Crusty curmudgeon Sam Keinman (Peter Falk) sheepishly ends up on the doorstep of his son Ben (Paul Reiser) one night with the news that his wife of nearly half a century Muriel (Olympia Dukakis) has left him. She leaves a note on the fridge saying she has to go off and be alone and after a few minutes with Sam it's easy to see why. A bombastic bully who's never wrong Sam can't imagine what has led to his failed marriage but his son is taking him in until they figure it all out. Ben has a successful marriage to Rachel (Elizabeth Perkins) and the two of them are considering moving out of the city. So Sam accompanies his son to look at a house in the peaceful countryside of New York state. The ride no doubt gives them a lots of time to talk--as well as avoid talking. But along the way they get into a minor accident and end up buying a 1940 Ford Deluxe coupe convertible that looks just like Sam's first car. That leads to some unscheduled father-son bonding. They take the fishing trip they never took together - although neither of them are much good at baiting a hook. They head off to a pool hall where Sam shows his pool-shark abilities. They get ice cream pick apples and do lots of bickering. In a scene reminiscent of Sideways they even find themselves with two women they invite for dinner and are so self-absorbed they don't realize for a while that they've been dumped. The conversation not the action is the journey and it culminates in a mysterious letter that Muriel wrote to Sam two weeks before Ben was born. It has been sealed ever since but now is finally going to be opened.
How can any director go wrong with a cast like this? You can't especially if they're channeling past characters that the audience are very familiar with. Reiser wrote the story and plays it very much like his Paul Buchman character from Mad About You--the thoughtful and philosophical straight man who surrounds himself with funny people. Falk can't quite seem to shake his Emmy-winning Columbo persona always doing a little needling and always straying from the topic at hand. For example when the owner of the house they're looking at talks about how it was in the family since the Civil War Sam changes the subject and is more interested in the septic tank. Still the veteran actor does a nice job conveying the initial bewilderment at why his wife would leave but inevitably forced into a little soul searching. Moonstruck's Dukakis once again plays the trodden-upon loyal housewife but her brief moments are memorable funny and poignant--you yearn for more screen time. Perkins also revives her role of the smart loyal and supportive housewife who doesn't really do very much. But what it boils down to is a story between the two men and if you like both of the actors then you'll love their ad-libbed interplay. It's easy to see how Reiser and Falk make a good father-and-son team.
It seems over the past few years lots of guys are writing about their fathers in movies--Tim Burton's Big Fish and the painful Douglas family fiasco It Runs in the Family to name a few. For Reiser this is a love letter to his own parent and director Raymond DeFelitta best known for his underrated Two Family House doesn't try to rein in the performances. Instead he keeps the pace steady and languid letting the dialogue between the men create the tension and the action. A lot of the story is told in the actors' faces as they talk about the early days of Sam's marriage the meaning of life the pain of growing old and the idea of dying. It's Falk's character lines in his face and Reiser's twinkle in his eyes that keep the deep moments light and likewise bring some depth to the comedic levity. Thankfully it's not a string of one-liners that come from a sitcom mentality. Although a lot of issues are brought up it's the unspoken moments of painful silence that are just as telling. Ultimately it's a film about self-discovery and Sam says it best while he's driving in his new car: "You'll be here when your old man finds himself. While we're at it we can find you too. We can find the whole god damned family. We got a car!"
This is one of those Rocky-style films in which the climax is built-in. We know there's going to be a fight where the underdog goes up against the big bad champ. It's the rest of the movie that needs to keep our attention and luckily Undisputed does a decent job save a few scenes that could have been cut. When the world heavyweight boxing champ George "Iceman" Chambers (Ving Rhames) is sentenced to 6 to 8 years for rape he is sent to the newly built Sweetwater Maximum Security Prison in the Mojave Desert. Of course he vehemently denies the charges rages at his lawyers to find a way out of this mess and is generally in a pretty foul mood. In fact he bullies and pushes people around just about wherever he goes including Monroe Hutchens (Wesley Snipes) who as Chambers finds out is the reigning undisputed prison boxing champ--10 years running. Hutchens is a hero of sorts to the rest of the prisoners and this doesn't sit well with the Iceman. Seizing a glorious opportunity to make some serious cash longtime inmate and mob boss Mendy Ripstein (Peter Falk) sets up a boxing match between the two. He lures Hutchens into the ring on the promise of prize money to send home to his sister and three kids. For Iceman it's the chance to get out on special parole via mob ties to the parole board. For both it means a fight to the finish by London Prize Ring rules -- no referee lighter gloves and the last man standing wins. So who'll be king of the hill?
