That's how Ali came out in his Christmas Day bout at the box office.
The Michael Mann-directed biography overcame mixed reviews to punch up $10.2 million on its first day in release. That was not enough to knock out reigning champ The Lord of the Rings: The Fellowship of the Ring, which earned $11.4 million at 1,000 more theaters, but Ali did break the record for a Dec. 25 opening.
The mawkish Patch Adams held the previous record, opening on Christmas Day in 1998 with $8 million, on its way to a healthy $135 million.
Ali, dropping to $5.8 million on Wednesday, now has $16 million.
The future of the $105 million-plus Ali rests predominately on the beefed-up shoulders of a former Fresh Prince of Bel Air and whether audiences accept him as Muhammad Ali. Critics failed to enthusiastically embrace Will Smith's portrayal of arguably one of the most famous of all sports icons, although he did receive a Golden Globe nomination for his noble but flawed attempt to float like a butterfly and sting like a bee.
Still, Ali should serve as a strong springboard for Smith to free himself of kicking alien butt and explore other dramatic possibilities.
With the legendary fights against Sonny Liston and George Foreman serving as bookends, Ali tries to be more than the typical recount of a real-life athlete's path to glory. Mann employs Ali's life as a means to explore racial and religious tension in the mid-1960s to the mid-1970s, with the boxer's conversion to Islam given as much thought and detail as his efforts to gain and defend his heavyweight title.
Other recent race-driven sports biographies have gone the distance at the box office, including a pair of Denzel Washington offerings, The Hurricane ($50.6 million) and Remember the Titans ($115.6 million).
Ali, and the upcoming Men In Black 2, will allow Smith to regain his position as one of Hollywood's sure things. Smith became Mr. July Fourth when Independence Day and Men In Black opened huge in the summers of 1996 and 1997, respectively. Wild Wild West, another July Fourth holiday opening, tarnished Smith's reputation when the witless western failed to make more than $113.8 million.
Last year's The Legend of Bagger Vance, marking Smith's first dramatic endeavor since 1993's Six Degrees of Separation, could not muster more than $30.6 million.
Ali delivered a bruising blow to Kate & Leopold, pairing workaholic Meg Ryan with 19th-century blueblood Hugh Jackman. Miramax yanked the slow and corny time-traveling romantic comedy from Dec. 21 to avoid getting lost amid a slew of new releases. The ploy didn't work as well as expected, given that Kate & Leopold opened Dec. 25 with a quiet $2.5 million and has $5.1 million through Wednesday.
Kate & Leopold finds itself in the unique position of being the only mainstream offering for couples in the mood for love. Yet Ryan and Jackman face stiff competition for the adult audience in the form of Ali, the sturdy Ocean's Eleven, the waning Vanilla Sky, and such limited release offerings as A Beautiful Mind, The Royal Tenenbaums and Amelie.
Plus, even though she is very much in her element, Ryan looks extremely tired and bored with the notion of being wooed by a man from another time. Maybe she knew that hopping from one century to another didn't work not once, but twice, this year with Just Visiting and Black Knight. That's tough, because Ryan's not enjoyed a hit since 1998's You've Got Mail. Is it time for Ryan to call in a favor from Tom Hanks?
The jury is still out on Jackman, who shot to fame in 2000 as Wolverine in X-Men. He failed to sizzle opposite Ashley Judd in Someone Like You, which made just $27.3 million, and he got cuaght with his pants down in the repugnant cyberthriller Swordfish, which went offline at $69.7 million. Still, Jackman is Kate & Leopold's sole saving grace. The very personalization of charm and gallantry, Jackman could set many hearts on fires as the nobleman inadvertently removed from the New York City of his day.
Little doubt lingers now about the risk New Line took in sending director Peter Jackson off to New Zealand in 1999 with $270 million to film all three of The Lord of the Rings books back to back. Jackson's masterful adaptation of the first book, The Lord of the Rings: The Fellowship of the Ring, won over J.R.R. Tolkien fans and those completely unfamiliar with the quest to save for Middle-earth.
After debuting Wednesday, Dec. 18, with $18.1 million, The Lord of the Rings: The Fellowship of the Ring seized the mantle as the biggest December weekend opening with its $47.2 million haul. The film broke the $100 million on Wednesday, and stands tall with $107.9 million in company coffers.
Jackson's epic looks set to dominate the box office for weeks to come, with $150 a certainty by the end of the year. Unlike Harry Potter and the Sorcerer's Stone, The Lord of the Rings: The Fellowship of the Ring can count on the awards season to keep audiences spellbound by the adventures of Frodo Baggins.
Not that a certain apprentice wizard should worry. Harry Potter lost much of its magic this Christmas weekend--conjuring up an OK $10.7 million from Friday through Tuesday--but it now ranks as the year's top earner. Harry Potter's $271.1 million puts it slightly ahead of Shrek's $267.6 million, with $300 million a strong possibility.
