This weekend at the box office, moviegoers finally got to work out their frustrations.
As expected, the new comedy Anger Management beat the daylights out of the competition with a whooping $44.5 million,* making it the highest opener of 2003 (topping Daredevil, which opened in February with $40.3 million).
"The comedy genre this year is just incapable of burning out," Paul Dergarabedian, president of box office tracker Exhibitor Relations told the Associated Press. "People are looking to blow off steam. What better way than seeing a movie that combines Jack Nicholson and Adam Sandler?"
And Management was apparently all moviegoers wanted to see this weekend, as the rest of the list paled miserably in comparison. Last week's top dog Phone Booth, came in at No.2 with a measly $7.5 million, while the teenybopper What a Girl Wants took third with $6.7 million.
Rounding out the Top Five were the enduring comedy Bringing Down the House, which held the fourth spot with $4.6 million and the cop drama A Man Apart, which came in a No. 5 with $4.4 million. Horror newcomer House of 1,000 Corpses opened in seventh place with $3.4 million in limited theaters.
Even with Management's huge numbers, this weekend's box office only jumped five percent from last weekend. Still, the film helped revive a four-week slump, which is a good sign that things may finally be picking up.
THE TOP TEN
Sony Pictures' PG-13 Anger Management screamed its way to the top with an ESTIMATED $44.5 million in 3,551 theaters ($12,532 per theater).
The film's strong opening makes it the best April opener of all time, beating out The Scorpion King, which opened in 2002 at $36 million. It's also the best opening film for both its stars Jack Nicholson and Adam Sandler. Nicholson's best opening to date had been Batman, which hit theaters in 1989 and took in $40.5 million its first weekend, while Sandler's 1999 Big Daddy was his biggest at $41.5 million.
Management follows the exploits of a mild-mannered man who is mistakenly ordered into an anger management program to battle his inner demons--but it turns out the only real demon in his life is his unorthodox therapist.
Directed by Peter Segal, it stars Sandler, Nicholson, Marisa Tomei and John Turturro.
20th Century Fox's R-rated Phone Booth called in at No. 2 with an ESTIMATED $7.5 million, dropping 50 percent from its top spot last week. The thriller about a man trapped in a phone booth by a homicidal sniper played at 2,489 theaters ($3,023 per theater) and its cume is approximately $26.6 million.
Directed by Joel Schumacher, it stars Colin Farrell, Kiefer Sutherland and Forest Whitaker.
Slipping down a spot to third was Warner Bros.' PG-rated What a Girl Wants with an ESTIMATED $6.7 million (-41%) at 2,964 theaters (+ 8 theaters, $2,260 per theater). The Teen Beat comedy, which follows a young American girl who heads to London in hopes of meeting the father she's never known, a high-profile politician, has collected approximately $20.4 million thus far.
Directed by Dennie Gordon, it stars Amanda Bynes, Kelly Preston and Colin Firth.
Proving comedies are indeed the flavor of the year, Buena Vista's PG-13 Bringing Down the House moved up one place to fourth with an ESTIMATED $4.6 million (-45%) at 2,830 theaters (-80 theaters, $1,625 per theater). Now in its sixth week, the laffer's cume is approximately $117.7 million.
Directed by Adam Shankman, it stars Steve Martin and Queen Latifah.
New Line Cinema's R-rated A Man Apart dropped a few notches to fifth place with an ESTIMATED $4.4 million (-60%) at 2,495 theaters (+36 theaters, $1,784 per theater). The cop drama--about a U.S. narcotics officer who takes on a Tijuana drug cartel to get retribution for the murder of his wife--has taken in approximately $18.2 million so far.
Directed by F. Gary Gray, it stars Vin Diesel and Larenz Tate.
DreamWorks' PG-13 Head of State slid from No. 4 to No.6 with an ESTIMATED $4 million (-53%) at 2,256 theaters (+101 theaters, $1,773 per theater). Its cume is approximately $30.9 million.
