That made my going online and seeing the bile-filed reception the season got from most people rather perplexing. I mean, sure, it’s not as good as Season 2, but I ask you what else is?
Can you tell that I’m really reaching for stuff to talk about with regards to this film, cos I want to hold off on making any judgements until I’ve seen the thing for myself?
8] Dolphin Tale 2
$3,530,000 / $37,940,000
So, in preparation for finally seeing this in the very near-future, I watched the original over the weekend. It’s an OK film, does exactly what it promises to do and not much more but I’d be lying if I didn’t admit that it did work for small stretches at a time. It felt very much like a film that’s been pulled out of time and released in the early 2010s, specifically a time between 1993 and 1996. Still have no idea what they can do for a sequel, mind, besides hit the exact same beats this one did but with diminishing returns. I guess I’ll find out soon.
9] Guardians Of The Galaxy
$3,034,000 / $323,360,000
Well, it’s been an incredible 10 week run, but it’s time to say goodbye to the Guardians Of The Galaxy. Next week sees the release of a sh*tty looking Dracula movie, an abysmal looking live-action Disney family film, and a mediocre looking Robert Downey Jr. starring piece of award bait. But it’s not the quality that’s the point here, it’s the fact that they’ll be new films and that Guardians will be an 11 week old film that will hit home media in exactly two months from now. Ah, well, it’s been fun! Let’s play it out, shall we?
10] No Good Deed
$2,500,000 / $50,157,000
America, you could have seen anything else. Almost quite literally anything else. Just remember that fact.
Dropped Out: A Walk Among The Tombstones, Let’s Be Cops, Teenage Mutant Ninja Turtles
The Equalizer has no equal, The Boxtrolls live underneath The Maze Runner, take Pride in that film’s per-screen average, these are some of the worst puns you will see all week, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Now that that awful headline has chased off anybody without a strong enough constitution, let’s get down to business. The Equalizer is your new number one with $34 million in ticket sales and a per-screen average of over $10,000. You know, despite it looking like garbage. Still, that didn’t stop it becoming the fourth-highest September opening in history behind Hotel Transylvania, Insidious: Chapter Two, and Sweet Home Alabama which, if you’re anything like me, you’ll be googling right now to find out what the hell that was. Chalk up the success to the presence of Denzel Washington, the Patron Saint of movies that inexplicably make a lot of money despite immediately fading from memory after viewing. Don’t believe me? OK, then: what year did 2 Guns come out? The correct answer was August of last year, not that you’d get that seeing as you actually had to google 2 Guns to remember what it was.
As for the week’s other new release, The Boxtrolls, I have good news and bad news. The good news is that the film now has the second biggest opening for a stop-motion animated film ever, behind Chicken Run, said opening is more than the ones for both Coraline and ParaNorman, and the lack of any family-focussed films on the release docket for next week gives it a strong chance of holding well! The bad news is that it opened in third with only $17 million in ticket sales. Again, that’s still a lot considering the genre, but, dammit, Laika deserve even more success! I may be a bit more down on The Boxtrolls than most people, but it’s still better than most animated films I’ve seen so far this year and the company deserve a full-blown financial success after the outstanding ParaNorman barely broke even!
In limited release town: The Skeleton Twins began its move towards a wide-ish release by expanding to 385 theatres and netting a total of $1.231 million from them, for a decent per-screen average of $3,200. Christian (the faith, not the professional wrestler) musical-drama The Song hit many bum notes on the 340 screens it infected, taking only $568,596. Más Negro Que La Noche, a Mexican remake of the 1975 Mexican horror film of the same name (so never let it be said that only the American film industry is out of ideas), did slightly better by netting $550,000 from 178 screens.
The real winner, though, was Pride, which began its charm offensive on the American shores with a measly 6 screens. It more than made the most of them, though, raking in a per-screen average of $13,662 for a weekend total of $81,971. Some box office reporting outlets describe this success as “decent”, seemingly forgetting that not every limited release is a f*cking Wes Anderson project that can rack up a $200,000+ per-screen average from 4 cinemas. Pride expands a bit further in a couple of weeks and, if you’re not sold to go and see it just yet, here’s my review to persuade you to part with your cash. See what I did there? Seamless, wasn’t it?
Also, If I Stay decided not to this week. I am absolutely not a hack writer.
