Woody Allen’s neurotic-speak works wonders coming from a New Yorker but coming from a Brit? Not so much. The British could very well be just as phobic as anyone else but they are also repressed and trying to force the neurosis out just doesn’t ring as true. Nevertheless Allen is bound and determined to film abroad these days and thus once again sets Cassandra's Dream in contemporary London where we meet two brothers struggling to better their lives financially. The more blue-collar Terry (Colin Farrell) has a gambling problem and is in debt up to his eyeballs while enterprising Ian (Ewan McGregor) dreams of leaving his family’s restaurant and moving to California with his newfound love Angela (Hayley Atwell) an ambitious actress. Their only hope is their wealthy uncle Howard (Tom Wilkinson) but the boys quickly find out you can’t get something for nothing. You see Uncle Howard is also in a bit of trouble and he asks his nephews to help him out of his jam--with sinister consequences. First of all Farrell and McGregor look about as related as a dog and cat. Secondly they don't seem at ease in the film partly because their characters are anxious but also partly because they don’t mesh as well with Woody Allen’s sensibilities. Farrell fares a bit better since his natural Irish tendencies towards emotional outbursts fit the character well. His Terry is the one with the conscience and murdering someone just doesn’t sit well with him. McGregor on the other hand plays Ian almost robotically saying the words with as little emotion as possible which doesn’t do Allen’s dialogue any justice. Wilkinson falls under the same category as McGregor but his character is the one most morally challenged so playing it cold sort of works. The women in Cassandra's Dream are fairly wasted including newcomer Atwell as the manipulative actress and Sally Hawkins as Terry’s sweet and concerned girlfriend. Even the boys’ mother played by veteran stage actress Clare Higgins (The Golden Compass) comes off screechy. The cast must have all been thrilled to be in a Woody Allen movie to be sure but it just seems like Allen didn’t get them. Cassandra's Dream suffers from some of the same hang-ups as Match Point. Even though many heralded that 2005 movie as Woody Allen’s return the film had the same problems namely the ill-fitting British cast. At least Match Point had an American Scarlett Johansson whom Allen could pour all his tried-and-true fixations into--the paranoia the obsessiveness and the ultimatums. But Cassandra's Dream really proves that as a filmmaker Allen has become a stick-in-the-mud. He really hasn’t changed his tune in 25 years exploring the same themes over and over again and it’s finally getting old. When his films turn dark it’s usually about how murder can corrupt the soul. Natch. Sometimes the murderers however bothered they are by their deeds get away with it; sometimes they don’t. But rarely does Allen veer from this path making Cassandra's Dream a now very stale rehash of Crimes and Misdemeanors without the benefit of having at the very least some good old-fashioned Allen-styled American-acted neurosis to back it up.
Americans played Hardball at the box office this weekend, finding some much needed escape from the week's tragic news.
Ticket sales by key films -- those grossing $500,000 or more for the weekend -- were approximately $61.2 million, up about 29 percent from the comparable weekend last year's total of $47.4 million.
Insiders had speculated that ticket sales this weekend would hinge on whether there was any new big breaking news. In the event that there was major breaking news, Americans would almost certainly have remained glued to their television sets as they had been for most of last week. In the happy absence of new big breaking news, it seemed likely the public would turn to movies for some escape.
"There was resilience (in the marketplace) and it was amazing," Warner Bros. Distribution president Dan Fellman observed Sunday morning. "I think it was great. The American people wanted to get out of the house. We're 26 or 28 percent ahead of last year (based on Warners' early estimates). There was a huge bump between Friday and Saturday (for many films). I think people needed a little relief and they went to the movies."
Asked about ticket sales in the New York area, Fellman said, "New York was exceptionally strong. I looked at (Paramount's) Hardball on Friday night and the screen average in L.A. was $2,000 and the number two market was New York at $1,800 (per theater for Friday). And usually that's the normal pattern. Now, obviously, there are theaters in Manhattan (where business was down). You can take isolated areas and make an argument (that people stayed away). But, in general, Washington (also) was where it should be on the charts. I think people needed a little escapism."
With neither of the weekend's new films -- Paramount's Little League baseball comedy drama Hardball and Columbia's suspense thriller The Glass House -- being big high profile releases, however, the weekend's box office potential was clearly limited no matter what was happening in the world.
