Tag Archives: Straight Outta Compton

US Box Office Report: 25/09/15 – 27/09/15

The public checks back into Hotel Transylvania, The Intern gets paid (unlike actual interns), Stonewall crumbled, The Green Inferno immolated, and Other Box Office News.

by Callum Petch (Twitter: @CallumPetch)

Much like the first film before it, Hotel Transylvania 2 is officially your new Best September Opening Weekend Ever.  Yes, despite the first film exiting all of our collective memories almost as soon as it entered them – and it really pains me to say that because I love Genndy Tartakovsky so very, very much – it turns out that the Hotel Transylvania brand is strong with the audience that matters: kids and, even more importantly than that, the desperate parents who just want them to be quiet for 90 goddamn minutes.  They both helped power Transylvania 2 to an excellent $47.5 million haul, a good $5 mil more than the first one made… three years ago?!  Oh, GOD, time won’t stop getting away from me!

Kids weren’t the only underserved market being thrown a (possibly juicy it’s kinda hard to tell until I can see these films) bone this weekend, though, as Nancy Meyers finally returned from exile to provide yet another film that ITV2 can add to their schedules whenever they need to fill a spot and the Fast & Furious: Tokyo Drift file is too worn out.  This one, The Intern, did the usual Nancy Meyers business, slotting comfortably into second place with $18 million, although that is a step down from what It’s Complicated made 6 years ago ($22 million).  Also returning from exile was Eli Roth with his evil-savage-cannibal-tribe movie The Green Inferno, but nobody gives a sh*t about Eli Roth so it barely made $3.4 million from 1,540 theatres for ninth place.

Meanwhile, the world of Limited Releases was just bursting with activity this week.  To start with, Sicario went up to 53 screens ahead of its nationwide expansion next weekend and managed to crack the Top 10 with an astonishing $30,000 per-screen average.  In terms of the weekend’s actual openers, though, the biggest success came from Lost In Hong Kong, the second feature from Xu Zheng and a massive hit in its native China, which rode a 28 screen opening to a very strong $558,900 and a per-screen average of $19,961.  Next up was Ramin Bahrani’s 99 Homes, a film that features Michael Shannon yelling so I’m sold, which did a very strong $32,807 from 2 screens and a per-screen average of you can figure that out.  And, finally, Half Nelson writer-directors Anna Boden and Ryan Fleck returned with Mississippi Grind which opened on just the one screen but managed a very respectable $14,335 nonetheless.

Bountiful weekend for the Limited Releases then!  Well, unless you’re Stonewall.  Yeah, Roland Emmerich’s apparently-thoroughly-misguided passion project crashed and burned on the 129 screens it opened on, taking an absolutely pitiful $112,414 for a per-screen average of $871.  Just goes to show: trying to turn one of the most important and diverse moments in LGBT history into a whitewashed Wizard of Oz-ification about a generic bland White guy because stories about events like these can’t just be for LGBT audiences, oh no, they must also provide easy “ins” for White straight audience members too, will just get you a tsunami of backlash, scathing reviews, and nobody will see your ‘accessible’ movie in the first place.  This almost feels like justice, it really does.


 

hotel transylvania 2

Oh, it’s been one hell of a week for me, so let’s crack on with this Full List.

Box Office Results: Friday 25th September 2015 – Sunday 27th September 2015

1] Hotel Transylvania 2

$47,500,000 / NEW

OK, Sony Animation.  Now, maybe, pretty please, can you let Genndy just make whatever he goddamn wants?  He’s given you two solid hits whilst tethered to the sinking Sandler brand, can you just let him off the leash and make his own damn films now?  Please?  I’m still bitter that you shoved that brilliant-looking Popeye movie he was developing back into the basement for this.

2] The Intern

$18,225,000 / NEW

This looks like hot garbage.  That said, I haven’t actually seen any Nancy Meyers films yet, although I want to try and find the time to get at least one watched before I sit down on Saturday and spend… 121 minutes?!  …how?

3] Maze Runner: The Scorch Trials

$14,000,000 / $51,685,672

For those who missed it a couple of weeks back, here’s my review.  Still waiting for a point to appear in this franchise, some reason as to why I am spending this much time with these non-characters, but I will say that I would take this series over the Divergent films any day of the week.  For one, despite them having nothing going on so far, at least Maze Runner isn’t drop dead boring like Divergent is.  And for two, unlike Divergent, there are only going to be three of these things instead of four.  Hopefully.  Please.

