Tuesday, September 7, 2010

Summer Box-Office Results

At the start of the summer I made my predictions for what would be the top 10 money-makers for the season. Now that summer has come to a close, it's time to look at the results. While these won't be the final numbers for some of the films, the overall standings should stay about the same. (The #10 spot could very well be overtaken eventually.)

First, my predictions from the end of April:

Toy Story 3 – 425
Iron Man 2 – 375
Twilight: Eclipse – 300
Shrek Forever After – 250
Inception – 175
Salt – 160
The Last Airbender – 155
The A-Team – 150
Prince of Persia – 145
Robin Hood – 130

Top 10 as of Sep. 7:
Toy Story 3 - 408
Iron Man 2 - 312
Twilight: Eclipse - 298
Inception - 278
Despicable Me - 241
Shrek Forever After - 238
The Karate Kid - 176
Grown Ups - 160
The Last Airbender - 131
Salt - 115

So, as of now, I guessed 7 out of the 10. Not bad for a first-time try. The biggest surprise for me was the success of The Karate Kid. I really didn't expect it to come near 100 million, much less 176. I'm not sure why I thought Robin Hood would perform well. It didn't really cater to the typical summer audience, instead aiming a little older. I'm more surprised that The A-Team didn't perform better. I guess most teenagers aren't that familiar with the TV show, so they didn't care about it (?). Despicable Me really should have been on my prediction list. It's animated, made for all ages, and has many celebrity voices. Hindsight is 20/20.

As far as accuracy goes, it's pretty hit or miss. Going into the summer, the biggest question mark on my list was Inception. I really wasn't sure how mainstream it would turn out, so I took a wild guess for its total. Iron Man 2, while doing well, didn't follow the usual pattern of sequels. Usually when a blockbuster is considered solid, the sequel earns more. Iron Man 2 essentially equaled the first film's gross. On the plus side, I'm right on the money for a few films. Who knew I would be such an expert at guessing the spending habits of the Twilight fanbase? Weird.

Overall, this was an interesting experiment and one that I may do again next year.

Tuesday, June 1, 2010

New Horizons

I'm excited to say that I've recently had the opportunity to do some writing at www.filmjunk.com - a site that I consider a favorite. While it's an honor to contribute to that site, it also means that this blog will probably be taking a back seat for the foreseeable future. That doesn't mean I'm giving up This is Cinerama; it just means that posts will be few and far between. So, if can't get enough of my writing, then I suggest you check out Film Junk.

Tuesday, May 25, 2010

Woody Gets a Full Cast for Latest Film

The full cast list was released for Woody Allen's next project, titled Midnight in Paris. The cast includes Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard, Rachel McAdams, Michael Sheen, and Owen Wilson. It looks like a good variety of performers as usual and I look forward to Allen hopefully having a return to form with this film. Midnight in Paris is a romantic comedy that follows a family travelling to the city for business. The party includes a young engaged couple that has their lives transformed throughout the journey. The film celebrates a young man’s great love for Paris, and simultaneously explores the illusion people have that a life different from their own is better.

The film will begin production this summer.

Saturday, May 15, 2010

The Forbidden Few

While I pride myself on exploring many different types of films, even I have my limits on what I'll spend my time watching. I looked through a list of films for the first half of the year and picked out the titles that I can comfortably say I'll never watch unless strapped down A Clockwork Orange-style and forced to view them.

Here's the list:
The Back-up Plan
Furry Vengeance
The Last Song
Why Did I Get Married Too?
Remember Me
The Bounty Hunter
Dear John
Leap Year
The Spy Next Door
Tooth Fairy
When in Rome

I think the key element these films share is laziness. In one way or another these films represent (to me, anyway) the most lazy, pandering, lowest common denominator projects being produced these days. I'm aware that films are both products and art, but when movies such as these come along, the scale tips so far on the side of product that I lose all interest.

Saturday, May 8, 2010

American Psycho: A Look Back

American Consumer

American Psycho (2000), a film directed by Marry Harron, truly shows the dark side of the American dream. The main character, Patrick Bateman, is a rich young man who appears to have no personal identity. Patrick explains that “there is no real me: only an entity, something illusory.... I simply am not there;” he even remains at his job because he “wants to fit in.” He has everything that anyone could possibly desire: an expensive apartment, fine clothes, and many other top-of-the-line products. These possessions he has accumulated mean little to him other than the high social status they help ascribe him. There is a theory that Newitz calls economic identity which is “the ability to produce efficiently, but more notably… the ability to consume” (70). Since these products are all that Bateman knows how to relate to, he becomes the ultimate consumer in this satire on American culture.