Nonetheless, this weekend's total was down by only about 11 percent from the previous weekend this year when key films took in $68.8 million. That suggested to some industry executives that there would have been a lot more moviegoing this weekend if the films Hollywood happened to have scheduled to open now had stronger commercial appeal.
"Unfortunately, there was nothing compelling (for people to see)," another distribution executive, who asked not to be identified, pointed out Sunday morning. "It would have been a great weekend to open a really great comedy where there's real escapism. There are no sporting events (this weekend) and TV is now becoming more depressing. The truth of the matter is that people are looking for something to escape to."
Paramount's opening of its PG-13 rated urban appeal drama-comedy Hardball hit first place with an energetic ESTIMATED $10.1 million at 2,137 theaters ($4,726 per theater).
Hardball's average per theater was the highest for any film playing in wide release this weekend.
Directed by Brian Robbins, it stars Keanu Reeves.
"I expect a strong Sunday," Paramount distribution president Wayne Lewellen said Sunday morning. "We were hurt on Friday. The big urban theaters didn't kick in until Saturday night. We expect a very strong Sunday with the kind of ethnic appeal we have with the film. But it's also playing very well (in general).
"The exit polls went through the roof. It scored a 91 on the index. It's the overall score for the picture after you compile all the information. Anything over 80 is through the roof and a 90 is basically unheard of."
Lewellen noted that Paramount did its "exit polls yesterday and I haven't seen the (details yet). When we did the sneaks last week, 96 percent were in the Top Two Boxes (excellent and very good). There's no reason to believe that it would change."
Asked if people looked to movie theaters as a means to escape from reality this weekend, Lewellen replied, "I think so. It seemed that they were somewhat preoccupied on Friday because of the Day of Mourning. There were candlelight vigils Friday night. I think there was a lot of participation in that. Everything in the market had a tremendous bump Saturday from Friday. I think you're going to see a continuation of that today -- obviously, unless (there is) some kind of breaking news activity."
Lewellen pointed out that, "The last time we experienced anything like this was the Kennedy assassination. Really, there aren't any records we can refer to. We simply had conversations with people who were around then (in 1963) and remembered the business. Everybody pulled all the movies out of that weekend except for one film. It was a Jayne Mansfield film called Promises! Promises! (a sex comedy starring Mansfield, who was seen naked on the screen for the first time in this film, which was directed by King Donovan and also starred Marie McDonald, Tommy Noonan and Mickey Hargitay). It was the only film that opened (via NTD, an independent distributor at the time) and it set house records. People were looking for escapism and, obviously, the networks as they did now were only broadcasting newscasts. Of course, it does become redundant when there's no new news and they just say the same thing over and over.
"In addition, I think that the fact that the Memorial was held on Friday -- it's not closure, but it sort of said that it's OK to go out (and start trying to get back to normal). And that's why I think we're going to have an extraordinary Sunday (at the box office)."
Columbia's opening of its PG-13 rated suspense thriller The Glass House cracked the chart in second place with a solid ESTIMATED $6.1 million at 1,591 theaters ($3,834 per theater).
Directed by Daniel Sackheim, it stars Leelee Sobieski, Diane Lane and Stellan Skarsgard.
"Not an expensive picture -- $22 million," Sony Pictures Entertainment worldwide marketing & distribution president Jeff Blake said Sunday morning. "We had a rather moderate release (with) pretty focused advertising, a reasonable number of prints and I think our caution was rewarded with a decent start that should get it into the $20 millions (in domestic theaters) and break even or make a little profit."
The studio's marketing efforts, Blake explained, "were focused toward younger females. It's a PG-13 thriller with Leelee Sobieski and I think that certainly the research going in indicated that that was the crowd. And we were specific in our advertising towards them. A focused mid-September release that turned out fine."
Commenting on how this weekend played out, Blake commented, "On the one hand, it looks like the lowest of the year. On the other hand, it's up over last year. It's hard to say, but I'm sure as we all look at our individual figures we all would have liked to have a little more -- but from Day One we thought a $6 million opening on Glass House was a reasonable expectation. It didn't seem like the events (of last week) took us away from that one way or the other."
