Tag Archives: Baggage Claim

DEFYING GRAVITY

6 Oct

tayediggs

 

1. Gravity/Warners                                         Wknd/$  55.6            Total/$  21.5

 2. Cloudy with a Chance of Meatballs 2    Wknd/$  21.5            Total/$  60.6

 3. Runner Runner/Fox                                 Wknd/$    7.6            Total/$   7.6

 4. Prisoners/Warners                                    Wknd/$    5.7            Total/$  47.9

 5. Rush/Universal                                          Wknd/$    4.4            Total/$  18.1

 6. Don Jon/Relativity                                    Wknd/$    4.2            Total/$   16.1

 7. Baggage Claim/Fox                                    Wknd/$    4.1            Total/$   15.2

 8. Insidious 2/FD                                           Wknd/$    3.9            Total/$  74.8

 9. Pulling Strings/LGF                                  Wknd/$    2.5            Total/$    2.5

10. Enough Said/Fox                                       Wknd/$    2.2           Total/$    5.4

 

WASTING NO TIME TO GET TO OSCAR

Gravity opens deservedly at number one and its 90-minute runtime should be a lesson to the studios in this time of year of bloated, overlong Oscar bait: less is more. It’s basically Sandra Bullock and George Clooney as two astronauts struggling to survive in orbit in the wake of a space shuttle disaster (caused inadvertently by the Russians and given it destroys the space shuttle, the International Space Station and a Chinese space station, if they make it may just be to die in World War III).  Though it’s technically five hours, it’s essentially told in “real time” so we’re a party their decreasing air supply increasing the tension factor, not to mention the shrapnel that destroyed their mission continues to circle the earth, returning like an angry metal swarm intent on their destruction. I liked this movie so much I forgot I was even watching Sandra Bullock, whom I normally avoid like the plague.  She’s like a more talented, less-annoying Julia Roberts (seriously, if this had been Roberts I might not have seen it). This makes 2013 a great year for her between the success of The Heat and now this surefire Awards bait.  I almost feel bad for her given she can’t eat between now and the Oscars for all the gowns she’s going to have to fit into for the various award ceremonies she’ll have to attend.

 

SHUT UP AND SING.  AND DANCE. AND MAYBE SOME TV COMEDY.

Cloudy With A Chance of Meatballs 2 is down to number two, followed by Runner, Runner opening at number four and someone needs to tell Justin Timberlake to just let this acting thing go. It is to him what music was to Eddie Murphy, one success (The Social Network for JT and “Party All The Time” with Eddie) leading to a lifetime of delusion and apparently outweighing all the many, many failures.  And when I say “lifetime of delusion” I mean Eddie made an album with Snoop Dogg just last year just as we have Runner Runner here now.  You’d think having a successful album and tour would help this movie out, but you’d be wrong, because no one is buying Justin Timberlake as being young enough to be in college, even grad school.  You’d think winning Oscars would help this movie out but you’d be wrong, because no one—and I mean no one—is buying Ben Affleck as some kind of ruthless mob boss.  You think they’re regretting some Batman casting over a Warner Brothers right now? Oh, I think so.

 

JUST NOTHING WITH A GREENSCREEN, KID

Prisoners is down to number four and its box office is begin to peter out as word of mouth gets around about how it only looks like a prestige film (big stars, very serious, overlong), but is really just a cable suspense thriller all dressed up.  I hope Jake Gyllenhaal made some quick deals for the hot second it looked like a hit before everyone realized the truth.

 

TO SEDUCE THE AVENGERS!