A competition of sorts takes place between Bateman and his co-workers, at least from Bateman’s point-of-view. If one of the co-workers has a better apartment or a better suit than he has, then Bateman grows immediately envious. On one occasion he nearly kills one of his co-workers for having the same kind of business card that he does. Fittingly, the film is set in the 1980’s when materialism and greed defined the times. The ability to consume and produce efficiently has been called “homo economicus” or economic man by Newitz (70). Newitz says, “The most important personality trait of homo economicus is that he can never be satiated” (70). Bateman displays this feature to the maximum degree.

Everything is about surface for Bateman. He is a completely self-absorbed character. Giving specific details of his entire morning routine, Bateman describes all of the products he uses to get ready for the day. He does not devote any time thinking about what someone else wants. The goal for him is to get what he desires as soon as possible. Bateman is in peak physical shape, doing exercises every day. He judges his associates on how well they dress or how good an apartment they have. When he sees a bum sitting in an alley, he does not see a person, but a burden or failure of society. According to Grant these people “represent the horror of career failure he fears most” (27). As a result of these fears, Bateman kills the man and walks away. Patrick has no ethical depth to him whatsoever. He does not feel sorry about any of his killings.

Bateman shares no real connections with anyone, even his fiancĂ©. He spends time with his fellow workers, but only because he wants to fit in with the crowd. Sometimes he will feign an interest in what someone is saying, but not much more. Most of the time, he is merely going through the motions. Even with his sexual encounters, Bateman has no real emotion involved. Grant says, “Bateman’s sexuality and desire, like everything else about him, is thoroughly determined by consumer culture” (31). He does not care about the women that he is with; he just uses them for his own pleasure. Thus, the women resemble more merchandise that Bateman makes use of. When he videotapes his sexual encounters, the focus is completely on him. He looks into the mirror and poses for himself while flexing his muscles. This facilitates him to achieve what he witnesses on television and what is promoted by the culture. When he is finished, he disposes of the bodies as he would an old product that has been outdated.

A theme that runs throughout the film is that Bateman’s colleagues confuse each other for someone else. Grant remarks that, “Ironically, nobody notices that the people Bateman has killed are missing because they are all virtually interchangeable” (30), as so many products often are. Bateman gets out of trouble more than once because of this confusion. Also, people seem to misunderstand Bateman at times, such as when he insults people and they seem not to notice or think he meant something else. At times Bateman reveals his homicidal tendencies, “I'm into... well murders and executions mostly.” Only the people around him hear “mergers and acquisitions” instead, because the room is crowded and loud.

American Psycho does not take place in a Gothic setting like most serial killer films, but in traditional homes, restaurants, night clubs, and office buildings. Grant says that it “provides the perfect touchtone for a contemporary consideration of general representations of violence” (25). By bringing the action closer to commonplace areas, the film comments on society the way most thrillers could not. People are familiar with these surroundings either directly or indirectly, so the message can resonate quite well.

American Psycho can be easily compared and contrasted to Fight Club, another film about consumerism and society. Both films are about young men who are dissatisfied with their lives and try to fill the void with violence. While American Psycho tries to consume as much as possible, Fight Club tries to break down the whole process of consumerism. Despite having entirely opposite motives, each of the main characters feels that they have to use violence to get what they want. The American dream has evaded these people for so long that they feel as if they must take matters into their own hands. When events start to go awry, both of the protagonists panic and confess what they have done. They run through a surreal world that they can no longer control.

The same way that Patrick describes the products he uses in the morning, he talks about different music artists he enjoys listening. He offers his thoughts on certain CDs before killing his victims; probably quoting from some reviews that he has read. This happens several times throughout the film with several other types of products. These are the times when Bateman gets to show off just how savvy a consumer he has become. After he is finished proving that point, he effectively “consumes” his victims by killing them. Later in the film, he even admits to eating a few of the victims and trying to cook one as well. At that point, Bateman has proved that he is willing to go to any lengths to achieve his needs.

Many viewers have been desensitized to violent films, especially in recent years. In the same way that desensitized viewers experience violence on screen, sometimes Bateman carries out his murders in a way that shows little reaction. At times he simply kills and walks down the street, thinking nothing about it, except getting caught.