The enjoyment that you will derive from this Full List is equal to or greater than your appreciation for those four prior paragraphs.
Box Office Results: Friday 26th September 2014 – Sunday 28th September 2014
1] The Equalizer
$34,137,828 / NEW
There should be a review of this up soon somewhere on here, although not by me as I haven’t seen it yet. Cut me some slack, I was busy last weekend and, besides, this looks like garbage. I mean, that clearly hasn’t stopped me from going to anything this past year, as you may be able to tell, but everything I hear about this film just fills me with dread and bile. Ugh, just bring on Gone Girl already, please.
2] The Maze Runner
$17,437,020 / $57,955,347
Only a 46% drop between weekends which bodes incredibly well for its long-term financial prospects. And it’s also apparently pretty good? That last part bodes well for its critical prospects with myself, but we’ll have to see. Besides, it’s not like I’m not seeing it in two weeks. What am I gonna skip it for? Annabelle? In the words of one Lana Kane: NNNOOOOPPEE!
3] The Boxtrolls
$17,275,239 / NEW
Dammit, people! “Good, not great” does not equate to “skip it almost entirely”! In fact, what do you all seem to have against stop-motion animation? Not one has been able to break past the $18 million opening barrier (unless you count the wide-release expansion of Tim Burton’s Corpse Bride which, as you may have already guessed, I do not); what gives? Why are you not enamoured by the medium? What, do you hate seeing love, effort and attention being lavished on every frame? Look, I am not leaving here until I get answers as to why The Motherf*cking Nut Job opened with more cashola than The Boxtrolls did!
4] This Is Where I Leave You
$6,894,340 / $22,441,091
Now, on the one hand, this film has only had a 40% drop between weekends. On the other hand, there’s a difference between third and fourth place of over $10 million. I’m just saying, it looks bad.
5] Dolphin Tale 2
$4,788,153 / $33,618,190
Oh, Christ, I have to watch the first one of these before Friday, don’t I? Dammit, I don’t have time! I have been busy! I still am busy! Why did there have to be a sequel to Dolphin Tale, for f*ckssake?!
6] No Good Deed
$4,509,127 / $46,532,221
Well, it could be worse. It could be a film version of Kevin Williamson’s new TV show, Stalker.
7] A Walk Among The Tombstones
$4,192,785 / $20,830,290
An almost literal plummeting of 67%. Seems like Liam Neeson will not be becoming the next Denzel Washington any time soon. Both with regards to box office and also with regards to the fact that, for the most part, his films are actually good. Yeah, I went there.
8] Guardians Of The Galaxy
$3,765,941 / $319,169,216
Now officially the third highest grossing Marvel Cinematic Universe film domestically, having passed the original Iron Man last weekend. Worldwide, it’s still only at number five, but it should pass Thor: The Dark World soon enough, seeing as there is still the very lucrative China market still to go. On a related note: man, did Thor: The Dark World have foreign legs or what? I mean, I loved it (unlike pretty much everyone else I talked to) but I didn’t picture it as the kind of film that would do as extremely well as it did.
9] Let’s Be Cops
$1,516,021 / $79,628,884
This is still making money? How?! Who in their right mind decides, on the seventh week of its release, to go and see Let’s Be Cops again, or even for the first time? What, did those involved go, “Well, Ferguson has been on the back-burner for a while, I can watch this without it weighing on my conscience” or something? Cos, news flash, that’s still going too! Never let it be said that this feature doesn’t keep you in the loop with regards to current events.
10] Teenage Mutant Ninja Turtles
$1,450,177 / $187,182,309
Go, ninja, go, ninja, go! Go, ninja, go, ninja, go! Far, far, far, far, far away, if possible, please.
Dropped Out: The Drop, If I Stay
The Maze Runner out-runs the competition, audiences leave This Is Where I Leave You, refuse to invite in The Guest, and ask Tusk to go away, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
In what should come as a surprise to pretty much no-one, giving audiences the opportunity to watch brand new movies at the cinema stimulates box office income. Therefore, this past weekend was the most alive the American box office has been in a good month or so. Leading the charge was The Maze Runner, working title “Attempt To Capture That Harry Potter/Twilight/Hunger Games Lightning Again #749”, and its status as the first new Event Film to come along since Teenage Mutant Ninja Turtles paid dividends as it cruised easily to first place with $32 million in ticket sales. That’s a pretty good opening, although it’s nowhere close to Divergent levels ($50 mil) and I imagine that 20th Century Fox will have wanted it a bit higher in general. That sequel is still going ahead, though, so I guess this is another bunch of interchangeable pretty faces and stupid character names that I’m going to have to learn. Swell.