Rush is down to number five and also in this is Natalie Dormer whose own heat has been rising over the past few years and is about to hit a boil. She was Anne Boleyn on The Tudors a few years back, over the last year joined the cast of Game of Thrones and provided a nice twice on the Sherlock Holmes mythos as she was both Irene Adler and Moriarty on Elementary.  Not to mention she’s going to be in The Hunger Games. Hold on tight to your manager and or agent, girl. They are doing you right.  Trivia: here she appears as a nurse who hooks up with Chris Hemsworth who played Thor.  In Captain America she was a Lt. who grabs a kiss with Captain America.  All she needs now is an appearance in a Hulk and Iron Man movie to make out with Mark Ruffalo and Robert Downey Jr. No, I’m not counting Hawkeye or The Black Widow.  Because I don’t want to, that’s why.

 

LET’S FORGET HE’S MOCKING THE WORKING CLASS TOO

Speaking of The Black Widow, Scarlett Johansson is the female love interest in Don Jon (down to number six) and not unexpectedly some Italian American groups have been complaining about yet another “guido” depiction in this film. I’m sympathetic because one thing that dampened my interest was a shot of Tony Danza and Joseph Gordon-Leavitt at dinner in white tank-top t-shirts, commonly known as “beaters” distastefully so because of the stereotypical image of an Italian guy beating his wife. It’d be one thing if Joseph Gordon-Leavitt was Italian American from Jersey and playfully mocking a life he knew, but he was raised Jewish in California so he’s just a cultural tourist.  Though this throws a new light on the other complaint of Johansson as stereotypical Jewish girl (not by any Jewish groups because apparently they had better things to do with their time). Unfortunately the problem with their complaint is that The Jersey Shore was real and he need only point to it as his defense—and clearly the source of his information.

 

THE RULES OF MANCRUSHERY

Baggage Claim is down to number seven and if Taye Diggs had been the love interest you know I’d probably have seen it twice by now, such is my mancrush. But alas, he’s a silly suitor with a toy dog, so it can wait until cable.  Him not getting the girl is right behind him dying on my list of things I don’t want to see. You shut up! I don’t have a problem! You’ve got a problem!

 

ALSO ONE OF HANNAH’S SISTERS

Insidious Chapter 2 is down to number eight and also in this is none other than Barbara Hershey, who was a “hot girl” from the early 70’s (when in fully hippie mode she went by Barbara Seagull) to the early 80’s.  Scorsese himself loved her.  Directing her first as the title character of Boxcar Bertha and later choosing her to play Mary Magdalene in The Last Temptation of Christ. But out of a near 50-year career she’s probably best known as the unnamed woman who shoots Robert Redford in The Natural. Even over Beaches. Yes, she was character not played by Bette Midler who was the “wind” Midler sings of in “Wind Beneath My Wings” a song that mercifully didn’t seem to make it into the 21st century.

 

MAS EXITO PARA SEGUIR

Remember that Mexican film that was an unexpected success because it was aimed squarely at an audience otherwise ignored? Well, it was just the beginning because here’s the next one. Opening at number nine is Pulling Strings, a romantic comedy about an American blonde in Mexico who needs the help of the mariachi singer she denied a visa too when she loses her boss’ suitcase after a drunken night out.  Again, it looks like a Lifetime movie that escaped to the big screen, but being as much in English as it is in Spanish, it reflects its underappreciated audience and they have rewarded it with success.

 

MY FAILINGS ARE YOUR RESPONSIBILITY

Enough Said, one of the last films of James Gandolfini, expands its distribution and enters the top ten at number ten and I’ve got no reason not to have seen this as Nicole Holofcener is one of my favorite writer/directors. I’ve been with her since Walking & Talking in 1996, her first collaboration with Catherine Keener who appears in all her films and this is no exception. So that’s two strikes against me as I’m a Catherine Keener fan too. Sigh.  I blame society for my failure.