4] Everest

$13,090,000 / $23,129,805

Oh, yeah, this one went to actual cinemas this week.  Think we can see that this genius release strategy hasn’t really worked at all.  Just because something worked for a Mission: Impossible movie, doesn’t mean that it’s going to work for your film as well.  Your film doesn’t feature Tom Cruise, after all.

5] Black Mass

$11,510,000 / $42,608,179

A lot of my university friends are really, really excited about this one, for some reason.  In fact, if it weren’t for them, it’d probably have flown under my radar near-totally.  The fact that it’s not coming out in the UK until mid-November for some bizarre reason might have something to do with that.  Plus, I’m mega-excited for The Peanuts Movie whilst those heathens couldn’t give two sh*ts, so…

I don’t actually have a punchline for this entry, so we should probably just move on.

6] The Visit

$6,750,000 / $52,260,580

OK, I’m hearing from a lot of people that this is actually alright and that is very disconcerting to me.  Because, well, it sounds awful and it’s Shyamalan.  But it’s apparently alright?  I dunno, this sounds wrong to me.  Or, you know, maybe I’m just worried that it being OK and doing decent business will lead to him trying to make a second Avatar movie.  I know that that series will never hit cinema screens again, but he’s already ruined it once and I don’t much like going through the rest of my life being terrified that he may try again.

7] The Perfect Guy

$4,750,000 / $48,871,135

I got nothing.  In fact, to tell you the truth, I completely forgot this thing existed until I just typed in the words for this entry.  Remember when this was number 1 two weeks back?

8] War Room

$4,275,000 / $55,999,681

Oh, please, October.  Please hurry up and eject nonsense like this from the chart.  God, September is the worst.

9] The Green Inferno

$3,494,000 / NEW

Right, this won’t be sticking around next week so let me get both of my commentaries for this film out of the way in one go.  1] This film stars Sky Ferreira, who is primarily a pop singer and should be way bigger than she is (due to lots of bad luck, mainly).  If you haven’t listened to her 2013 debut Night Time, My Time, go do so.  2] American movie goers, it worryingly sounds like critics are going to give a passing grade to Knock Knock in a few weeks when that finally drops on your side of the pond.  Do not believe them, stay away from it.

10] Sicario

$1,770,000 / $2,350,594

Got to see this one early on Wednesday as part of an Unlimited Screening.  My review’s not up cos I can’t crack it – left it too long for various personal issues you don’t care about – although I may try it again after I see the film again when it properly comes out, but for now…  oh, you need to see Sicario.  You need to book your tickets in preparation for Sicario right now.  Right.  Now.

Dropped Out: A Walk in the Woods, Mission: Impossible – Rogue Nation, Straight Outta Compton, Grandma

Callum Petch can’t feel his face when he’s with you.  He now writes for his own site (callumpetch.com).  Follow him on the Twitters (@CallumPetch)!

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Failed Critics Podcast: Straight Outta FrightFest

la-ca-0727-straight-outta-compton-003You are now about to witness the strength of street knowledge as four white boys from the UK discuss N.W.A. biopic Straight Outta Compton on this week’s Failed Critics Podcast. Joining crazy mother-flipper Steve Norman and another crazy arsed bad mother-flipper Owen Hughes on our latest episode is Andrew Brooker, a dangerous mother-flipper raising hell, and controlling the automatic is Mike Shawcross.

We’re not entirely as gangster as you might expect, believe it or not, as we kick off the podcast with a quiz and a short tribute to Wes Craven. We manage to express ourselves in a more dignified manner befitting four dudes sat around in their pants on Skype, late on a Tuesday night, during reviews of video-game adaptation Hitman: Agent 47, Nic Cage thriller Joe, the pilot episode of Fear the Walking Dead and James Cullen Bressack’s indie-horror To Jennifer.

On top of all that, we have a round-up of the good, the bad and the ugly that came out of this year’s Film4 FrightFest. Get your notepad and pen ready as Mike reveals everything you should be adding to your watch list over the next 12 months – including These Final Hours, Turbo Kid, We Are Still Here, Bait and loads more! I’m not exaggerating. LOADS more.

