WHAT IT'S ABOUT?
Rose Lorkowski (Amy Adams) once led a charmed life a high-school cheerleading captain in love with the team quarterback. Then life took a spiral downhill and now after 20 years Rose is a single mom working as a maid. Her sister Norah (Emily Blunt) is a slacker still living at home with their dad (Alan Arkin) a failed salesman who never met a get-rich-quick-scheme he didn’t like. When Rose needs to get her son into a good school she convinces her n’er do-well sister to go into business with her cleaning up after crime scenes. In finding success in doing these dirty jobs Rose and Norah not only turn their professional lives around they discover things about themselves and each other they never dreamed possible.
WHO'S IN IT?
This terrifically quirky and entertaining character comedy is led by two-time Oscar-nominee Adams. Here she etches a very recognizable character -- the small-time girl who achieved greatness in school only to make some bad personal choices and flame out after graduation. Mustering all the self-esteem she can find Adams’ Rose shines brightly despite all the obstacles standing in her way. She and Blunt as Norah are flat-out wonderful together. Blunt plays the lazy sister who recoils at the thought of her sibling’s new money-making plan but becomes fascinated by the things people leave behind after they die. It’s a keenly observed character and Blunt is subtle perfection. As their father Arkin is homespun understanding and endearing. Standouts also include Steve Zahn as Rose’s one-time high school boyfriend and now married lover and Clifton Collins Jr. as his rival for Rose’s affections.
As her first produced screenplay newbie writer Megan Holley gets it all right taking a quirky news item she heard about crime cleaning businesses and turning it into a rich and revealing character study revolving around two siblings with small-town hopes and dreams. Every character no matter how little screen time is beautifully written and acted.
The men in the film are so appealing and offbeat you wish there was more time devoted to them particularly the character played by Collins Jr. whose one arm handicap is never explained.
Using every tip she ever learned from a self-help book Rose stares at herself in the mirror after taking a shower and gives herself a wonderfully optimistic bit of advice.
GO OUT AND GET POPCORN WHEN …
The opening scene begins and the guy goes into a store to buy a gun. It’s a bit jolting and sets this warm and engaging human drama off on the wrong note. Don’t worry it gets a LOT better from there.
October 19, 2003 1:46pm EST
There was lots of slicing and dicing at the box office this weekend as The Texas Chainsaw Massacre's Leatherface took on Kill Bill's Bride, proving that samurai sword is no match for a grungy power tool.
New Line Cinema proved with its remake of Tobe Hooper's low-budget 1974 cult horror film Texas Chainsaw Massacre that there is strength in a name. The thriller, rated R for strong horror violence/gore, language and drug content, took in an insatiable $29.1 million* over the weekend, which is not surprising considering the film scored very well in its preview screenings, especially with under-25 horror aficionados.
The Texas Chainsaw Massacre's bloody take was also enough to make it the second best October opener of all time, bumping the comedy 2000 comedy Meet the Parents to third place. TCM follows the likes of October champ Red Dragon, which debuted in 2002 with $36.5 million; the 2000 comedy Meet the Parents, with $28.6 million; the 2002 comedy Jackass: The Movie, with $22.7 million; and the 2001 drama Training Day with $22.5 million.
Last week's box office champ, Quentin Tarantino's equally brutal R rated thriller Kill Bill Vol. 1, wasn't able to fend off Leatherface's onslaught. The film came in second with a tame $12.5 million.
This week's only other new wide release, the courtroom thriller Runaway Jury, debuted in third place with an expected $12.1 million, while the Jack Black comedy School of Rock rolled into fourth place with a rockin' $11.3 million. Clint Eastwood's Oscar buzz pic Mystic River, which took in an impressive $45,491 per-screen average when it debuted in 13 theaters last week, rounded out the Top Five in its first week of wide release with $10.3 million.
THE TOP TEN
New Line Cinema's R rated horror The Texas Chainsaw Massacre debuted with an ESTIMATED $29.1 million in 3,016 theaters with a tangible $9,649 per theater average-the highest of any film playing wide this week.
In the film, a free-spirited road trip across Texas runs headlong into madness for five friends when they encounter a bizarre family and a chainsaw-wielding man known as Leatherface.
Directed by Marcus Nispel, it stars Jessica Biel, Eric Balfour, Mike Vogel, Erica Leerhsen and Andrew Bryniarski.
Miramax Films' R rated Kill Bill Vol. 1, last week's box office champ, came in second in its second week with an ESTIMATED $12.5 million (-43%) in 3,102 theaters (unchanged, $4,030 per theater). It's cume is approximately $43.3
Directed by Tarantino, it stars Uma Thurman, Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah and David Carradine.
Twentieth Century Fox's R rated courtroom thriller Runaway Jury opened in third place with an ESTIMATED $12.1 million in 2,815 theaters with a $4,298 per theater average.
In the film, the latest Grisham adaptation, a young widow brings a civil suit against a powerful gun manufacturing corporation she holds responsible for the death of her husband.