Fairing a lot worse, we have the Liam Neeson-fronted A Walk Among The Tombstones and perhaps Neeson-fatigue is setting in, as this one could only manage $13 million for second place. Now, yes, that is a second place opening but, more importantly, that’s only $13 million. Maybe people are just sick of seeing Liam Neeson vehicles every 12-or-so months, or maybe everybody saw the trailer and correctly said to themselves, “Great! Thanks for that! Now I don’t need to see the movie!” Below that we have the Shawn Levy-directed dramedy This Is Where I Leave You, starring pretty much any well-liked American comedic actor primarily found on television that you can think of, which could only muster a little under $12 million in tickets and which continues Mr. Levy’s failed attempts to be seen as anything other than “The Director Of The Night At The Museum Movies”.
Meanwhile, artier cinemas practically groaned under the weight of new debuts filling their boots this past weekend. Audiences of said cinemas proceeded to groan in exasperated derision in the general direction of Tusk, the first of what currently amounts to 4 films that Kevin Smith postponed his retirement to make (although, this being Kevin Smith, I wouldn’t be surprised to see that number jump up to 11 by the time I finish this sentence). Advertising was supposedly only focussed on Kevin Smith fans, and I get the feeling that an opening weekend total of $886,000 from 602 screens (for a per-screen average of $1,472) accurately displays the amount of patience that Kevin Smith fans have left for Kevin Smith nowadays. Still, could be worse. Could be an action film about 15 year-old yoga aficionados starring Johnny Depp, Johnny Depp’s daughter and Kevin Smith’s dau… that’s exactly what his next film is? For fu…
In sadder limited release news; audiences, for some utterly bizarre reason, decided to collectively stay away from writer Simon Barrett and director Adam Wingard’s latest, despite it being one of the best films of the year so far. The Guest only managed to bank $82,100 from 19 screens for a per-screen average of $4,321, which is decidedly average. Of course, if you add on Wednesday and Thursday, that total goes up to $111,700, but that’s still not enough for me, goddammit! Everybody should watch The Guest al-frickin-ready! Terry Gilliam’s The Zero Theorem, meanwhile, finally got its US debut this week and, fittingly for a Terry Gilliam movie where nothing seemed to go catastrophically wrong during the production process, it crashed and burned at cinemas with only $82,000 from 63 screens and a $1,302 per screen average because the man is CURSED!
Beating both of them in terms of audience demand was Hector & The Search For Happiness which took $46,000 from 4 screens for a per-screen average of $11,500. Goddammit, America.
Take a walk among the Full List.
Box Office Results: Friday 19th September 2014 – Sunday 21st September 2014
1] The Maze Runner
$32,500,000 / NEW
OK, I was rather overly mean when I referred to The Maze Runner’s cast as “interchangeable pretty faces” earlier. There are actually a fair few I recognise from other places. Like, look, it’s Will Poulter from Son Of Rambow and Wild Bill (and also Plastic, which we don’t talk about)! And there’s Thomas Sangster, otherwise known as Jojen from Game Of Thrones and Ferb from Phineas & Ferb! Kaya Scodelario from Skins has found the vehicle to bring her worldwide mainstream attention! So you know what? Even if this film sucks uncontrollably (which it may not, it’s not out here in the UK for another three weeks), I’ll be glad it exists, letting me know that talented people are getting steady paycheques for the next few years!
2] A Walk Among The Tombstones
$13,126,000 / NEW
My review, for those of you who have seen the trailer but are still undecided. Will point out that if you have seen the trailer, you have basically seen the movie. The only things it doesn’t show, not kidding here, are the identities of the killers (which the film promptly gives up on hiding about 45 minutes in, anyway) and the fact that Brian “Astro” Bradley from Earth To Echo is also in this. It’s not a bad film (it’s pretty good but totally forgettable), but there’s no reason to turn up if you only see films for the plot and have been exposed to the trailer.