Join us again the same time next week as Paul ‘Slice’ Field returns to mull over No Escape and The Transporter Refuelled.

LISTEN VIA ACAST FOR THE MOST INTERACTIVE EXPERIENCE

DIRECT DOWNLOAD LINK

Straight Outta Compton

by Andrew Brooker (@Brooker411)

straight outta compton“Rap isn’t an art… These guys look like bangers.”

Yeah. There’s no way I review this film and avoid admitting that I was one of those pasty white kids that was a massive fan of NWA back in the day. I was around 15 years old when my mate’s uncle gave me a tape with NWA’s “Straight Outta Compton” on one side and the debut album from Ice-T’s Bodycount on the other. Outside of a Lynyrd Skynyrd tape I inherited off my old man, it’s the first tape I ever listened to so much that I stretched it beyond use!  The first, and only NWA album with a full roster on it became one of my favourite all-time albums and it’s one of the few rap albums I still own and listen to today; a decent feat considering my propensity for very heavy metal.

I became a huge fan of most things “Gangster rap” and spent most of my teenage years listening to everything that guys like NWA and Ice Cube put out; catching up with their entire back catalogues and standing outside the local HMV for new releases, I was the biggest fan of rap music back in the day and I couldn’t have been happier the day I heard that there was an NWA biopic coming out.

Straight Outta Compton follows the lives of the teenagers that would one day become one of the most controversial groups in not just the history of rap music, but in the entire music industry. NWA was the brain child of a handful of teenagers that were clawing to make a few dollars, not always legally, and needed to find a way to get the lives they wanted and stand out from the crowd. The boys; known worldwide by their now legendary names of Dr. Dre, Ice Cube, Eazy-E, MC Ren and DJ Yella; get themselves a little studio time and press Eazy-E’s solo track “Boyz-n-the-hood”. A little recognition and a lot of work later, the teens release the one and only NWA album that’s worth owning, “Straight Outta Compton”.

Instantly pushed into superstardom, this is the story of how the rappers dealt with the money and the fame; it tells the story of friendships, splits, solo careers, bankruptcy and what happens when businessmen are allowed to take advantage of artists that, no matter which way you cut it, are just kids.  It’s a tale of how these five guys bucked the trend of safe and censored music and brought a straight-talking style to mainstream audiences just when the world needed them to. Love them or hate them, and plenty hated them, NWA shined a light on the plight of young African-American’s across the United States. With a focus on the awful way people like them were treated by the LAPD, the rappers took the police, and society as a whole, to task with their music and didn’t back down when they were threatened by law enforcement over the content of their music.  We get to see these boys grow up and make their way in the world, we get to share their highs and lows and we get to enjoy their music along the way.

Straight Outta Compton does a great job of telling its story.  Essentially a warts-and-all biopic that really does show what the teenagers went through. From Eazy-E’s drug dealing days to the riots that started on their behalf when they were arrested during one of their sold-out concerts.  However, while director F. Gary Gray and producers Dr. Dre and Ice Cube have told a lot of the story and tried not to hold back, there are a couple of very large parts of their story that are missing, conspicuous by their absence. Mainly, while we seem to have gotten a look at all the shady dealings of founding member Eazy-E, a man sadly no longer around to defend himself, I would have liked to have seen the film tackle Dre’s 1991 assault on Dee Barnes, a woman the producer believed to have badly reported on a feud between group members so he, allegedly, grabbed her by the hair and repeatedly smashed her into a wall, with fellow band mates later going on record saying that “The bitch deserved it”.  I’d also liked to have seen original group member, “Arabian Prince” brought up, seeing as he was in the picture long before MC Ren was.  None of this takes away from the film though, which is a scathing look at 80’s and 90’s culture and how groups like NWA were born from it.