 

THE MOST WONDERFUL TIME OF THE YEAR PT 3

The fall season continues to rollout and this week it was Ironside, a revamp of the old Raymond Burr series and as bad as it looked in commericals, it’s actually even worse as the producers are soooo determined to show he’s a tough, sexy cop what they’ve made is a completely ridiculous asshole who should be in jail. I don’t think we go more than five minutes before his scolding captain tells him “Suspects have rights.”  You know, because he’s a tough cop who plays by his own rules, but he gets results! It’s a bad TV cop cliché factory complete with his team of pretty detectives, none of whom dress like detectives.  Of course one comes from an upper class family, another comes from a mob family etc, etc, blah, blah, blah.  It’s so bad they don’t even use the best part of the original: the theme music by Quincy Jones, best known now as the revenge music in Kill Bill…We Are Men is another awful, awful show but you know that when you saw Jerry O’Connell’s name. It’s about four divorced men in a singles complex. Yeah. It clearly thinks it’s 1977.  And I love you, Tony Shaloub, but any show that has you successfully picking up hot, 26-year-old Asian girls had better have robots and dragons because it’s clearly science fiction/fantasy…I couldn’t bear more than two seconds of Super Fun Night because a) what kind of stupid show has Rebel Wilson without her accent and b) it’s basically about her being fat and getting her clothes ripped off.  No thanks…I unexpected enjoyed MasterChef (which I recapped) and was looking forward to MasterChef Jr, but it’s heartbreaking to watch children get eliminated.  When the first thing one boy did was to go and hug his mother I stopped the show and took it off my DVR scheduling. Just can’t do it.  I’ll be crying every week.

 

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RUSH TO JUDGEMENT

29 Sep

nfury4

1. Cloudy with a Chance of Meatballs 2      Wknd/$  35.0      Total/$  35.0

 2. Prisoners/Warners                                    Wknd/$  11.3       Total/$  39.0

 3. Rush/Universal                                           Wknd/$  10.0     Total/$  10.6

 4. Baggage Claim/Fox                                    Wknd/$   9.3       Total/$    9.3

 5. Don Jon/Relativity                                     Wknd/$   9.0       Total/$    9.0

 6. Insidious 2/FD                                            Wknd/$    6.7       Total/$  69.5

 7. The Family/Relativity                                Wknd/$    3.7       Total/$  31.7

 8. Instructions Not Included/LGF               Wknd/$    3.4      Total/$  38.6

 5. Battle of the Year/SG                                  Wknd/$    5.0      Total/$    5.0

 9. We’re The Millers/Warners                       Wknd/$    2.9      Total/$ 142.4

10. Lee Daniel’s The Butler/Weinstein         Wknd/$    4.3      Total/$ 106.5

 

ALSO THE LEEK AS THE CHRIST FIGURE BOTHERS ME

Cloudy With Meatballs 2 opens big at number one and since I never saw the first I feel I would miss out on some of the subtleties of the sequel so I gave it pass.

 

MORE LIKE PRISONERS OF THE BOX OFFICE

Prisoners is down to number two and it’s a toss up to who is happier about its success: Hugh Jackman, Terrence Howard or Jake Gyllenhaal, because they all needed it. Seriously needed it.  Hugh Jackman because he doesn’t have a success outside of singing a beloved musical or having claws (and honestly it should be “having claws in an ensemble cast” because both Wolverine solo movies have been less-than-impressive). Terrence Howard, who is honestly the reason the Marvel Comics Movie Machine exists as it started with Iron Man and Iron Man only happened because his signing up to play Rhodey off his Oscar heat is what caused everyone else to sign on.  For his trouble he was told to take less money or take a hike. He took a hike and you know he has to question it every day. But he’s in The Butler, which is a huge hit. But I’m thinking Jake is the most grateful because his only hit outside of Brokeback Mountain was The Source Code after a double dose of leading man failure in Prince of Persia and Love & Other Drugs.  So Jake is the happiest because Hugh Jackman has something else at least and Terrence Howard is just one film away from a hat trick this year (Best Man Holiday).

