The Machete Spanish title worked so well a few weeks back, we figured we should probably stick to a dialect a little closer to home this time around. Therefore, in honuh of The Town, as well the othuh fine films in contention this box office weekend, we’re shipping up to Boston, Dropkick Murphys style.
It should be a fairly close race between the newbies. M Night is producing a horror film about some people in an elevator. Lionsgate’s got a new animated flick to drop bomb on us. Easy A is a nice throwback to John Hughes’s comedies. Some of them will hit the Green Monster (this week, that title denotes cold, hard cash) solid, and some will slip into the Charles River without so much as a whimper. Let’s see how it shapes up. It’s about to get wicked retahded in he-uh.
That Ben Affleck kid’s got a future in this business. His directorial debut, Gone Baby Gone, wasn’t exactly the life of the party at 2007’s box office, but the critical acclaim it pulled in was undeniable. With The Town, though, it looks like he’s got something that will garner both praise and the dollar signs. Backed by Warner Brothers, it’s opening on a much grander scale than Gone Baby Gone. The stigma of whether Affleck can deliver is long gone. The cast looks to bring in varying demographics. All in all, there seems to be much in The Town‘s favor, and it is likely it will come out on top this weekend. It’s not going to make ridiculous coin, but it may just brush up underneath that $20-million mark.
These masks are creepy. See Ben Affleck and Jeremy Renner wear them with pride in the trailer for The Town right here. There’s also a shot of Fenway. Shocker:
Oh, M. Night. I was there in the theater when the trailer for Devil hit. I heard the snickers when your name popped up. But it’s all going to be okay. You’ll win back the audience with the powerhouse cast you have trapped in this elevator. It’s undeniable the amount of money people like Bokeem Woodbine and Geoffrey Arend and Bojana Novakovic have made in their respective films. I just need to look up exactly what those films are first.
All joking aside, there are definite pros and cons for Devil going into its weekend here. The M. Night factor might not be much of a factor at all when it comes right down to it. Yes, people are going to snicker at his name and they’ll be making the jokes about the potential twist endings here. My favorite so far is that it’s not an elevator at all but a rocketship and the devil is actually an alien. Those pesky Martians and their demonic ways. The cast isn’t going to drive people into theaters, either, but, when you’re dealing with a PG-13 rated horror film like this, it really doesn’t matter who the screamers are. Devil won’t be pulling in the same numbers we’ve seen for the Shyamalan-directed films, but it’s certainly going to have no difficulty finding its way into the double digits.
Turn your world upside down. Check out the trailer for Devil right here, and, please, try not to laugh at M. Night’s name:
Sadly, the film with the heaviest potential for a poor opening is also a fine, fine film. Easy Ais not what you might expect from a teen sex comedy, especially a teen sex comedy with a PG-13 rating. Regardless, this film is extremely funny and innovative in the way it deals with its characters and how director Will Gluck uses elements of meta in telling his story. But this is not a review. This is to determine how well Easy A is going to do this weekend, and the prognosis isn’t good. High school comedies need some kind of edge to make bank. You will rarely see a Mean Girls or a Bring it On come along. I hope I’m wrong. I hope Easy A finds a V for victory at the box office. Unfortunately, I see it having the same fate as something like Can’t Hardly Wait, an equally funny film that just couldn’t find an audience.
From A to Alpha, but we’ve also traveled from the high school halls to the animated wilderness, Alpha & Omega is the latest grasp at 3-D animated gold. This isn’t DreamWorks, though, and it certainly isn’t PIXAR. Lionsgate is the company behind Alpha & Omega, and the film has B team written all over it. While kiddies haven’t been inundated with animated fare this year, I don’t see this film making much of a run at it. I liken its potential to something like Doogal or The Tale of Desperaux. Its opening may be slightly higher than those, but don’t expect the numbers we’ve come to expect from the big two.
With four new film opening this weekend, there doesn’t seem like a lot of room for Resident Evil: Afterlifeto have much of an afterlife following its impressive debut. It will surely have a fairly large dropoff here in its second weekend, but the damage is done. Milla Jovovich is already claiming a Resident Evil 5 is in the works, and they’re asking the fans for their ideas. Evidently the well has done run dry on the number of giant, CG monsters we can create in this world.
There is no doubt The Expendables will cross that $100-million mark. It probably already has, in fact. That will make the 18th film to do so in 2010 and only the second film to do so in Lionsgate’s history. The other film is Farenheit 9/11, and what a double feature those two would make? Good for Stallone. No joke about it. That is all.