3] This Is Where I Leave You
$11,860,000 / NEW
Disappointed to hear that this one is bad. I realise that stacked casts mean absolutely nothing if the material isn’t fantastic or engaging (I learnt that one the hard way when Tomas Alfredson’s Tinker, Tailor, Soldier, Spy did absolutely nothing for me), but that still won’t stop me from being bummed out when I hear that a film with Jason Bateman, Tina Fey, Rose Byrne, Corey Stoll, Adam Driver and Jane Fonda is exactly as disappointing as the underwhelming trailer threatened it to be.
4] No Good Deed
$10,200,000 / $40,100,000
A pretty precipitous 58% drop between weekends, perhaps as word got around that the “GIANT SHOCKING TWIST” the marketing company pivoted the film on at the last minute could have been figured out by anyone within two minutes of hearing about the film’s premise. I mean, take away the “GIANT SHOCKING TWIST” hook and all you’ve got to sell the film with is that it looks offensively awful which, as marketing hooks go, is not exactly a strong base to sucker punters in with.
5] Dolphin Tale 2
$9,005,000 / $27,070,000
Dolphin Tale 1 used its second weekend to leapfrog to the top of the chart. Just saying: don’t expect a Dolphin Tale Part III.
6] Guardians Of The Galaxy
$5,180,000 / $313,669,000
So… what’s Chris Pratt’s flaw? You know what I’m talking about. The man’s pretty much perfect. He’s a talented actor, he’s very funny, a total beefcake and a half, he’s charitable, he steals his costume from film sets so he can visit kid’s cancer wards dressed as said characters, and he can spit Eminem’s verse from Dr. Dre’s “Forgot About Dre” at double speed at the drop of a hat. So, what’s his flaw? What’s wrong with him? Does he have a pile of dead bodies buried in his wine cellar? If I have learnt anything these past few years, it’s that anybody who seems amazing or cool or perfect is actually a complete sh*tbag in some department!
Except Anna Kendrick. For, as we all know, Anna Kendrick is a goddess who can do no wrong, sent down from heaven to remind us all that the world is not completely without merit.
7] Let’s Be Cops
$2,675,000 / $77,196,000
Well, this has been a pretty poor year for comedy, hasn’t it? I count 22 Jump Street, The Grand Budapest Hotel and Bad Neighbours (and, if you really want to stretch the comedy definition, The Double) as the only ones that have been great, and everything else (with the exception of The Inbetweeners 2, which was just good) has been meh to awful. I know that this is usually the ratio for comedy every year anyway, but it hurts extra bad this year because there have been so many of them. You’d figure that at least a few more would hit it out of the park to some degree.
8] Teenage Mutant Ninja Turtles
$2,650,000 / $185,018,000
This list is based off of the Weekend Estimates and I expect that these two may actually swap positions when the Actuals come in, it being that close between the pair and all. Do not expect me to update this list if they do, though. My time is far too occupied with watching and writing about the crappy period in DreamWorks Animation’s lifespan to take 10 minutes out of my life to writing a new pithy addition should such a thing occur. Accept it and move on.
9] The Drop
$2,050,000 / $7,690,000
Don’t make the obvious joke. Don’t make the obvious joke. Don’t make the obvious joke.
10] If I Stay
$1,835,000 / $47,672,000
Hey! It actually outlasted The Fault In Our Stars after all! Way to… go… bad movie… ah, crap. At least Chloë Grace Moretz has a decently-performing box office success to add to her resume! Now she can go back to starring in great movies that I li… “She’s appearing in that dull-looking Denzel Washington-starring film reboot of The Equalizer next week?” (*flips table in frustration and storms off*)
Dropped Out: The November Man, The Giver, The Hundred-Foot Journey
Callum Petch is trying to cuss and see, trying to figure it out. Follow him on the Twitters (@CallumPetch)!
No Good Deed goes without an accompanying first-place victory, America shrugs at Atlas Shrugged Part III, Dolphin Tale had a sequel, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Hey! It finally happened! Americans were finally given films to see that weren’t Guardians Of The Galaxy! Unfortunately, in their combined crazed panic to get to the cinema and see these new films, lest they be taken away at the last second and they end up having to see Guardians yet again for the 27th goddamn time, American moviegoers failed to realise that most of the films that they were seeing were actually utter sh*t. But, hey, when has that ever stopped anything from becoming popular, right? In first place is No Good Deed, the Idris Elba and Taraji P. Henson starring home invasion thriller that absolutely does not have anything disagreeable going on under the surface no siree bob, with $24.5 million in ticket sales. Behind that we have Dolphin Tale 2, a sequel to Dolphin Tale and one I whose existence I will never not be bewildered by, which managed to con $16.5 million worth of families out of their monies because they don’t have Netflix in those far flung corners of the country (along with electricity, heat, and running water) and had to take what entertainment they could get.