With big shoes to fill and massive reputations to uphold, every cast member did a stellar job of representing their characters on-screen. Clearly taking cues from their real counterparts, the actors have taken pride in their roles and learned the characteristics of the legends they are representing; with the always great to watch Paul Giamatti taking on the role of the sleazy Jerry Hellar, the man that made NWA famous but screwed them over at the same time, he slips easily into the role and makes you hate him in every scene he’s in.  Special mention has to go to O’Shea Jackson Jnr. The real life son of rapper Ice Cube has taken on the gargantuan task of bringing his old man’s massive persona to the big screen and has done an amazing job.  In my opinion, Jackson Jnr. is the star of the show, stealing every single scene from his cast mates as he lives and breathes his dad’s life for the almost two and a half hour run time.  Ice Cube’s sneering face, his attitude, his mannerisms are all oozing from the screen as Ice Cube Jnr. makes the role his own and if just one guy gets any kind of award based recognition for this movie, it needs to be O’Shea Jackson Jnr.

Straight Outta Compton is essential viewing for almost everyone. Long-time fans like me and a lot of our generation should get a kick out of watching the rise and fall of one of the most prominent musical talents to grace our tape decks back in the day. Younger fans will get a ton of fun hopefully learning what it was that we loved so much and everybody should sit and enjoy the story of how rap music became rap music.  The story of easily THE most influential rap group ever to grace vinyl was a long time coming and was definitely worth the wait. So sit, relax and enjoy an amazing film with one of the best soundtracks you’ll hear this year and get yourself a glimpse into the past, back when rap music was actually good, not paint-by-numbers awfulness.

US Box Office Report: 14/08/15 – 16/08/15

Audiences head straight into Compton, The Man From U.N.C.L.E.’s cover is blown, Mistress America takes home a Participation Award, and Other Box Office News.

by Callum Petch (Twitter: @CallumPetch)

Surprising absolutely nobody who is at least somewhat aware of popular culture, Straight Outta Compton is your new box office number 1.  Having said that, though, I don’t think anybody was prepared for just how much of a success the thing would be.  You see, Straight Outta Compton didn’t just take first place with ease, it did so with $56 million, almost $40 million more than the second place film managed.  That’s an absolute domination, a ridiculous opening for a non-sequel/franchise movie, and an utterly sensational opening for a film in August which is typically a complete dead zone at the box office.  I’d sit here and make terrible N.W.A, “Forgot About Dre”, and “It Was A Good Day” puns but, honestly, I’m too gobsmacked at the ridiculous success to make puns.  That’s just amazing.

Similarly surprising was the complete non-performance of The Man From U.N.C.L.E..  Perhaps due to a combination of an off-putting marketing campaign, that I really liked if nothing else, and tepid reviews, which are mostly wrong as you’ll find out in my own review later in the week, Guy Ritchie’s latest adventure in Hollywoodland face-planted right out of the gate.  Losing the battle for second place to Mission: Impossible quite handily, The Man cried U.N.C.L.E. – eh? Eh? EH?! – and bowed out for the weekend with only $13.5 million.  Nice to see that the Warner Bros. “funding off-beat and often great blockbusters with loads of money only to see bugger-all people turn up to watch” streak is still intact, if nothing else.

Whilst we’re still affixing our eye to the Top 10, let’s briefly check back in with everyone’s favourite complete and total catastrophic failure, Fantastic 4.  After failing to achieve the number 1 slot last week and earning roughly half of what it was projected to, the film continued its magnificent spiral of humiliation with a near 70% drop between this past weekend and opening weekend.  Enjoy looking at this one, folks.  This is the kind of old-school catastrophe that modern Hollywood was supposedly designed to completely avoid.  It’s a beautiful sight, like a unicorn grazing underneath a double rainbow.

In the realm of limited releases, Noah Baumbach’s second film this year, Mistress America, did surprisingly poorly.  I mean, sure, we’re talking very relatively when I say that $94,000 from 4 theatres is poor.  But Baumbach usually has much better openings than this.  Hell, he already had one such opening earlier this year when While We’re Young opened to $227,688 from 4 screens, whilst his last collaboration with Greta Gerwig, 2013’s Frances Ha, opened to $137,398 from 4 screens.  Maybe, just maybe, audiences are getting sick of movies about annoying self-obsessed New Yorkers.  Wouldn’t that be something?  Meanwhile, the Jemaine Clement-starring People Places Things Nouns got off to a poor start on 19 screens with just $31,000 for a per-screen average of $1,632.


straight outta compton

The jury has found this Full List guilty of being a redneck, white bread, chickensh*t motherf*cker.