The fact that Rhames' Iceman is more than a little reminiscent of real-life boxing champ Mike Tyson and the legal woes he suffered a few years back is certainly not lost. Yet Rhames infuses his character with a certain intelligence and a lot of cocky bravado. When he is on the screen you can't take your eyes off him partly because he takes up half of it with his hulking mass. It's also kind of fun to see Rhames playing the baddie again although not quite as malevolent as Marsellus Wallace in Pulp Fiction. Snipes also puts in a compelling performance as Hutchens who was on his way to being a boxing champ himself before he lost his cool in a crime of passion and wound up in prison for murder. Hutchens doesn't say much but quietly waits out his sentence making Japanese temples out of toothpicks. His character however comes alive when he is in the ring and for a man of little words Snipes looks good dealing out the punches. The supporting characters are hit and miss. Falk seems sorely out of place among all the hoodlums and just a little too senile to be believable as a tough-nut gangster. Fisher Stevens (Short Circuit) however as Hutchens' crony Ratbag lives up to his character's name nicely. Other inmates Jon Seda (Selena) as companion to Ripstein and Wes Studi (Last of the Mohicans) as the Iceman's only ally are also both memorable in small parts.
Action director Walter Hill best known for his '80s hits 48 Hrs. and The Long Riders seems to be trying out some new techniques in his older years. Without going for the typical opening credits Undisputed launches the audience right into a boxing match. Hill alternates between black and white and color to make his points but the most unique technique is how he introduces the characters. As each new character comes on screen they are immediately freeze-framed with titles detailing who they are when they were convicted and what they were convicted of. Doing this isn't necessarily a key to the story but you get to the point where you want it just because you are actually curious in finding out what crimes they've all committed. The film only drags when Rhames and Snipes are not on the screen and of course all the fancy camerawork really only pays off for the big finale. Watching these two animals duke it out in a cage is as exciting as you'd expect. Maybe not quite as bloody as say the ring action in Martin Scorsese's Raging Bull but fun nonetheless.
American Pie 2 enjoyed the weekend's sweetest slice of box office pie.
Universal launched its R rated youth appeal comedy sequel Pie 2 in first place to a record setting ESTIMATED $45.1 million at 3,063 theaters ($14,724 per theater).
Pie 2's average per theater was the highest for any film playing in wide release this weekend.
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.
"The first one opened to $18.7 million," Universal distribution president Nikki Rocco said Sunday morning, referring to the original American Pie, which after its July 9, 1999 launch went on to gross $102.7 million in domestic theaters.
Now with the sequel's blockbuster opening, Rocco said, "With Friday's business, Universal became the number one (distributor in terms of domestic) market share for the year. We've been number one for the summer. We became number one for the year. We're well over $600 million in domestic box office grosses as of now."
Rocco also pointed to a number of records set by Pie 2: "This picture is the biggest R rated comedy. It's the second highest opening for an R rated film ever, just behind our own Hannibal (in which Universal was partnered with MGM). It's the third biggest comedy ever (of any type), not just R rated. It's the fourth movie that Universal has opened consecutively to over $40 million. Our records show that no other studio has done that twice in a row. And it's the fourth number one movie in a row for Universal."
Universal's outstanding success this year includes its first place openings of The Mummy Returns the weekend of May 4-6 to $68.1 million, The Fast and the Furious the weekend of June 22-24 to $40.1 million, Jurassic Park III the weekend of July 20-22 to $50.8 million (and a five day cume of $81.4 million) and now Pie 2 with an ESTIMATED $45.1 million.
Focusing on the sequel's profitability, Rocco observed, "It made back more than its production cost, which was $30 million."
All told, she added, "I'm delighted with the results of this picture. This is our own home grown franchise and it's so exciting that audiences were anxious to revisit characters that they fell in love with for the first time."
Rocco said that the studio's exit polls for Pie 2 were outstanding, showing that its audience was 53 percent female and 47 percent male. "67 percent of the audience was under the age of 25, as expected," she said. "For that core audience, the Top Two Boxes (excellent and very good) scored 94 percent. Overall, it scored 90 percent in the Top Two Boxes. For the core audience, the definite recommend was 73 percent against a norm of 50 percent. Overall, the definite recommend was 69 percent, which is fabulous."
New Line Cinema's PG-13 rated action comedy blockbuster sequel Rush Hour 2 dropped one rung to second place in its second week with a still impressive ESTIMATED $31.48 million (-53%) at 3,118 theaters ($10,095 per theater). Its cume is approximately $131.9 million, heading for $175-200 million.
