Tag Archives: The Transporter Refuelled

US Box Office Report: 11/09/15 – 13/09/15

The Perfect Guy charms his way to the top, The Visit proves surprisingly prosperous, $2 million In Heaven is better than $1 million In Heaven, Sleeping With Other People is a rather lucrative past-time, and Other Box Office News.

by Callum Petch (Twitter: @CallumPetch)

Ah, September.  That time of the year where nothing much of interest comes out, yet the box office does all kinds of weird things, regardless.  Specifically, it’s about time for a low-budget thriller of questionable value fronted by big name black actors and actresses to hold onto the top spot for a week.  Yes, following in the footsteps of last year’s No Good Deed and 2009’s Obsessed, The Perfect Guy fought its way to a hard-earned victory with $26 million in ticket sales from just over 2,000 theatres, making this the fifth straight week in a row that a film predominately starring black actors and actresses has taken the top spot – after Straight Outta Compton’s three-peat and War Room’s surprising victory last week – which is news that Hollywood should really pay attention to.

It wasn’t always so certain for The Perfect Guy, however.  Much like the movie industry itself, audiences decided to actually give M. Night Shyamalan one more shot – seriously, the fact that, despite everything post-Signs, this guy keeps getting funding for movies is proof that Hollywood is either incredibly forgiving or is just giving him more rope to embarrass himself with as a cruel joke – and turned up to see The Visit despite, y’know, it being a modern-day Shyamalan movie.  In any case, it did surprisingly decently, with $25 million in ticket sales, just barely losing to another crappy thriller.  Like, I said, interesting stuff happens on this chart in September, but that doesn’t mean that the films are actually any good.

Meanwhile, we have more terrible movies designed to suck money from devout Christians’ pockets, because there’s gotta be another God’s Not Dead sometime soon, right?  This month’s attempt to shamelessly shake down its target audience is 90 Minutes In Heaven, starring Hayden Christensen for reasons that are both incredibly self-explanatory and incredibly unclear.  Presumably because the audience still feels betrayed by the film’s lead actor having slaughtered the younglings all those years ago, this latest Lifetime-Movie-Disguised-As-Worthwhile-Entertainment did not take with moviegoers, and the film managed a pathetic 9th place and $2 million from 800 screens.

In Limited Release Land, the big story was the director of the criminally-underseen Bachelorette Leslye Headland’s second film, Sleeping With Other People.  Riding some strong press from those who like it, and opening in the always profitable New York/Los Angeles scenes, the rom-com managed an excellent $103,125 opening on 5 screens, for a per-screen average of $20,625.  It was not the only success story this weekend, mind.  Meet the Patels, a documentary about an Indian-American trying to use traditional Indian dating methods to find the woman of his dreams and it looks way more charming than that sounds trust me, had a similarly strong 5 screen opening, with $75,597 for a $15,119 per-screen average.  Finally, A Brilliant Young Mind – released in the UK as X+Y and which I have heard from a very trustworthy friend of mine is complete garbage – opened on 3 screens to a very respectable $36,000.


the perfect guy

This Full List is pretty baffling to me, so I’m not going to do a pun intro.  Just see for yourself.

Box Office Results: Friday 11th September 2015 – Sunday 13th September 2015

1] The Perfect Guy

$26,700,000 / NEW

This… seems to be becoming a thing.  Terrible mid/low-budget thrillers about men stalking women, usually with a non-white lead, I mean.  No Good Deed, The Boy Next Door, now this.  I’m all for diversity in films, but this… I’d prefer that this not become a trend.  Or, at least, I’d prefer that good versions of this movie become a trend, if they must become a trend.

2] The Visit

$25,690,000 / NEW

The words “rapping child” keep getting brought up around this movie, so absolutely no way am I ever seeing this.  White people rapping is often rather cringeworthy as is – non-professionally, I mean – I do not see how making said White rapper a young boy is supposed to improve this situation.