Directed by and starring Chris Rock, the film also stars Bernie Mac, Lynn Whitfield, Robin Givens and Tamala Jones.
And for those horror fans--Lions Gate's R-rated House of 1,000 Corpses debuted in seventh place with an ESTIMATED $3.4 million at 595 theaters ($5,714 per theater).
Set in the 1970s, the film revolves around two young couples who take a misguided tour onto the back roads of America and are set upon by a bizarre family of psychotics. Murder, cannibalism and satanic rituals are just a few of the thousand horrors that await.
Director by heavy-metal singer Rob Zombie, it stars Karen Black, Michael J. Pollard, Bill Moseley and Chris Hardwick.
*Box office estimates provided by Exhibitor Relations, Inc.
Miramax Films' PG-13 Chicago held onto eighth place with an ESTIMATED $3.29 million (-36%) at 2,114 theaters (-281 theaters, $1,556 per theater). Now in its 16th week, Miramax's most profitable film has earned approximately $156.9 million.
Directed by Rob Marshall, it stars Renee Zellweger, Catherine Zeta-Jones and Richard Gere.
Taking a dive three spots to dig in at No. 9, ,Paramount Pictures' PG-13 The Core shoveled in an ESTIMATED $3.22 million (-48%) at 3,019 theaters ($1,068 per theater). The disaster thriller about saving the Earth by jumpstarting its core has made $25.6 million in three weeks.
Directed by Jon Amiel, it stars Hilary Swank, Aaron Eckhart, Delroy Lindo, Stanley Tucci, D.J. Qualls and Tcheky Karyo.
Also shaving off three spots to claim tenth place was Sony's R-rated Basic, which came in with an ESTIMATED $2.2 million (-59%) at 2,246 theaters (-630 theaters, $980 per theater). Its cume is approximately $23.8 million.
Directed by John McTiernan, it stars John Travolta, Samuel L. Jackson and Connie Nielsen.
Guess word of mouth counts for something. The critically acclaimed R-rated independent film Better Luck Tomorrow from Paramount Classics opened in 13 theaters with an ESTIMATED $398,489, averaging a very healthy $30,653 per theater.
The film plays on the story of straight-A, Asian-American teens in Southern California who, bored with their suburban lives, slide into petty crimes that lead to violence.
"These kids could be anybody," Van Toffler, MTV president told AP. "It's silly to underestimate the eclectic moviegoing tastes of our demographic. The cast doesn't have to look or feel like them for them to want to see it."
Directed by Justin Lin, it stars Parry Shen, Jason Tobin, John Cho and Karin Anna Cheung.
The Top 12 films this weekend grossed an ESTIMATED $ 86.9 million, up 5.76 percent from last week when they totaled $82.2 million. The Top 12 were also up 6.30 percent from last year when they totaled $81.7 million.
Last year, Paramount Pictures' R-rated Changing Lanes opened in the top spot with $17.1 million at 2,613 theaters ($6,555 per theaters). The Panic Room came in No.2 with $10.6 million at 3,119 theaters ($3,405 per theater) while Sony's The Sweetest Thing debuted in third with $9.4 million at 2,670 theaters ($3,532 per theater).
When he's not playing basketball feeding his fish working in the mall food court or hanging out with nerdy hyper-manic Virgil (Jason Tobin) 16-year-old Ben (Parry Shen) is applying to Ivy League universities studying for exams and memorizing vocabulary words for the academic decathlon. He has a crush on his bio lab partner the pretty cheerleader Stephanie (Karin Anna Cheung) and finds himself hanging out with her with the blessing of her rich arrogant boyfriend Steve (John Cho) with whom he strikes up an uneasy friendship--until Ben learns Steve's cheating on Stephanie. Ben is busy but bored. Life gets way more interesting when popular slick Daric (Roger Fan) who hangs out with Virgil's thug cousin Han (Sung Kang) talks Ben and tag-along Virgil into selling cheat sheets. This evolves into selling drugs stealing and other nefarious activities. In short order this fearsome foursome is known around school for toting guns starting fights drinking heavily and dealing the best cocaine around. They do it because they can: Their intelligence makes them feel superior and the stereotypes associated with their race (they're "the smart good kids") enable them to get away with it until things spin out of control; Ben wakes up with nosebleeds from the drugs he did to stay up all night studying and his beloved fish die of neglect.