Directed by Brett Ratner, it stars Jackie Chan and Chris Tucker.
Buena Vista/Disney's G rated family comedy The Princess Diaries held on to third place in its second week with a still royal ESTIMATED $14.1 million (-38%) at 2,706 theaters (+169 theaters; $5,211 per theater). Its cume is approximately $51.9 million, heading for $85-100 million.
Directed by Garry Marshall, it stars Julie Andrews and Anne Hathaway.
Dimension Films' opened its PG-13 thriller The Others in fourth place to a promising ESTIMATED $13.67 million at 1,678 theaters ($8,147 per theater).
Directed by Alejandro Amenabar, it stars Nicole Kidman.
"We'll be in profit by the end of the week on this one. It was made for $17 million all-in," Miramax L.A. president Mark Gill said Sunday morning. "Cruise/Wagner did a brilliant job creatively and economically. I think Nicole Kidman becomes a serious Oscar contender after the great reviews she got. So we're excited about that."
Asked about Kidman's prospects as an awards contender, Gill added, "She's just gotten astonishingly great reviews, so I think there's almost no doubt she'll be a serious Oscar contender."
Given the film's strong opening, Gill said, "We're on about a thousand screens less than everybody else, so we'll about 500 more this coming week. At $8,147 a screen, (exhibitors) will be ringing our phones (asking for prints of The Others)."
Did all the media attention Kidman's been getting as the result of her divorce from Tom Cruise hurt or help the film's opening? "There's no doubt that publicity gets attention," Gill replied. "But the key to this, of course, is you can all the attention in the world, but if people don't like what they're seeing they don't go. So the movie had to deliver and the advertising had to look like it was presenting a good movie. Mercifully, all that was true.
"The movie is fantastic. It reminds me a lot of Hitchcock movies. But, you know, pick your favorite influence. It's more psychological than it is anything else. As a consequence, it's, I think, better and scarier not to rely on blood and gore. It gets you there in other ways. The Spanish director Alejandro Amenabar brought a ton of style to it. It's a really great movie."
20th Century Fox's PG-13 sci-fi action adventure Planet of the Apes fell three pegs to fifth place in its third week with a quieter ESTIMATED $13.32 million (-52%) at 3,405 theaters (-125 theaters; $3,910 per theater). Its cume is approximately $148.7 million, heading for $175-180 million in domestic theaters.
Directed by Tim Burton and produced by Richard D. Zanuck, it stars Mark Wahlberg, Tim Roth, Helena Bonham Carter and Michael Clarke Duncan.
Universal and Amblin Entertainment's PG-13 rated action adventure fantasy sequel Jurassic Park III slipped two notches to sixth place in its fourth week with a still impressive ESTIMATED $7.3 million (-41%) at 3,175 theaters (-287 theaters; $2,299 per theater). Its cume is approximately $160.2 million, heading for $175 million or more in domestic theaters.
Directed by Joe Johnston, JP III stars Sam Neill, William H. Macy, Tea Leoni, Alessandro Nivola, Trevor Morgan, Michael Jeter, John Diehl and Bruce A. Young.
Warner Bros.' PG rated comedy Osmosis Jones kicked off in seventh place to a calm ESTIMATED $5.58 million at 2,305 theaters ($2,419 per theater).
Directed by Peter Farrelly & Bobby Farrelly, it stars Chris Rock, Laurence Fishburne, David Hyde Pierce, Brandy Norwood, William Shatner, Molly Shannon, Chris Elliott and Bill Murray.
Revolution Studios and Columbia Pictures' PG-13 rated romantic comedy America's Sweethearts slid three slots to eighth place in its fourth week with a less romantic ESTIMATED $4.6 million (-43%) at 2,686 theaters (-325 theaters; $1,713 per theater). Its cume is approximately $83.4 million, heading for $100 million in domestic theaters.
Directed by Joe Roth, it stars Julia Roberts, Billy Crystal, Catherine Zeta-Jones and John Cusack.
MGM's PG-13 rated comedy hit Legally Blonde fell two rungs to ninth place in its fifth week with a still attractive ESTIMATED $3.82 million (-35%) at 2,031 theaters (+505 theaters; $1,881 per theater).
Blonde, which cost only $18 million to produce, has a cume of approximately $78.7 million and is on its way to a very profitable $85 million in domestic theaters.
Directed by Robert Luketic, the Marc Platt production stars Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber and Jennifer Coolidge with a special appearance by Raquel Welch.