3] War Room

$7,400,000 / $39,188,327

This is what made it to number 1 last weekend?  This?  This looks awful!  In fact, no, it looks worse than awful, it looks absolutely incompetent.  Look, American members of the Christian faith: I realise that you’re not well-served by the film industry, but hold yourselves up to higher standards, for crying out loud!  If you tell the film industry that you’re going to turn up to any old crap, they’re going to keep making absolute crap.

4] A Walk In The Woods

$4,620,099 / $19,877,024

This looks… pleasant.  I really got nothing else, folks.  Not until I get to see it this weekend, I mean.

5] Mission: Impossible – Rogue Nation

$4,150,000 / $188,172,518

Wait, what?!  This is still here?  And this highWHY?!  I mean, it was OK, I guess, but it wasn’t particularly brilliant and certainly not “Hell yes, Week 7 showing!” material.  Why are you all still seeing this movie and, more importantly, where the fuck were all of you when Edge of Tomorrow was flopping painfully towards a way-too-low $100 million domestic?

6] Straight Outta Compton

$4,090,000 / $155,712,600

Thanks to this sudden frustratingly crippling inability to write whilst I’m at home, I never did get around to properly reviewing Straight Outta Compton [Owen: although Brooker did for Failed Critics].  So, Short Version: as a film, it’s brilliant – exceptionally acted, well-directed, very decently paced, only occasionally lapses into Walk Hard self-parody, glad that it had a socially relevant message instead of just “N.W.A. were great”.  Outside of that, though, it’s deeply problematic – it feels rather whitewashed, the misogyny is uncommented on, and the homophobia is suspiciously almost non-existent.  In a way, I get the intention – if it depicted something like Dre’s woman-beating tendencies, then that risks dragging the audience’s attention and discussion away from the issue of institutionalised racism – but it still feels disingenuous and wrong, especially for this story.

In other words, it feels like a film version of N.W.A.’s work and of rap music and culture in general, something deeply problematic yet at the same time amazing and a force for some kind of good.  And, therefore, I love it in the same way I love rap music.

7] No Escape

$2,879,000 / $24,155,935

This bullshit is racist.  Just wanted to remind you of that.

8] The Transporter Refueled

$2,700,000 / $13,343,496

You can hear more in-depth thoughts on last week’s Screen 1 – which also includes my going nuclear on Me and Earl and the Dying Girl for those of you who like that sort of thing – but I surprisingly had fun with this one.  Ed Skrein’s ‘tough guy’ voice is really grating, and the film really misses Statham’s effortless charisma, but I still had some fun regardless.  Nothing great, nothing special, but some decent fun nonetheless.

9] 90 Minutes In Heaven

$2,160,911 / NEW

Remember when Hollywood tried to make Hayden Christensen a star?  Fun times, fun times…

10] Un Gallo con Muchos Huevos

$1,900,000 / $6,667,352

…you know what, I’m just going to embed the trailer for this one and let you be the judge.  I genuinely can’t decide whether this looks charming and somewhat fun, or the worst animated thing that has ever happened.

Dropped Out: The Man From U.N.C.L.E., Sinister 2, Inside Out

Callum Petch is gonna find out, he’s gonna get low.  Follow him on the Twitters (@CallumPetch)!

The Transporter Refueled

by Andrew Brooker (@Brooker411)

The-Transporter-Refueled-13“I don’t ask questions on a job. This is a favour.”

Now I don’t know about you, but the thought of recasting a role that I love always leaves me with a sour taste in my mouth. When it happens, there’s never really a middle ground where the film or TV show is just okay; you almost always find your self at one of the extremes of the spectrum where the result is fantastic, or utter toilet. We’ve seen it a hundred times; from James Bond and Hannibal Lecter to John and Sarah Connor, so last year when news hit that Jason Statham was walking away from The Transporter Refueled and letting someone else take on the role of Frank Martin, I was horrified. Now, after a couple of release date shifts, we have a fresh faced Ed Skrein – a man I only know from his short stint on Game of Thrones before his role of Daario Naharis was handed to someone else – taking on the role of the contract transporter and looking to reboot the franchise.