Universal and Miramax's PG-13 rated action adventure acquisition The Musketeer fell two rungs to third place in its second week with a less dramatic ESTIMATED $5.31 million (-49%) at 2,476 theaters (+38 theaters; $2,145 per theater). Musketeer, which Universal picked up for North America for only about $3.75 million, has a cume of approximately $17.6 million, heading for $25-30 million in domestic theaters.
Directed by Peter Hyams, it stars Catherine Deneuve, Mena Suvari, Stephen Rea, Tim Roth and Justin Chambers.
"There was a tremendous jump between Friday and Saturday," Universal distribution president Nikki Rocco said Sunday morning, referring to the marketplace in general.
Musketeer, for instance, was up about 59 percent on Saturday from Friday. There were similar big increases on Saturday for such films as Hardball (up about 69 percent), The Others (up about 55 percent), Rush Hour 2 (up about 82 percent), Rat Race (up about 70 percent) and American Pie 2 (up about 58 percent).
Asked what accounted for such increases across the board, Rocco replied, "There was nothing else to do. People were home all day. On Friday, people came home from school and from work and wanted to catch up on the (news). But by Saturday, there was nothing else to do. There was no football. There was no baseball."
Focusing on Musketeer, Rocco said, "It's a very successful acquisition for us. We're very happy that we made this deal for domestic rights (for only $3.75 million)."
Dimension Films' PG-13 thriller The Others rose one slot to fourth place in its sixth week, still holding well with an ESTIMATED $4.8 million (-20%) at 2,843 theaters (+106 theaters; $1,688 per theater). Others, which cost only $17 million to make, has a cume of approximately $73.6 million, heading for $80-85 million in domestic theaters.
Directed by Alejandro Amenabar, it stars Nicole Kidman.
Asked where Others is heading, David Kaminow, senior vice president, marketing for Dimension's parent company Miramax, replied, "$80 million looks like it's pretty much a sure thing (so probably) $80-85 million. It's a tidy little winner!"
Sony's Screen Gems label's R rated urban appeal romantic comedy Two Can Play That Game slipped three pegs to fifth place in its second week with a still playful ESTIMATED $4.7 million (-39%) at 1,297 theaters (theater count unchanged; $3,624 per theater). Made for only $6 million, its cume is approximately $13.9 million, heading for the mid-$20 millions in domestic theaters.
Written and directed by Mark Brown, it stars Vivica A. Fox and Anthony Anderson.
"Two Can Play That Game continues to be a nice little success story for us," Sony's Jeff Blake said Sunday morning. "It's another film headed towards the mid-$20 millions, perhaps. And this one only cost $6 million. Again, a very focused campaign. I feel pretty good about what we had lined up for September and what we're spending (on marketing) to get there."
New Line Cinema's PG-13 rated action comedy blockbuster sequel Rush Hour 2 held on to sixth place in its seventh week with an OK ESTIMATED $4.35 million (-24%) at 2,266 theaters (-280 theaters; $1,920 per theater). Its cume is approximately $211.4 million, heading for $220 million in domestic theaters.
Directed by Brett Ratner, it stars Jackie Chan and Chris Tucker.
MGM's Jeepers Creepers, the R-rated horror film from the studio's United Artists label, fell four slots to seventh place in its third week with a slow ESTIMATED $3.85 million (-38%) at 2,847 theaters (-97 theaters; $1,353 per theater). Its cume is approximately $29.7 million.
Written and directed by Victor Salva, it stars Gina Phillips, Justin Long, Jonathan Breck and Eileen Brennan.
Paramount's PG-13 comedy Rat Race held on to eighth place in its fifth week, still holding nicely with an ESTIMATED $3.63 million (-19%) at 2,495 theaters (-56 theaters; $1,453 per theater). Its cume is approximately $47.8 million, heading for $55-60 million in domestic theaters.
Directed by Jerry Zucker, it stars Rowan Atkinson, John Cleese, Whoopi Goldberg, Cuba Gooding Jr., Seth Green, Jon Lovitz, Breckin Meyer and Amy Smart.
Universal's R-rated youth appeal comedy hit sequel American Pie 2 slid two pegs to ninth place in its sixth week with a less sexy ESTIMATED $3.56 million (-25%) at 2,339 theaters (-438 theaters; $1,520 per theater). Pie 2, which cost about $30 million to make, has a cume of approximately $135.9 million, heading for $140 million in domestic theaters.