In the more limited release-y side of proceedings, The Drop, a crime drama starring Tom Hardy and featuring James Gandolfini’s final role, succeeded best out of being the one released in the most screens, managing to break into the Top 10 with $4.2 million banked. As for those films that didn’t have that luxury benefit of a screen count that barely counts as “limited”; awards-season-hopeful that-will-be-nominated-for-jack-sh*t-because-it-was-released-too-early The Skeleton Twins did the best of the bunch taking $411,000 from 15 screens for a $27,000 per-screen average. Next up is My Old Lady, a comedy-drama that looks conspicuously lacking in both comedy and drama but managed to overcome those handicaps to take $134,000 from 11 screens, for a per-screen average of $12,182. After that we have The Disappearance Of Eleanor Rigby, the smushed-together cut of a romance-drama that is supposed to have its separate “Him” and “Her” cuts (which view events exclusively through the perspective of him or her) released at some point but you know the Weinsteins, which disappeared $77,200 from moviegoers pockets at 4 separate screens. Ha. Ha.
In the midst of all of this, though, spare a thought for poor old Atlas Shrugged Part III: Who Is John Galt? The final instalment in the film adaptation of Ayn Rand’s landmark novel that continued pressing on regardless of the fact that audiences said “no” twice before, having to raise the second film’s budget by selling the debt of the first one due to it bombing spectacularly, and taking to Kickstarter to fund the finale (not joking), escaped into the wild, this week. Now, normally, I’d sit here and laugh ultra-derisively at its pathetic opening of $355,000 from 242 cinemas (for comparison, Atlas Shrugged Part 1 opened on 299 screens in 2011 and made $1.6 million), but I kinda pity the thing more than anything. Everyone involved kept shouldering on, regardless of the financial bombs, the critical paddling, and the fact that they had to replace the entire cast between each film, because they wanted to tell their story. They desperately wanted to tell the story of Atlas Shrugged on the big screen and they weren’t going to let such a little thing as “repeated total systemic failure” get in their way! That’s kinda admirable, in a deluded way, and I applaud them for keeping on! Then I remember that the movies are absolute garbage and return to laughing at their quixotic endeavour.
Elsewhere, As Above, So Below bottomed out spectacularly in only its third week, slipping from sixth to twelfth; The Trip To Italy, otherwise known as “the cut-down film version of The Trip’s second series for fat stupid Americans with short attention spans”, extended its reach to 71 more screens and managed to take another $481,000 overall; The Identical, otherwise known as last week’s only new release, plummeted from an already dreadful opening by 75%; and Guardians Of The Galaxy became the first film this year to cross $300 million domestic. Which, you know, is a sign that Hollywood is f*cked and all that. Rather than deservedly doom-mongering for a couple of minutes, though, can we at least just celebrate the fact that a brilliant goddamn movie is making serious money, with China still to go? … … … …OK, that’s long enough.
This full list just broke into your house and is standing right behind you. I’m joking, of course. But one day, I might not be.
Box Office Results: Friday 12th September 2014 – Sunday 14th September 2014
1] No Good Deed
$24,500,000 / NEW
So, this is a film in which a big scary black man basically forces his way into a small defenceless woman’s home and tortures her mentally and physically for about 70 of the film’s 85 minutes? Nope, can’t see anything wrong with that set-up! Absolutely nothing that makes it tone-deaf in today’s societal climate! Not at all! Thank goodness the woman was black instead of white, otherwise then, and only then, would things have just crossed the line of good taste!
2] Dolphin Tale 2
$16,550,000 / NEW
Right, I want answers, which of you asked for a sequel to Dolphin Tale? Who honestly left the cinema after seeing the first film three years ago and went, “I need a sequel to that yesterday!” Who was it? Was it any of you on the Failed Critics staff? Was it you, Shawky? Don’t try to deny it! You’re the kind of guy who has seen Guardians Of The Galaxy 18 times in the cinema! Seeing this there once would not surprise me in the slightest!