Box Office Results: Friday 14th August 2015 – Sunday 16th August 2015

1] Straight Outta Compton

$56,100,000 / NEW

Man, I really cannot wait for this!  That’s literally all I’ve got for this one, since I haven’t managed to listen to Dre’s “Compton” yet – that’s a job for tonight, before anyone asks.  I will note, however, that an opening like this is yet another sign that mid-budget stories about non-White protagonists, starring a non-White cast and aimed at predominately-non-White audiences are a lucrative and untapped market.  A sign that, as per usual, will most likely go stringently ignored by Hollywood.

2] Mission: Impossible – Rogue Nation

$17,000,000 / $138,137,000

Man From U.N.C.L.E. outclasses this movie in every respect.  Just thought I’d let you know that.

3] The Man From U.N.C.L.E.

$13,535,000 / NEW

Saw this on Friday and the review will be up on my site tomorrow – in the meanwhile, Brooker’s got a good review of it up here.  Short version: probably the best non-Fury Road blockbuster I’ve seen all year.  Lot of fun, lots going on under the hood, and impeccably acted with Alicia Vikander nearly running away with the film from everyone else.  It’s the first time that “Guy Ritchie, Hollywood Director” has made sense to me, and not coincidentally is the first time he was allowed a crack at the script, so it’s a shame that the film’s box office failure sadly guarantees that we’ll be getting “Hired Gun, Guy Ritchie” for the next few years.

4] Fantastic 4

$8,000,000 / $41,961,000

BWAHAHAHAHAHAHAHAHAHAHAHAHHAHHAHAHAHAHAHAHAHAHAHA (*continues like so for another 15 minutes*)

5] The Gift

$6,500,000 / $23,577,000

Don’t even talk to me about the ending of this.  Seriously, it’s been well over a week and I still can’t make up my mind on it.  Or, more specifically, I can’t stop trying to rationalise an objectively disgusting and too-far ending as honestly kind of brilliant.  Jackson noted that I basically already summed it up when I described the whole film as “very Fincher”, but I still can’t let this go.  If nothing else, at least The Gift has stuck with me a week later, unlike the very vast majority of films that have been released so far this year.

6] Ant-Man

$5,517,000 / $157,568,000

Emily Blunt for Carol Danvers, please!  Seriously, it’s perfect casting.  She’s got the acting chops, Edge of Tomorrow proved that she can be a walking badass when required, she’s more than willing to dye her hair blonde if that’s necessary, she was already going to be Black Widow until Fox forced her to do Gulliver’s Travels instead, and she’s English which continues the superhero movie tradition of casting British leads in American hero roles!  Come on, it’s a no-brainer!

I mean, unless the Bond producers do the right thing and cast her as the next Bond.  Either of these two things happening will satisfy me.

7] Vacation

$5,330,000 / $46,852,000

Once I’ve finished my Man From U.N.C.L.E. review after this, I’ll be sitting down to watch the original National Lampoon’s Vacation in preparation for Friday.  Not Tuesday, what’s the point of going to a Cineworld Unlimited Screening for a film that’s out about 48 hours later and looks terrible?  Ugh, Unlimited screenings have been going down the drain recently…

Hmm?  “The next one’s Sicario, two weeks before its UK release”?  Oh, Cineworld!  Have I ever told you how much I love you?

8] Minions

$5,200,000 / $312,969,000

A round of applause for Universal Studios for becoming the fastest studio to break $2 billion domestic in a single year, besting Warner Bros.’ previous record by a good 4 months!  That’s what happens when you release a whole load of good films that people want to see… and are also part of really successful franchises.  OK, I guess we should probably temper that applause slightly, this was basically already predetermined by merely looking at that release schedule.

9] Ricki and the Flash

$4,570,000 / $14,656,000

Oh.  Well, err, bye Ricki, I guess.

10] Trainwreck

$3,800,000 / $97,919,000

Review will be up on my site on Wednesday.  Gonna keep my opinion under-wraps until then, in a failed attempt to build up suspense and intrigue.  I will, though, let slip that I can now happily count the number of good comedies released this year on 3 fingers.  That is also a sentence that looks incredibly depressing typed out like that.  This goddamn year…

Dropped Out: Pixels, Southpaw

Callum Petch is nine exits north of Las Vegas.  He now writes for his own website (callumpetch.com).  Follow him on the Twitters (@CallumPetch)!