Directed by Gary Fleder, it stars John Cusack, Gene Hackman, Dustin Hoffman and Rachel Weisz.
Paramount Pictures' PG-13 rated comedy School of Rock, dropped two positions to No. 4 in its third week with an ESTIMATED $11.3 million (-27%) in 2,951 theaters (+22 theaters; $3,829 per theater). Its cume is approximately $55.1 million.
Directed by Richard Linklater, it stars Black, Joan Cusack and Michael White.
Warner Bros.' R rated drama Mystic River expanded in its second week to round out the Top Five with an ESTIMATED $10.3 million in 1,467 theaters (+1,454 theaters; $7,059 per theater). Its cume is approximately $13.4 million.
The film centers on three childhood friends who share a tragic event from the past and cross paths again 25 years later when one of the men's daughters is found brutally murdered.
Directed by Clint Eastwood, it stars Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Laura Linney and Marcia Gay Harden.
MGM's PG rated canine comedy Good Boy! fell three spots to come in sixth in its third week with an ESTIMATED $9 million (-31%) in 3,225 theaters (unchanged; $2,791 per theater). Its cume is approximately $25.7 million.
Directed by John Hoffman, it stars Liam Aiken and the vocal talents of Matthew Broderick, Brittany Murphy, Carl Reiner and Vanessa Redgrave as the dog Hubble and his four-legged friends.
*Box office estimates provided by Exhibitor Relations, Inc.
Universal Pictures' PG 13 rated romantic comedy Intolerable Cruelty dropped three rungs to place seventh in its second week with an ESTIMATED $6.8 million (-45%) in 2,570 theaters (+6 theaters, $2,680 per theater). Its cume is approximately $23 million.
Produced by Ethan Coen and directed by Joel Coen, it stars George Clooney and Catherine Zeta-Jones.
MGM Pictures' R rated police thriller Out of Time fell three notches to eighth place in its third week with an ESTIMATED $4.1 million (-52%) at 2,344 theaters (-732; $1,749 per theater). Its cume is approximately $35.3 million.
Directed by Carl Franklin, it stars Washington, Eva Mendes, Sanaa Lathan and Dean Cain.
Buena Vista's PG-13 rated romantic comedy Under the Tuscan Sun fell five notches to No. 9 in its fourth week with an ESTIMATED $3.4 million (-31%) in 1,663 theaters (-38 theaters; $2,044 per theater). Its cume is approximately $33.7 million.
Directed by Audrey Wells, it stars Diane Lane, Sandra Oh, Vincent Riotta and Raoul Bova.
Universal Pictures' PG-13 rated jungle actioner The Rundown fell three rungs in its fourth place week to round out the Top Ten with an ESTIMATED $2.8 million (-45%) in 2,099 theaters (-724 theaters; $1,355 per theater). Its cume is approximately $44.5 million.
Directed by Peter Berg, it stars The Rock, Seann William Scott, Rosario Dawson and Christopher Walken.
Buena Vista' PG rated biopic Veronica Guerin debuted in 472 theaters with $603,000 with a soft $1,278 per theater average.
In the film, set in the mid-1990s, journalist Veronica Guerin covers the powerful drug lords battling for control of the street of Dublin, Ireland.
Directed by Joel Schumacher, it stars Cate Blanchett, Gerard McSorely and Ciaran Hinds.
Focus Features' R rated biopic Sylvia debuted in three theaters with an ESTIMATED $52,000 with an impressive $17,333 per theater average.
The film is a biopic of American poet Sylvia Plath and her turbulent marriage to a future poet laureate of England, Ted Hughes.
Directed by Christine Jeffs, the film stars Gwyneth Paltrow and Daniel Craig.
United Artists' PG-13 teen drama Pieces of April opened in six theaters with $48,000 with a strong $8,000 per theater average.
In the film, 21-year-old April Burns invites her estranged, straight-laced family for Thanksgiving dinner for a disastrous evening.
Directed by Peter Hedges, it stars Katie Holmes, Patricia Clarkson, Oliver Platt and Derek Luke.
The Top 12 films this weekend grossed an ESTIMATED $105.2 million, up 7.5 percent from last weekend's $73.5 million. The Top 12 movies were also up 43 percent from this time last year when they took in $97.9 million.
Last year, Dreamworks' R rated thriller The Ring debuted at No. 1 with $15 million in 1,981 theaters ($7,580 per theater); Buena Vista's PG-13 rated comedy Sweet Home Alabama also stayed in second place in its fourth week with $9.5 million in 3,282 theaters ($2,913 per theater); and Universal's R rated thriller Red Dragon followed in third place in its third week with $8.7 million in 3,307 theaters ($2,650 per theater).