3] Guardians Of The Galaxy
$8,041,000 / $305,926,000
Speaking of, I finally fulfilled my promise to my cousins to get them to the cinema to see this, this past weekend. They loved it, the elder one even forgot he had sweets for the entire first hour of the movie because he was so transfixed by the film on display. They both declared it “BEST FILM EVER” which I imagine was just as much because it was my treat as well as it being a great damn movie, but it was still refreshing to see just how much of an impact a good film can have on younger children who haven’t hit the “jaded teenager” mark yet. Ah, to be young…
Oh, sorry. Forgot for a sec that you don’t give a sh*t about my personal life. Moving on.
4] Teenage Mutant Ninja Turtles
$4,800,000 / $181,041,000
On the subject of films with uncomfortable treatments and scenarios for women, is anyone else really kinda disturbed by how the turtles treat April O’Neal in this trailer? They tower over her, menacingly intimidate her, one of them lays claim to her, and then they all threaten to “find her” if she reveals their existence. Err… our heroes, ladies and gentlemen? Maybe things are better in the finished film but, this being a film with Michael Bay involved in some capacity, I’m not holding my breath.
5] Let’s Be Cops
$4,300,000 / $72,972,000
So, I suspect that we will be getting that sequel notification any day now. Oh, you think there won’t be one? We are just two months away from a sequel to Horrible Bosses and seven months away from Paul Blart: Mall Cop 2. We will be getting a sequel to Let’s Be Cops, just wait for it.
6] The Drop
$4,200,000 / NEW
Yay! Tom Hardy’s starring in movies again! Which reminds me, I need to get around to seeing Locke. Would have seen it already, I love me a film with a purposely constraining premise, but it never came to any of my cinemas. Also, last time we’ll see James Gandolfini in a role. 😦 At least this gives me an excuse to link you to his scenes from In The Loop. Not that I need the excuse, mind.
7] If I Stay
$4,050,000 / $44,937,000
Just one more week in the Top 10 and it beats The Fault In Our Stars’ run! Let it have this one, America. It’s going to spend the rest of its life being unfavourably compared to that film, in terms of quality, financial success, impact and staying power; might as well give it this one break. Course, there are 4 wide release films next week, so that’s pretty unlikely, but wouldn’t it be something if it did succeed? And what if it beat The Maze Runner into bloody submission! Oh, wouldn’t that be something!
8] The November Man
$2,750,000 / $2,495,000
Right, forget this crap; have you seen the trailer for John Wick yet? Tell me you have! It is the most brilliantly ridiculous nonsense! If you somehow don’t want to see this film immediately after watching this trailer, then you and I are no longer on speaking terms. In fact, I’m going to embed the trailer below this entry so that there is no possible way for you to miss it!
9] The Giver
$2,626,000 / $41,329,000
Oh. Sh*t. Right. So, I didn’t actually expect this one to stick around this week, which means that my world-beating pun from last week is now rendered premature and wasted. Fantastic. F*ck you very much, The Giver.
10] The Hundred-Foot Journey
$2,461,000 / $49,409,000
HIS DOG WAS A GIFT FROM HIS DYING WIFE AND THE BAD GUYS KILLED IT!! That is pure gold, folks! Why are you not as hyped for that crap as I am?!
Dropped Out: As Above, So Below, When The Game Stands Tall, Lucy
Callum Petch will shoot your mouth if he knows where he’s aiming. Follow him on the Twitters (@CallumPetch)!
Absolutely nothing happened, and Other Box Office News.
by Callum Petch (Twitter: @CallumPetch)
Well. This is embarrassing. Here I was, all set to begin a re-launch of my US Box Office Reports on the site that has been willing to tolerate my deranged ramblings and draining of their resources for the past six months, bringing you the same verve, insight and poor stand-up that I did on a weekly basis for the last site I did this stuff for… and absolutely nothing happened. There was one new release that was even close to Wide and that’s it. Almost literally nothing happened. Teade outlets are already reporting on this being the worst weekend at the US box office for two years, but, well, I think we all knew that this outcome was inevitable when we all looked at the release schedule and saw this giant void where films are supposed to be. Calling this the worst weekend in years in an alarmed and surprised fashion is like calling a child foolish and in the worst shape of his life after voluntarily choosing to try and jump a 10 mile wide gorge on a unicycle only to fall face first into the thing; duh, why are you surprised at this completely expected outcome?