But the question is, can he replace Statham as The Transporter? And if he can, can he make the role his own and bring enough to fulfil the new trilogy that Luc Besson’s Europacorp are hoping for?

As Frank Martin adds his name to a list of great characters to whom shit just seems to keep happening, the fourth instalment in the Transporter series sees Martin back behind the driver’s seat in France, doing shady things for shady people and getting paid well for it. This time around, he finds himself quickly embroiled in a revenge plot against Eastern European human traffickers a decade and a half in the making; as a handful of women who have managed to escape the clutches of greasy pimp in a nice suit Karasov, the women set about robbing the man and his associates and start in motion a chain of events that they hope will bring down the entire filthy operation.

Hiring Frank as a getaway driver for a bank robbery, the former sex workers make it personal by kidnapping Martin’s retired father – personal favourite actor Ray Stevenson – and threatening his life to force Frank’s hand and make him hang around long past the point of his contract being finished. Unwittingly and unwillingly, the father and son duo are now part of the team taking on this nasty prostitution ring and trying to keep the girls, and themselves, alive; a feat that they find pretty difficult when shit hits the fan and they start pissing off some scary guys who aren’t backwards in coming forwards and punching you in the face. If Frank and his dad, a man who has a few of his own skeletons in his closet, can come out of this in one piece, it’ll be nothing sort of a miracle.

The thing with the Transporter franchise as a whole, is that while in reality it isn’t anything special and it certainly isn’t flawless, it’s an absolute arse full of fun and they are surprisingly well made for a low budget bunch of films about a guy that drives really fast. I went in to The Transporter Refueled expecting all the fun and quality to be gone. With the stories of Jason Statham leaving the franchise because producers didn’t want to pay him and that they were going into production without a proper script, my this-is-gonna-be-shit-o-meter was going nuts as I sat in my seat this afternoon.

But to my complete surprise, I was completely wrong. Transporter Refueled is everything I’ve come to expect from the series. Great action, superb fighting and amazing car chases all strung together with a story put together at the last minute and just kind of thrown at the people acting it out on screen the day before it was being shot. I mean, the whole Eastern European sex worker story is starting to wear thin, with Liam Neeson recently taking three movies to eradicate it with the Taken series, we are seeing it come back with The Transporter, with all the rubbish stereotypes in tow. Not to worry, Ed Skrein is here to wipe them all out again and the guy is pretty damn convincing in Jason Statham’s shoes, and man does he know how to drive that car! Mmmmm. That car. An erection inducing Audi S8 that roars to life with a tap to the accelerator and just leaves me drooling like an imbecile at every rev. Forget Fast and Furious, ladies and gentlemen; this is the kind of car porn I like and boy is it good.

Mmmmmm. Cars. Mmmmm Audis.  I feel like I’ve been subliminally pushed into buying an Audi by the last couple of films I’ve watched. I can’t afford a bloody Audi, you bastards! Anyways… Yeah, where was I? Oh right.

The story, and the film as a whole takes a little while to kick into a good gear while it lays the groundwork for the story and introduces us to the new Frank Martin. It’s definitely a bit of a slog to get through the first twenty minutes or so because as much as I tried to look past it, I couldn’t help but miss Jason Statham on the screen and kind of pined for him for a bit. But, by the end of the first fight, the first car chase and the first bit of back and forth with his old man, the story has ramped up and I’ve all but forgotten The Stath and accepted The Skrein as the new Frank Martin. Camille Delamarre, long time editor to Luc Besson, is on director duties and does a pretty good job in keeping the film running at a good pace and at a little over an hour and a half, has kept the film down to a run time that even those burning out on daft action films like this won’t be sat long enough to get bored.

At the end of the day, if you’ve stuck with The Transporter long enough to be going to see the fourth film, then you know exactly what you’re going to get and you’re sure to enjoy it. A new star and a slightly different direction aren’t going to stop The Transporter Refueled from being a shit load of fun and a welcome return for a Frank Martin.