 

OPIE DOES FORMULA ONE RACERS IN TYPICAL OPIE FASHION

Rush opens at number two and speaking of subtly, if it and complexity are colors in filmmaking then Ron Howard has never had more than a 8 piece box of Crayolas. Not 12, not 16 and definitely not the childhood prize of 64 (remember how happy you were to get that bad boy?).  He comes from mainstream television and the sad simplicity of that is driven home with every film he makes. More and more it’s clear that A Beautiful Mind was the exception and not the rule. Rush has the advantage of being a true story that people know little about (a professional competition between the freewheeling posh Englishman, James Hunt and the tightly wound Austrian Niki Lauda in Formula 1 Racing) and could care less, so you have actual tension at your disposal. It’s also set in the freewheeling (no pun intended) 70’s but to Howard who actually lived through those times it means little more than window dressing.  Long hair, bad fashion (at least on the men; women’s 70’s fashions were awesome) and some classic rock.  In a good period piece the period should be another character. Here it’s so poorly realized one woman wears the same hairstyle for six years no matter what the setting. I shit you not. When they meet, when they marry and even when she’s in the hospital by his bedside when he’s near death. It. Does. Not. Change.  Now, I do realize that still living people or their surviving relatives from whom you need rights aren’t really excited to let you portray them “warts & all” (though Niki Lauder apparently had no problem being depicted in a fairly unsympathetic fashion and I’ve no doubt being Austrian had something to do with that) but that’s no excuse for storytelling so simplistic you sometimes think the actors are reading the descriptions for their characters rather than actually speaking to one another. I feel half the dialogue between Chris Hemsworth and Daniel Bruhl is them describing one another to one another.  How do we know Chris Hemsworth’s marriage to Olivia Wilde is going to end? When they describe each other’s flaws to each other. Oh, and Hemsworth drinks about seventeen drinks in rapid succession and smokes a joint. You know, so you understand when she mentions his drinking and drug use.  Supposedly there’s some infidelity, but you’d never know because despite the numerous women we see him with, none are when he’s supposed to be married to her.  Now, you might be forgive a film about racecar drivers being short on character so long as the racing scenes are exciting but it’s fairly routine there as well. The best scene actually occurs when Hemsworth is in fact “visualizing” racing on the track at Monte Carlo, not say actually racing the dangerous rainy track in Japan at the climax of the film, which should be fraught with suspense after watching Lauda’s accident in a similarly rainy race earlier. Speed Racer had more dramatic tension and you knew he was going to win.

 

BETTER TO RULE IN HELL

Baggage Claim opens at number four, followed by Don Jon at number five and honestly I’m down for them both, but didn’t find the time for either and I think I reflect most of America in this.  Fortunately for both films neither had a budget over $9M so they’re already on the road to success despite opening low. This is good news for Paula Patton who’s been struggling for years to be the new Halle Berry and Joseph Gordon-Levitt who both wrote and directed his film, making him the latest triple threat.

 

THE BLONDE LEADING THE BLONDE

Insidious 2 is adown to number six, followed by The Family at number seven and also in this is Diana Argon and I do like her casting as the daughter of Michelle Pfeiffer. And I hope she’s learning from this, as even though Pfieffer is in her 50’s, her leading man is in his 70’s.  These are the realities of show business, baby girl.  It’s not a hit at$32M worldwide from a $30M budget, but it’s not a flop either and you can have worst things on your resume than a movie with Robert DeNiro and Michelle Pfieffer that was produced in part by Martin Scorsese. And to be honest, writer/director Luc Besson is not too shabby either when you’re talking international success.  Just ask Liam Neeson Jason Statham both Taken and Transporter franchises come from his company.

 

FORTUNATELY, HOLLYWOOD ALWAYS HAS WORK FOR BLONDES

Instructions Not Included is followed by We’re The Millers which now that I think about is the second comedy in the top ten about a “criminal family” which happens to have a young, pretty blonde daughter played by an actress usually cast in a slightly bitchy role. Seriously. You could swap the actresses out and I doubt either movie would change.