You don’t know anything about Catfish. I don’t know anything about Catfish. Even if I knew I knew nothing about Catifsh, that would be knowing something about Catfish, but I don’t. Yes, I stole that line of dialogue from Point Break. Catfish opens in 12 markets across the country, but, we swear, that’s not a spoiler. Actually maybe it is. Crap.
Anyway, if you want to know something about Catfish (hint: you don’t) check out this trailer (don’t) for Catfish. Knowing is half the battle. Stay in the other half:
It’s been eight, long years since director Mark Romanek has brought his stylish and clean look to the film world. He may have done wonders for The Wolfman, but that didn’t work out. Instead, we have Never Let Me Go. Is it sci-fi? Is it drama? Is it a period piece about long lost friends? Something tells me it’s a little bit of everything, and everything about it is enticing. With Keira Knightley, Carey Mulligan, Charlotte Rampling, and the forthcoming Spider-Man, himself, Andrew Garfield in front of the camera, the film is certain to intrigue those looking for solid performances. Never Let Me Go opened on Wednesday in select cities.
To get a taste of the style Romanek and Never Let Me Go has to offer, check out the trailer for the film right here:
Katie Aselton, the wife of Mark Duplass, makes her directorial debut with The Freebie, a funny yet highly engaging film about a young couple who decides on a change. They each allow their spouse one night of sexual freedom. The consequences, needless to say, are where the highly engaging parts come into play. The Freebie opens at the Angelika Theater in New York.
The Girl? Well, it’s about this girl, you see. Her parents up and leave for Africa, leaving her with her aunt. Then her aunt up and leaves her for some guy. The girl, wondering why she was born without a name, is left abandoned for the Summer. It’s kind of like Home Alone without the thieves or Christmas or comedy or a nomenclature for our protagonist. The Girl opens in New York City.
The Happy Poet is a romantic comedy about a poet who decides to open an all-organic mostly-vegetarian food stand. That reminds me of the time I mostly got food poisoning. That’s a lie. It was 100% food poisoning. Not that the guy in this movie has that problem. I’m sure his all-organic food stand passes inspection. The Happy Poet opens in New York City.
It’s a good thing James Cameron changed the title of his movie to Titanic. That freed Philip Seymour Hoffman up to name his movie Jack Goes Boating 13 years later. While Hoffman’s movie, which he directed and stars in, is light on the disaster element, it does rest on a a gentler subject, that of two limo driver in New York looking for love in all the wrong places. Jack Goes Boating opens in New York and L.A.
I love me some good pastry. Therefore, it would stand to reason I would have some interest in seeing a movie called Kings of Pastry. It’s a documentary about sixteen chefs contending for the highest honor in French pastry making, the Meilleurs Ouvriers de France. It opens at the Film Forum in New York City. Now for some cream puffs.
Picture Me is a documentary about a model trying to make it in the cutthroat world of her industry. The film’s official website is a Myspace page, which, as soon as my browser knew where it was going, a small window popped up asking me if I was absolutely sure. I said yes. The film might also have a Geocities site, but I haven’t looked into that yet. Picture Me opens at the Angelika in New York.
“THE MOST STUPENDOUS AND BONE CHILLING TRAGEDY ABOUT THE AGONY AND DECLINE OF ONE MIDDLE-LEVEL MANAGER” Those are the words that splash across your screen on the site for The Temptation of St. Tony. I guess that’s all you need to know. It opens in select cities.
Here’s how the top 10 is shaping up this weekend:
The Town – $18.2m NEW
Devil – $15.8m NEW
Alpha & Omega – $12m NEW
Resident Evil: Afterlife – $10.2m (-61.4%)
Easy A – $9m NEW
Takers – $2.9m (-46.5%)
The American – $2.6m (-52%)
Going the Distance – $2m (-43.7%)
The Other Guys – $1.9m (-40%)
Machete – $1.6m (-59.8%)
With these numbers, this weekend is looking at $76.2 million, a clear improvement over last weekend’s $61.2 million but something of a moral failure in that we’re looking at four new films versus just one. This is still looking to be the second lowest weekend of the year and still lower than any top 10 offered in 2009.
Surprisingly, if you look at the same weekend a year ago, you’ll notice four films that follow roughly the same structure we have this weekend: an adult drama (The Informant!), a horror film (Jennifer’s Body), a romantic comedy (Love Happens), and an animated film (Cloudy With a Chance of Meatballs). However, none of the new films this weekend are likely to match Cloudy‘s $30-million opening that led the weekend last year to some decent numbers.
We’ll be back on Sunday night to go over the weekend numbers.
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