Rounding out the Top Ten was MGM's R rated thriller Original Sin, down four pegs in its second week with a slow ESTIMATED $3.05 million (-52%) at 2,194 theaters ($1,391 per theater). Its cume is approximately $12.49 million.
Written and directed by Michael Christofer, it stars Antonio Banderas and Angelina Jolie.
This weekend also saw the arrival of Dimension Films' new expanded version of its PG rated youth appeal action comedy Spy Kids Special Edition with an unfunny ESTIMATED $1.43 million at 1,676 theaters ($851 per theater). Its cume (including its original run, which began with its $26.5 million opening the weekend of Mar. 30 - Apr. 1) is approximately $109.0 million.
Directed by Robert Rodriguez, it stars Antonio Banderas and Carla Gugino.
"Video and DVD are coming up in September so this was sort of the pre-amble to that," Miramax L.A. president Mark Gill said Sunday morning. (Dimension is a unit of Miramax Films, which is owned by Disney.)
Fox Searchlight Pictures R rated thriller The Deep End kicked off to a very encouraging ESTIMATED $0.14 million at 6 theaters ($23,415 per theater) in Los Angeles and New York. Its cume after five days is approximately $0.2 million.
Written produced and directed by Scott McGehee and David Siegel, it stars Tilda Swinton, Goran Visnjic and Jonathan Tucker.
"That's significantly higher than our excellent opening on Sexy Beast (earlier this summer), which was $18,009 per theater," Fox Searchlight distribution president Stephen Gilula said Sunday morning. "We'll be adding theaters this week, both expanding in New York and L.A. and another nine markets, so we'll go up to over 50 theaters by this Friday. And we have an expansion the following week, which will take us up to around 200 theaters."
Focusing on the promising kick off for Deep, Gilula noted, "We're very, very excited. It just shows, again, that there's a really avid moviegoing audience in the summertime for alternative, thoughtful movies in addition to the mega-movies. When the critics embrace a film, as they did with this--particularly with Tilda Swinton's performance--the crowds have come. It's a crowded marketplace (this summer) with the sheer number of films opening, so (our marketing department, under Nancy Utley) did a great job of getting the word out.
"It's actually been, I think, a fairly good summer (for specialized films), going back to Anniversary Party and Sexy Beast and then The Closet and Made and now The Deep End. There really is an alternative audience in the summertime that is looking for this type of product."
Gilula added that Beast in its ninth weekend did about $198,000 at 29 theaters, "which takes it to $5,964,500, which means we'll cross $6 million by Wednesday or Thursday. That's a tremendous result for us. It's also the number one limited release film for the summer."
USA Films' R rated sci-fi thriller Session 9 arrived to a quiet ESTIMATED $0.083 million at 30 theaters ($2,750 per theater).
Directed by Brad Anderson, it stars David Caruso, Peter Mullan, Brendan Sexton III, Steven Gevedon and Josh Lucas.
Paramount Classics' PG-13 rated drama An American Rhapsody opened to a drab ESTIMATED $0.042 million at 7 theaters ($6,000 per theater).
Written and Directed by Eva Gardos, it stars Nastassja Kinski, Scarlett Johansson and Tony Goldwyn.
Paramount held sneak previews Saturday night of its PG-13 comedy Rat Race.
Directed by Jerry Zucker, it stars Rowan Atkinson, John Cleese, Whoopi Goldberg, Cuba Gooding, Jr., Seth Green, Jon Lovitz, Breckin Meyer and Amy Smart.
"The sneaks were about 60 percent capacity," Paramount distribution president Wayne Lewellen said Sunday morning. "There were 1,012 sneaks. We had 700 locations that had two sneaks, so you can say we effectively had 1,700 sneaks. The capacities at the later sneaks (at 10:30 p.m.) were only around 35 percent (given the later hour). The index score from the exit polls was 78, which is very good. I (don't yet have) the full exit polls, but I know it was 50-50 male-female."
Asked about the index score, Lewellen explained, "That is the result of the combination of checking the boxes (on the exit poll forms). It's an average. Anything over 70 or 71 is a very good response. Like, Forrest Gump got an 81, as an example. It's a very good score."
Lewellen said he anticipates that the film will play to a family audience.
Race opens this Friday (Aug. 17), Lewellen said, at "about 2,500 locations and probably 2,800 screens or so."
On the expansion front, this weekend saw Miramax's R rated French comedy The Closet go wider in its seventh week with an okay ESTIMATED $0.43 million (+5%) at 145 theaters (+17 theaters; $2,975 per theater). Its cume is approximately $4.0 million.