Monsters, Inc. continues to close in on Shrek. The Disney/Pixar animated yarn scared up $5.6 million from Friday through Tuesday, with its total now at $227.9 million through Wednesday. Toy Story 2, released in 1999, remains the best grosser of all Disney/Pixar collaborations at $245.8 million.
Harry Potter and Monsters, Inc. no doubt lost some plenty of toddlers--and their parents--to the animated Jimmy Neutron: Boy Genius. Based on its name recognition, the Nickelodeon TV spin-off rocketed to a $13.8 million opening and has $22.5 million through Wednesday. That's well below the $27.3 million and $22.7 million openings of, respectively, The Rugrats Movie and Rugrats in Paris. But the boy genius looks like he has the smarts to zoom off with some serious cash.
Director Steven Soderbergh enjoyed his third consecutive $100 million smash Tuesday when Ocean's Eleven shot past $102 million in swag. The cool remake of the Rat Pack comic crime caper cashed in $106.6 million through Wednesday. Ocean's Eleven looks to head into 2002 and surpass Soderbergh's Erin Brockovich ($125.5 million) and Traffic ($124.1 million) at the box office.
Tom Cruise can't look forward to a good start to the New Year. As expected, Cruise's Vanilla Sky lost more than half its audience in its second weekend, dropping from $25 million to $12 million. Director Cameron Crowe's remake of the Spanish psychological thriller Abre los ojos (Open Your Eyes) has $52.5 million through Wednesday, almost equal to what Cruise's Eyes Wide Shut made in 1999. Lousy reviews and word of mouth will likely to thwart any chance of Vanilla Sky becoming Cruise's ninth film to top $100 million.
How High, with rappers Redman and Method Man as the 21st-century answer to Cheech & Chong, swiped away much of the audience from the spoof Not Another Teen Movie. How High, playing at a modest 1,266 theaters, smoked up $7.1 million in its opening weekend and has $11.2 million through Wednesday.
Not Another Teen Movie collapsed in its second weekend, dropping from $12.6 million to $5.2 million. Its total through Tuesday is $23.3 million.
The Majestic marked Jim Carrey's second consecutive dramatic flop, following 1999's Man on the Moon. Perhaps, post-Sept. 11, audiences are more interested in America engaging the enemy--hence the jingoistic Behind Enemy Lines' $45.1 million through Tuesday--than watching a community come to terms with the sacrifices required to win a war.
The Majestic opened with $4.9 million, and has $7.3 million through Tuesday, a low for Carrey since making a splash with Ace Ventura: Pet Detective. Man on the Moon, with Carrey as the late comedian Andy Kaufman, opened with $7.5 million on its way to $34.5 million.
Nobody put Joe Somebody on their must-see list. The workplace comedy, with Tim Allen battling bullying colleague Patrick Warburton, managed a terrible $3.5 million opening and has $5.3 million through Tuesday. That ranks as Allen's worst opening, well behind the $6 million opening that For Richer or Poorer cobbled together in December 1997. Little wonder Allen is suiting up for The Santa Clause 2.
In limited release, director Ron Howard's A Beautiful Mind has $4.2 million through Wednesday. Excellent reviews, and a slew of Golden Globe nominations, will help this biography of mathematical genius John Forbes Nash Jr. to place high in the Top 10 when it expands Jan. 4. The same should apply to The Royal Tenenbaums when it goes wider this weekend. Director Wes Anderson's third quirky comedy, with Gene Hackman, amassed a regal $1.9 million from Friday through Tuesday at just 40 theaters, with its total at $2.4 million.
Director Lasse Hallstrom's bleak adaptation of the Pulitzer Prize-winning novel The Shipping News opened to a so-so $318,000 at 186 theaters. Perhaps this is a sign that few may want a dose of the News when it expands Jan. 4.
The final spate of Oscar contenders arrive in a limited number of theaters this week, including Ridley Scott's Black Hawk Down; Robert Altman's Gosford Park; I Am Sam, with Sean Penn; Monster's Ball, with Billy Bob Thornton; and Charlotte Gray, starring the hardest working new mother in Hollywood, Cate Blanchett.
Does ... this ... movie ... really ... have ... to ... be ... nearly ... two
... hours ... long? By showing Basinger's character's extensive adjustment to life in the bush the film eventually manages to tell the story of one woman's quest to find strength through her pain. Not too original.
Though Basinger doesn't give the Academy-caliber performance she did in
"L.A. Confidential " she does manage to draw you in. She's most powerful in her dramatic roles and in this movie the drama comes when she attempts to deal with the loss of her loved ones. Sadly the dashing Vincent Perez as her new husband is forgettable.
In telling this story Hugh Hudson takes his time ... too much time. Easily "I
Dreamed of Africa" could stand to lose at least 20 minutes. Hudson does know however how to get the best work out of Basinger. And kudos to the cinematographer. The vastness of the African landscape and the beauty of its sunsets are a treat.