Sylvia is based on notes released five years ago by the writer's husband British poet Ted Hughes after 30 years of silence (Hughes died of cancer in 1998). They chronicle Sylvia's painful battle with depression frustration over her writing career and jealousy of husband Ted's accomplishments and suspected infidelities. The movie takes up Sylvia's life in 1955 two years after she first attempted suicide; now a seemingly recovered Cambridge student and Fulbright scholar her well-bred all-American beauty and deep intellect attract the notice of aspiring poet Ted Hughes. The two begin a fervent obsessive relationship getting married and having two children while struggling with money and advancing their respective careers. The higher Ted's star rises in the publishing industry however the harder it is for Sylvia to find her voice--losing herself in the shadow of his success she grows increasingly bitter and neurotic about her failures as well as the affairs she believed handsome Ted to be having. Reality or self-fulfilling prophecy? Hard to say but in 1962 Sylvia discovers Ted having a very real affair with their mutual friend so she moves to an apartment in London with the kids. In this tiny flat during one of the coldest winters on record Sylvia Plath begins a frenzied writing period and produces the work that will finally secure her place in the annals of famous women writers: the novel The Bell Jar and the poem Ariel among others. Unfortunately it is in this flat too that Sylvia Plath takes her own life six months later.
In the eponymous role Gwyneth Paltrow (who startlingly resembles Plath) demonstrates a profound empathy with and understanding of the writer who if you're to believe this movie didn't fully understand herself. Essaying a real-life brilliant proto-feminist poet who happens also to be near catatonically depressed is no easy feat but Paltrow takes a deep breath and dives right in delivering an Oscar-caliber performance that may be her best to date. Watch as she almost gaily describes her suicide attempts to an alarmed Ted as their rowboat is being dangerously pulled out to sea or her bizarre and discomfiting reaction during a dinner party as she imagines Ted's lust for another woman at the table. Sylvia seems normal on the outside but Paltrow gives us the barest hint of the demons lurking beneath her polished erudite exterior. As womanizing Ted Hughes a suitably arrogant (and indeed attractive--someone call MGM here's your next Bond) Daniel Craig (Road to Perdition) does what he can in a role limited mostly to reacting to Sylvia's idiosyncrasies until she drives him into another woman's arms; you do though get a sense that he loved her deeply and tolerated as much as he could.
Good as Paltrow is she's limited by director Christine Jeffs' (director of the New Zealand indie Rain) one-dimensional characterization of Sylvia that the writer's legacy of multilayered work belies. The love story takes a front seat to Sylvia's writing career and opinions on gender differences and family reducing Sylvia to a weepy morose soul whose overriding concern is where her husband is at all hours. While the beginning of the film gives you some hints as to Sylvia's mental state that plotline falls by the wayside except in terms of the effect her depression had on her feelings about Ted. Despite recurring scenes of her tortured writing there is scarce mention of Sylvia's work (her most well-known The Bell Jar gets fleeting reference) and regrettably very few lines of it are ever heard. By the end Jeffs seems to be veering toward the feminist opinion that Ted and his philandering created the mental state that drove Sylvia to kill herself. The director does a wonderful job though of setting the time and place with dreary grainy shots of rain-soaked 1960s England and a dead-on period look.
It's 1972 in New Zealand and 13-year-old Janey and kid brother Jim are spending the summer with their parents Kate and Ed in a sunny bayside resort community not far from the water. Kate and Ed who both like their liquor and love to party have drifted apart. Kate as Janey observes is also drifting in the direction of vagabond photographer Cady whose boat is anchored nearby. Janey soon realizes that her mother and Cady are more than casual friends. The chemistry between the two adults triggers Janey's sexual awakening to the extent that she begins to flirt dangerously with Cady and even competes with her own mother. When Cady succumbs to the teen's request for a photo shoot in the nearby woods more than photos are snapped. But such irresponsible abandon leads to an unforeseen tragedy.
One of first-time feature film director Christine Jeffs' biggest coups is to get such convincing performances from all leads especially from Alicia Fulford-Wierzbicki's Janey in a stunning feature debut and Aaron Murphy as younger brother Jim. Another New Zealand art film Heavenly Creatures put the then unknown Kate Winslet on the map. Coincidentally Sarah Peirse so excellent as Janey's restless mother also played a principle role in Heavenly Creatures an early effort from Peter Jackson (The Lord of the Rings). Marton Csokas is superb as the free-spirited randy photographer and Alistair Browning in the far more dreary role of passive husband Ed manages to bring compassion and dignity to a rather pathetic character.
Forecast: Mark Rain as an auspicious debut for feature director Christine Jeffs who adapted the screenplay from Kirsty Gunn's novel by the same name. Jeffs almost making her magical location another character miraculously evokes an atmosphere infused with so many familiar elements of the vacation neverland: the pervasive sun that dulls and transports; the refreshing beckoning water that lulls and seduces; the whimsical weather that parallels human desire and moods; and the boozy festive interludes that allow human folly to flourish with abandon in such near-surreal and intoxicating playgrounds far from the workaday world. A minor flaw here is that nothing convincingly sets up the horrible event that will end the summer. Although a feature directorial debut Rain is a thoroughly accomplished and entertaining art house entry.