Eh, anyways, similarly surprising no-one due to its completely expected nature, Guardians Of The Galaxy three-peated at the top of the chart with $10 million in ticket sales. Also surprising no-one, the film is now the biggest August release ever, smashing past The Sixth Sense’s prior record of $293 million, has become only the fourth film in the last 10 years to top the charts for four weeks (alongside such company as The Dark Knight, Avatar No Not The Great TV Show The Crappy James Cameron Film, and The Hunger Games), and maintained its position by being the only decent film that’s playing in over 2,000 theatres. Behind that, as it has been for the last several weeks as well as in life itself, we have Teenage Mutant Ninja Turtles which eased to $6.5 million. Seems that we will be very much getting those sequels after all, the people involved taking the canny “shove it out in a month where there is literally nothing else coming out to give everyone a collective feeling that they have to see it” approach to maximising profits.
The lone new wide-release for this week was The Identical, a faith-based piece of speculative fiction, inexplicably featuring Seth Green in the supporting cast, about what might have happened if non-copyright-infringing Elvis Presley’s twin brother hadn’t died at childbirth and which looks exactly as awful as that sounds. Thankfully for everyone involved, nobody liked the sound of it either and it only made $1.9 million from just under 2,000 screens for 11th place continuing the trend of faith-based movies that don’t explicitly reference religion in their titles (like devout Christians are way too busy to actually do some research about films beyond their titles or something) bombing spectacularly. Also attempting to kick up the vaguest spurts of activity for me to talk about, Forrest Gump received an IMAX re-release for some bizarre reason and a nation collectively dug out their DVDs of it instead; only managing $405,000 from 337 screens. In better news, the documentary Last Days In Vietnam managed to take $30,500 from 2 screens, and the debut feature from Belle & Sebastian’s Stuart Murdoch, God Help The Girl, swindled $12,800 also from 2 screens.
And… yeah, that’s about it. I imagine we’ll have a very similar sort of situation next week, as well, when the only new films are the Idris Elba-starring thriller No Good Deed and Dolphin Tale 2, a sequel to Dolphin Tale 1. No, really, they made a sequel to Dolphin Tale. You know what’s even crazier? Dolphin Tale was actually a box office number 1. Not kidding. So, yeah, the American box office doesn’t get going for another two weeks. Just goes to show you how lucky we Brits got it this weekend, don’t it?
This full list is almost Identical to last week’s. Do you get it? Cos there’s a film called The Identical and the list is basically the same as last week’s. It’s a play on words. We call these things “puns”. Can’t help but notice you’re still not laughing at my Identical pun, so I’ll take this to mean you don’t understand humour in general. You see, “humour” is based on subverting…
Box Office Results: Friday 5th September 2014 – Sunday 7th September 2014
1] Guardians Of The Galaxy
$10,160,000 / $294,567,000
All of these accolades that Guardians keeps racking up are thoroughly deserved. Couldn’t have happened to a better movie! Unless said movies were Dawn Of The Planet Of The Apes or The Raid 2. Cough.
2] Teenage Mutant Ninja Turtles
$6,500,000 / $174,647,000
This hits the UK two days after my birthday, so thanks for the wonderful belated birthday present, Paramount! How did you know that I wanted an absolutely abysmal-looking movie for my 20th? You shouldn’t have!
3] If I Stay
$5,750,000 / $39,663,000
Think it’s fair to say that this one hasn’t quite caught on in the Fault In Our Stars way that I imagine Warner Bros. and New Line were hoping it would. Still, all it has to do is hang on for another two weeks and it will have outlasted The Fault In Our Stars’ run in the Top 10. Next week will be dead easy, because we’ve already established that nothing is coming out. The week after, maybe not so much.
4] Let’s Be Cops
$5,400,000 / $66,598,000
Look, my jokes may stink, but at least they’re funnier than pretty much the entirety of this movie. OH, SNAP!
5] The November Man
$4,200,000 / $17,870,000
You know, as his post-Bond career keeps trundling along, I’m starting to get the impression that only we Brits know how to use Pierce Brosnan right. I mean, there’s The Ghost Writer, The World’s End, The Love Punch, Mamma Mia!, A Long Way Down… actually, disregard pretty much everything I just said.