Directed by J.B. Rogers, it stars Jason Biggs, Shannon Elizabeth, Alyson Hannigan, Chris Klein, Natasha Lyonne, Thomas Ian Nicholas, Tara Reid, Seann William Scott, Mena Suvari, Eddie Kaye Thomas and Eugene Levy.
Rounding out the Top Ten (and virtually tied for ninth place) was Bel-Air Entertainment's R-rated drama Rock Star, distributed by Warner Bros., down six slots in its second week with a dull ESTIMATED $3.53 million (-41%) at 2,525 theaters (theater count unchanged; $1,396 per theater). Its cume is approximately $11.2 million.
Directed by Stephen Herek, it stars Mark Wahlberg and Jennifer Aniston.
This weekend did not see the arrival of any other high profile or wide openings.
This weekend saw no national sneak previews.
On the expansion front, this weekend saw Fox Searchlight Pictures R-rated hit thriller The Deep End go wider in its sixth week with an OK ESTIMATED $0.75 million (-22%) at 412 theaters (+11 theaters; $1,823 per theater). Its cume is approximately $6.9 million.
Written produced and directed by Scott McGehee and David Siegel, it stars Tilda Swinton, Goran Visnjic and Jonathan Tucker.
MGM's release of United Artists' R-rated youth appeal comedy Ghost World continued to widen in its ninth week, holding well with an ESTIMATED $0.37 million (even) at 104 theaters (+13 theaters; $3,667 per theater). Its cume is approximately $4.2 million.
Directed by Terry Zwigoff, it stars Thora Birch, Scarlett Johansson, Brad Renfro, Illeana Douglas and Steve Buscemi.
Miramax's R-rated Apocalypse Now Redux widened in its seventh week with an OK ESTIMATED $0.2 million (-30%) at 105 theaters (+13 theaters; $1,904 per theater). Its cume is approximately $3.5 million.
Directed by Francis Ford Coppola, it stars Marlon Brando, Robert Duvall, Martin Sheen, Laurence Fishburne, Dennis Hopper and Harrison Ford.
Paramount Classics' R-rated drama Our Lady of the Assassins went wider in its second week with a still hopeful ESTIMATED $0.055 million (-2%) at 12 theaters (+8 theaters; $4,595 per theater). Its cume is approximately $0.1 million.
Directed by Barbet Schroeder, it stars German Jaramillo and Anderson Ballesteros.
On the international front, Universal reported that it opened The Fast and the Furious in the U.K. this weekend to a solid $1.7 million on 400 screens for Friday and Saturday. That total does not include the 63 screens where the film is playing in Ireland, where theaters were closed Friday as a national day of mourning for the U.S.
Universal said Fast's two-day U.K. gross was 20 percent higher than the $2 million that Scary Movie 2 kicked off to in the U.K. a week ago.
Universal also reported that its international release of Bridget Jones's Diary (co-financed with Miramax, which distributed it domestically) is now up to $130 million, making it this year's seventh biggest grossing film internationally. It still has 14 countries in which it will be opening -- including Japan on Sept. 22.
Universal said that Jurassic Park III's international cume is now at $165 million, making it the fifth highest grossing film of the year internationally. There still are eight countries in which JP III will be opening.
Universal's American Pie 2 had its first international opening this weekend in Israel, kicking off to a strong $217,000 on 30 screens ($7,200 per screen) and capturing first place. The studio will be releasing Pie 2 over the next four months. Its next openings are slated for Sept. 27 in Germany and Austria.
Key films -- those grossing more than $500,000 -- took in approximately $61.23 million, up about 29.29 per cent from the comparable weekend last year when key films grossed $47.36 million.
This weekend's key film gross was down about 11.05 percent from last weekend of this year, when key films took in approximately $68.82 million.
Last year, Universal's second week of The Watcher was first with $5.81 million at 2,745 theaters ($2,115 per theater); and Warner Bros.' opening week of Bait was second with $5.49 million at 2,352 theaters ($2,332 per theater). The top two films one year ago grossed $11.3 million. This year, the top two films grossed an ESTIMATED $16.2 million.