Shen as Ben doesn't have as much personality as his three friends but that's appropriate. Wide-eyed he absorbs what they do like a sponge stiff and unbending at first then happily going along with the slyly manipulative Daric after he realizes there are no prices to pay only rewards to gain for their nihilistic actions. All the teens down to the pertly innocent cheerleader and her boyfriend are not evil so much as simply morally bankrupt. You don't really like any of them but you somehow understand why they do what they do. All actors are virtual unknowns but their performances are impressive.
Although the movie defiantly knocks the meek studious Asian stereotype upside down and around the corner their race ends up being almost beside the point. They could be the latchkey Everykids found in any upper-middle-class American community nowadays disaffected and bored with life in an increasingly short-attention-span pressure-cooker society. Director Justin Lin "gets" the essence of the kids and deftly handles their story with sharp editing edgy camerawork darkly funny script (some lines are priceless) and an excellent punk-pop soundtrack (fittingly Better Luck is the first theatrical acquisition for MTV Films). This film does run a little on the long side and makes one wonder if Lin had a hard time figuring out where and how to end it (reportedly the film's shocking ending was actually toned down from what was originally intended).
Dizzy (DJ Qualls) is already what you could call the epitome of pathos at his school but his reputation as a loser and social misfit is cemented when the aging school librarian breaks his penis--in front of the entire school. He thinks there is no hope until a prank lands him in jail overnight and his cellmate Luther (Eddie Griffin) teaches him a few tricks that will guarantee him popularity. The only problem is he needs to start with a clean slate which basically means switching schools. Dizzy eventually gets his wish and enrolls at East Highland High School. He changes his name to Gil Harris and religiously follows Luther's rules which include making a grand entrance (which he does Dr. Hannibal Lecter style) and beating up the biggest guy in school. Although the entire geeks-vs.-popular crowd theme has been done countless times before scribe David Kendall manages to supply a few good lines making it a bit more entertaining to watch.
DJ Qualls who was drop dead funny in Road Trip carries on the tradition in The New Guy mostly due to his reactions and gut-busting facial expressions. For example when he tosses away a lighter he's playing with to look cool and inadvertently sets a statue on fire he displays this expression of pure shock as he walks away calm and collected. (And in case you are wondering he's not a deejay: his initials are short for Daniel Joseph.) As the inmate Luther Eddie Griffin (John Q) is also pretty funny thanks in part to some great lines such as: "High school is a lot like prison. The sex you want you ain't gettin'. The sex you gettin' you don't want." He also does the buggy-eye thing eerily well. Lyle Lovett has a small role as Dizzy's father and is mostly the butt of the joke in all his scenes including when he gets hit in the eye with a flaming marshmallow. Keep your eyes peeled for a multitude of cameo appearances including former Black Flag frontman-turned-poet/actor Henry Rollins former "Ice Ice Baby" rapper Vanilla Ice and the commercially successful skateboarder Tony Hawk.
Ed Decter makes his directorial debut here but he's no stranger to comedy: he helped pen the 1998 comedy There's Something About Mary and last year's Head Over Heels. The New Guy is nothing to boast of visually. It's ugly and sloppily pieced together. There's a great soundtrack to the film that includes The Offspring Mystikal Cypress Hill and Outkast but the tracks are loud and overpowering (I am still convinced that Qualls' character mumbles something about chili before he kisses the film's heroine towards the end of the film.) Qualls' performance however turns the film into a more enjoyable experience than it otherwise would have been with his shooting-daggers stares--complete with whipping sound effects--and his "radical" transformation which consists basically of a haircut. Considering the film is already a cliché some of the laughs might have gone over better had Decter avoided the crass toilet bowl humor and midget jokes that have become so antiquated.