In the end, American Psycho proves to be a scathing social commentary about America’s obsession with consumerism. Like Bateman, sometimes we cannot help ourselves from consuming too much. Patrick shows the ultimate consumer can never be satisfied with what they have. He is a completely hollow individual who can never have enough and only envies those who possess more.

Works Cited
Grant, Barry Keith. “American Psycho/sis: The Pure Products of America Go Crazy” Mythologies of Violence in Postmodern Media. Ed. Christopher Sharrett. Michigan: Wayne State University Press, 1999.

Monday, May 3, 2010

Spielberg Chooses Next Project

Courtesy of Hollywood Insider:

"Finally, Steven Spielberg has chosen his next project: War Horse, the World War I story about a friendship between a boy and a horse. It’s been two years since Indiana Jones and the Kingdom of the Crystal Skull bowed, and audiences worldwide have been waiting for Spielberg to choose his next movie. (Yes, he’s been working on the Tintin series with Peter Jackson but that film won’t bow until Christmas 2011.)

In the meantime, Spielberg has turned his sights to War Horse. The project is based on a novel by Michael Morpurgo that was published in Great Britain back in 1982. The adapted screenplay has been written by Lee Hall (Billy Elliot) and Richard Curtis (Love Actually). The film, produced by Kathleen Kennedy, Frank Marshall and Revel Guest will be produced by Dreamworks and released by Disney Studios on August 10, 2011."

Friday, April 30, 2010

Summer Box-Office Predictions

I'm tossing my hat into the ring and presenting my official predictions for the summer box-office season. Although I'm far from an expert, I thought I'd take a stab at it and see how close (or far off) I come to the actual totals. Just to clarify, I'm counting any film released from May - August eligable as "summer" material.

Here's my top 10: (all totals in millions)

Toy Story 3 – 425
Iron Man 2 – 375
Twilight: Eclipse – 300
Shrek Forever After – 250
Inception – 175
Salt – 160
The Last Airbender – 155
The A-Team – 150
Prince of Persia – 145
Robin Hood – 130

Monday, April 26, 2010

Metropolis: Complete at Last

For years film historians hoped to find the missing footage to Fritz Lang's science-fiction epic Metropolis with no success... until recently, that is. An additional 25 minutes of lost footage was found in a museum in Buenos Aires, making the film the most complete since its release back in 1927. Now a new cut of the film has its North American premiere at Turner Classic Movies Classic Film Festival, and will expand to other theatres in the coming weeks. By November, the film will be released on DVD and Blu-Ray.

The prospect of seeing a complete cut of Metropolis gets me very excited. I've watched the film before, in which still photos are used in place of missing scenes, and even in its incomplete state, the film can still be labeled a masterpiece. I really envy anyone who has the opportunity to catch this restored film in a theater setting. If I thought a theater anywhere near me would be showing it, I'd be there in a heartbeat. Alas, living in the middle of nowhere prevents me from yet another cinematic event.

Wednesday, April 21, 2010

Here Come the Men In Black...Again

After several months of speculation, both Will Smith and Tommy Lee Jones have signed on to another Men In Black film. Returning director Barry Sonnenfeld confirmed the casting news. There's no word on any other returnng cast members or plot information, but it was revealed that the film is planned for a Memorial Day, 2011 release. Oh, and of course the film will be in 3-D just as any other major blockbuster these days.

This seems like an odd choice for Will Smith to return to this series at this point, especially since so much time has passed after the second film. He's arguably the biggest, most successful actor in Hollywood who has his choice of any high-profile project he wants. I'm sure he could easily sign on to an equally mainstream film and do his usual in it intead. I guess brand awareness wins again, though.

Monday, April 19, 2010

James Bond Delayed Indefinately

Bad news for Bond fans, I'm afraid. Due to financial woes, the franchise will be postponed until further notice. Producers Michael G Wilson and Barbara Broccoli have jointly stated, “Due to the continuing uncertainty surrounding the future of MGM and the failure to close a sale of the studio, we have suspended development on BOND 23 indefinitely. We do not know when development will resume and do not have a date for the release of BOND 23.” Ouch. This could mean big trouble depending on how long this situation lasts. The talent behind the project will have to move on at some point and there's no telling who will be left to steer the reigns. It's sad to think that Hollywood's longest-running franchise (not to mention one of the most profitable) is having this much trouble getting financing. Oh well, I'm sure one way or another, we'll get our next Bond film eventually.