6] As Above, So Below
$3,723,000 / $15,576,000
A precipitous 57% drop between weekends. Does this mean that we can finally retire found-footage now? The gimmick has been run into the ground, then run a bit further for good measure and then run a little bit further still. Find something else to abuse for your horror movies!
7] When The Game Stands Tall
$3,700,000 / $23,490,000
I… I got nothing for this one, folks. Not even a decent pun or pithy aside. Sorry to waste your time.
8] The Giver
$3,591,000 / $37,835,000
I couldn’t Giver f*ck about this movie. OOOOOOHHHHHHHH!!!! PUNS!
9] The Hundred-Foot Journey
$3,200,000 / $45,669,000
Saw and reviewed this one at the weekend. It’s OK. I was bored to tears, but I could appreciate the decent craft on display and the film isn’t bad or anything. It is two hours, for some genuinely inexplicable reason, though and I will definitely hold that against it. If you were able to get some enjoyment out of it, good on you, I won’t stop you. And besides, why should you listen to what I think? I put 47 Ronin on my Top 10 Films of 2013 list, tied with My Little Pony: Equestria Girls, no less!
$1,950,000 / $121,207,000
It’s up to $313 million worldwide, at the moment, and this news pleases me to absolutely no end. It proves that Scarlett Johannson is a full-fledged box office star who can open pretty much anything by herself, it proves that gloriously dumb films that aren’t insultingly so really can find an audience, it proves that female-led films (along with Maleficent, The Hunger Games, Divergent, Frozen and The Fault In Our Stars) do succeed no matter what idiots may think, and it proves that Hollywood will once again not pay one damn iota of attention to all of this, instead continuing to just do what they always do despite this past Summer proving that that may not be the best idea. It’s the little victories, folks, it really is.
Dropped Out: The Expendables III
Join us in a new weekly article taking a peek the week in film. Steve, the beloved host of our weekly shambolic film podcast, gives his opinion on some of the top stories this week.
by Steve Norman (@StevePN86)
And that feeling is one of happiness after seeing the fantastic Guardians of the Galaxy this week. The latest film in the Marvel Cinematic Universe has been met with universal acclaim and huge box office takings.
I have seen some great films in the last 12 months from Oscar nominated The Wolf of Wall Street and 12 Years a Slave to inspirational sports documentary Next Goal Wins and none of them made me want to sit down and watch them again the same day. With Guardians I would have happily gone back to the cinema in the evening to view it a second time.
James Gunn was let loose with the studio’s riskiest film considering the characters are not that well known among the general population and perhaps lack the same draw as Iron Man or Captain America.
But a fun trailer, five star reviews, great performances, hilarious jokes, a banging soundtrack and stunning visuals have turned this into a contender for Marvel’s best film yet.
Inbetweeners a Rock and a Hard Place
It is always a worrying sign when movies forgo press screenings or advance screenings but hopefully this will not be the case with the imaginatively titled ‘The Inbetweeners Movie 2’.
The first film, set during Simon, Will, Neil and Jay’s first lads’ holiday, was a surprising success, raking in £45m at the box office and managed to bridge the gap between sitcom and feature film that many comedies fail to do.
Milligan, Cleese, Everett…Brent?
Ricky Gervais has announced plans to bring his most iconic creation (no, not Karl Pilkington) David Brent to the big screen.
Brent first appeared in mockumentary sitcom ‘The Office’, written by Gervais and Stephen Merchant, and became one of the funniest characters in British TV history and even breaking America leading to a US spinoff version.
Brent came back for Comic Relief and a few Youtube videos and despite fears of a dead horse being flogged Gervais retained the humour of Wernham Hogg’s finest.
Gervais on the big screen has generally not been a success and it remains to be seen if Merchant will be back to co-write but hopefully this will be more Alpha Papa and less Mr Bean’s Holiday.
Who You Gunna Call? Paul Feig!
The director of Bridesmaids and The Heat has been linked with taking the reins of the third Ghostbusters film which could star an all-female lead cast (no immature ectoplasm jokes from me).
Why we quite need a third Ghosbusters film I don’t know.
Next week, Steve will return to give us another round up of the latest in film news.