Directed by Francis Veber, it stars Daniel Auteuil, Gerard Depardieu, Thierry Lhermitte and Michele Laroque.
Artisan's R rated comedy Made widened in its fifth week with a dull ESTIMATED $0.4 million at 128 theaters (+11 theaters; $3,125 per theater). Its cume is approximately $3.0 million.
Written and directed by Jon Favreau, it stars Jon Favreau, Vince Vaughn, Sean Combs, Famke Janssen, Faizon Love and Peter Falk.
Miramax's R rated Apocalypse Now Redux widened in its second week with a still promising ESTIMATED $0.35 million at 19 theaters (+17 theaters; $19,323 per theater). Its cume is approximately $0.53 million.
Directed by Francis Ford Coppola, it stars Marlon Brando, Robert Duvall, Martin Sheen, Laurence Fishburne, Dennis Hopper and Harrison Ford.
MGM's release of United Artists' R rated youth appeal comedy Ghost World widened in its fourth week with a still lively ESTIMATED $0.35 million (+1%) at 34 theaters (+11 theaters; $10,294 per theater). Its cume is approximately $1.3 million.
Directed by Terry Swigoff, it stars Thora Birch, Scarlett Johansson, Brad Renfro, Illeana Douglas and Steve Buscemi.
Fine Line Features' R rated rock musical drama Hedwig and the Angry Inch added a few theaters in its fourth week with a still hopeful ESTIMATED $0.26 million (-9%) at 50 theaters (+4 theaters; $5,180 per theater). Its cume is approximately $1.2 million.
Directed by John Cameron Mitchell, who also wrote adapted his hit Off-Broadway play to the screen, Hedwig stars Mitchell in its title role.
Key films--those grossing more than $500,000--took in approximately $150.17 million, up about 47.89 per cent from the comparable weekend last year when key films grossed $101.54 million.
This weekend's key film gross was down about 9.51 per cent from last weekend this year when key films took in $165.94 million.
Last year, Sony's second week of Hollow Man was first with $13.05 million at 2,956 theaters ($4,414 per theater); and Warner Bros.' second week of Space Cowboys was second with $13.02 million at 2,835 theaters ($4,591 per theater). The top two films one year ago grossed $26.0 million. This year, the top two films grossed an ESTIMATED $76.6 million.
Humble and sincere Bobby (Favreau) an aspiring boxer and Ricky (Vaughn) his obnoxious loser friend work construction for a two-bit mob boss named Max (Peter Falk). Bobby just wants to make a decent wage to support his stripper girlfriend (Famke Janssen) and her daughter but whether its his own temper or Ricky's big mouth these two guys can't stay out of trouble. Max gives them one last chance to prove they're good for something and assigns them to a mysterious job that takes them to New York City where they hook up with a slick gangsta named Ruiz (Sean Combs). The two try not to look like the fish out of water that they are and attempt to carry out Max's instructions. But to Bobby's consternation the insufferably cocky Ricky never fails to get them into hot water and what should be an easy job turns into a comedy of errors.
Friends in real life Favreau and Vaughn have an honest chemistry on-screen and their long-awaited reunion is a joy. Though they reprise similar characters as in Swingers (serious-guy Favreau smart-ass Vaughn) Favreau delves deeper into his role as the floundering honest good guy who somehow cares deeply about Ricky despite his incessantly infuriating behavior. Vaughn hits the bullseye as a strident volatile jerk who can't keep his mouth shut. You never really like him but you can't wait to see what he'll do next--his missteps and offenses are so unbelievable you wince but you can't look away. Though not on-screen very often Falk is a hoot as the take-no-bull mob boss who is sick of both schlubs. Combs surprisingly makes a more than adequate turn as the hardcore gangster who finds himself enmeshed in Bobby and Ricky's chaos. His sidekick Horace (Faizon Love) is pretty funny too.
First-time director Favreau shows real talent behind the camera keeping up the pace and allowing the story to unfold while developing the fleshed-out characters at a swift even tempo. In Made the journey is more important than the destination--the slim plot takes a back seat to the story's twists and turns. Favreau draws the viewer into his world so deeply it's easy to forget you're in a movie theater and not with the guys as they sit in Max's office or in a NYC cab (cinematographer Christopher Doyle helps keeps it interesting with a deft touch and a handheld camera). The locales juxtapose nicely with this uneasy escapade--Bobby and his wanna-be-a-player pal stick out like sore thumbs at both the slick clubs and posh hotels and the seedy low-rent neighborhoods of the Big Apple.