 

DON’T LET THE DOOR HIT YOUR EGO IN THE ASS

Closing out the top ten at number ten is Lee Daniel’s The Butler.  A word to the wise dude: Steven Spielberg and Martin Scorsese don’t make their names part of the official title. Only people like Tyler Perry do. It signifies more ego than talent.

 

THE MOST WONDERFUL TIME OF THE YEAR PT 2

The new fall season continues to roll out and I realize I forgot a few last week so I’ll throw them in with this week’s crop…Brooklyn 99 is funnier than it has any right to be. I wasn’t expecting much beyond Andy Samberg mugging for 20 minutes a week and it’s so much more than that. He’s smarter than most former SNL members and signed up not so much to be the star but the center of a very funny ensemble cast with Andre Braugher pretty much spoofing his entire cop career as the stoic captain who just happens to be gay. And more than that , they get the lighting of New York better than any supposedly seriously cop show set here…Welcome To The Family is funny only as long as it’s about the dads and stays away from the kids. Unfortunately, the only reason situation of this comedy is about them being connected by their kids…Mom is ironically challenging Dads for the most unpleasant half hour you can spend watching TV, but due to its lack of nasty racism comes in second. But it’s a close second…Trophy Wife suffers from the same malady as Welcome To The Family: the situation of the comedy is the least amusing thing about it, in this case poor Malin Ackerman who can’t seem to catch a break on the big or small screen (she’s like a less-annoying Kate Hudson who does nudity).  Everything and everyone is funny in this show but her. You could take her out and just make this about a guy dealing with his two “wacky” ex-wives and their kids and it would be the same, though slightly better show. And you wouldn’t be faced with the ridiculous prospect of her marrying Bradley Whitford. Were there no attractive older actors available? Every time they kiss it’s so much “Ewwwww”…The Blacklist is the new The Following, as it’s basically yet another series seeming inspired by Hannibal Lecter. In this case it’s not so much brilliant serial killer but the relationship of the sophisticated criminal leading the attractive, young, female FBI agent.  It’s also The Following in that it’s painfully stupid. When super-criminal James Spader turns himself in and will only speak with one FBI Agent, they send a helicopter and an army of FBI agents just to pick her up. Later, when he escapes and is the key to a chemical bomb and a kidnapped admiral’s daughter only one agent is chasing him.  Did they use of that helicopter’s fuel budget?  Similarly, when he warns them about the admiral’s daughter kidnapping he tells them THERE WILL BE A DISTRACTION. Guess what they ignore? Dumb, dumb, dumb. The big action scene on the bridge is somewhat reminiscent of the bridge scene in Mission Impossible 3 which isn’t that strange when you realize that this episode was directed by Joe Carnahan who was originally supposed to direct MI3 before ultimately walking away…I shouldn’t laugh like I do at Back In The Game, because it will only encourage them to keep doing it, but James Caan as the crusty ex-baseball player whose former collegiate athlete daughter moves back in with him and winds up coaching the her son’s team of losers works better than it should…the promos for The Michael J. Fox Show were HORRIBLE so expectations were low for a show seemingly based on “Look, we’re not afraid to laugh at Parkinson’s!” but fortunately it’s so much more than that, while they do lean on that crutch a bit. Hopefully less so as the series goes on….finally, Agents of S.H.I.E.L.D premiered and it was pretty much as underwhelming as I expected.  As a geek I’ve read about SHIELD all my life as a constant in the world of Marvel Comics, but that’s why it works; as kind of a sauce for the food of the heroes (there also another version where they’re like a James Bond organization led by Nick Fury that fights evil, but clearly they’re not going that way, though the opening action scene acknowledges it). SHIELD adventures without the superheroes are like sauce with no pasta or a show about the roadies for the Rolling Stones where the Rolling Stones never appear. You don’t even hear the songs.  Given the literal hundreds of Marvel Comics superheroes you think they could spare a C-list one for this show if for no other reason than an nice set up for their own film. Needless to say, I’m going to keep watching it anyway. What part of “geek” did you not understand?