Celebrities including Britney Spears, Pharrell Williams, Taylor Swift and Ed Sheeran helped raise $23.2 million (£14.5 million) during the U.K. Stand Up To Cancer telethon on Friday (17Oct14).
The "Toxic" hitmaker took part in a sketch called "Andy Murray: The Movie", in which celebrities were auditioning for parts in the upcoming biopic of the Scottish tennis player's life. Spears tried out for the role of Murray's girlfriend Kim Sears with a fake Cockney accent, while Williams tried a Scottish twang as he auditioned for Murray. Others trying out for parts included Ed Sheeran, who played "I'm Gonna Be (500 Miles)" by Scottish group The Proclaimers, while Andy Serkis filmed his audition in a motion capture suit. Swift took on British celebrity chef Jamie Oliver for a 'bake it off' competition sketch, where they were supposed to each make a chocolate cake. However, Oliver began singing and dancing to a revamped version of her new single Shake It Off and the pair ended up pulling funny moves and throwing food around.
British rocker Noel Gallagher teamed up with supermodels Kate Moss and Naomi Campbell for a celebrity version of Gogglebox, where viewers are filmed watching TV. The trio watched reality shows such as Strictly Come Dancing and The X Factor and gave a comedic running commentary. Also during the broadcast, Martin Clunes and Neil Morrissey revived their Men Behaving Badly characters for the first time in 16 years for a one-off sketch about testicular cancer. Will Ferrell appeared as his Anchorman character Ron Burgundy, giving a news report on cancer, Sherlock star Martin Freeman took part in a magic card trick with celebrity illusionist Derren Brown, and Nicole Scherzinger and John Legend were interviewed during a live taping of chat show Alan Carr: Chatty Man. At the end of the live telethon, $23.2 million had been raised for Cancer Research U.K.
Actor Anthony Mackie is set to develop and star in a film about Olympic gold medallist Jesse Owens. The Captain America: The Winter Soldier star has teamed up with his producing partner Jason Spire and screenwriter Jamie Linden and they are hoping to shoot the film in Germany later this year (14), according to Deadline.com.
The untitled movie will centre on the lead-up to the 1936 Berlin Olympics, where the sprinter took home four gold medals, much to the disgust of Germany's Nazi leader Adolf Hitler.
Mackie's project is not the only movie about the American track and field star in the works - bosses at Disney are working on a film based on on the Jeremy Schaap book Triumph, while Stephan James has reportedly been cast as Owens in a film to be directed by Predator 2's Stephen Hopkins.
The Owens film might help explain why Mackie has dropped out of playing jazz musician Buddy Bolden in a biopic, due to scheduling issues.
He began filming Bolden in 2007, but in 2009 director Dan Pritzker ordered extensive re-shoots involving Mackie's scenes.
Pritzker is now planning to finish the movie by filming half of it over again and has cast Downton Abbey's Gary Carr to replace Mackie.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
Forget Black Swan – Natalie Portman’s real crowning performance is to be found in the romantic comedy No Strings Attached in which director Ivan Reitman asks her to convey sincere unqualified affection for Ashton Kutcher. Portman much to her credit gamely complies and though she may not have the emaciated figure bloody nails and bandaged ankles to tell of her labors the psychic scars must no doubt be just as severe.
Exhibiting strong chick-flick leanings and a rambunctious soft-R comic tone (i.e. lots of F-bombs some menstrual humor and a few shots of Kutcher’s naked ass) No Strings Attached is built around a basic relationship role-reversal: The dude Adam (Kutcher) longs for a deeper lasting commitment; the chick Emma (Portman) insists on keeping matters purely physical. Emma’s motive is a practical one: As a doctor-to-be her busy residency schedule with its 80-hour work weeks and intensive exam preparations precludes a serious relationship. But alas a woman has certain needs (foreplay apparently not being among them) and who better to fulfill them than Kutcher’s non-threatening boy-toy?
Thus a “friends with benefits” arrangement is cemented whereupon the ripcord is to be pulled on the occasion that either of them develops stronger feelings. This does not last long for soon Adam is cloyingly lobbying for escalation. Emma demurs – not out of disinterest we are told but because she’s intimacy-averse and afraid of a broken heart. Why else would she resist a more permanent attachment to someone like Adam?
Perhaps it’s because Adam as played by Kutcher is about as interesting as cabbage. And yet No Strings Attached would have us believe he’s some kind of floppy-haired Albert Schweitzer. This despite the fact that his greatest aspiration in life is to join the writing staff of a High School Musical-esque television series the shallow inanity of which is one of the film’s recurring jokes. In vain support of his cause the filmmakers decorate Adam’s apartment with various props – vintage posters books about 1920s movies a guitar that is occasionally picked up but never actually played – that hint at a depth that Kutcher himself never manifests.
Still Portman sells us on Adam and Emma’s inevitable union with every ounce of her not inconsiderable talent. (And her comic chops are legit – as those who’ve glimpsed her appearances on SNL and Funny or Die can attest.) But she asks too much. And Elizabeth Meriweather’s script while witty and stocked with some keen observations on the evolving nature of relationships in the modern age becomes weighed down by sentiment unbecoming an R-rated comedy not directed by Judd Apatow. In the end Kutcher seals the increasingly contrived deal with the climactic line “I’m warning you: Come one step closer and I’m never letting you go ” (I’m paraphrasing but not loosely) by which time the film's already lost its grip.
The story starts at a junior high dance where a nerdy kid Jeremy asks each one of the popular girls to dance. All of them in one way or another rebuff and ridicule Jeremy mercilessly. Jumping ahead 13 years it's nearing Valentine's Day and the girls still close friends are now all grown up. There's sexy Paige (Denise Richards) smart Shelley (Katherine Heigl) fun Lily (Jessica Cauffiel) sweet Kate (Marley Shelton) and ugly duckling-turned-swan Dorothy (Jessica Capshaw). Tragically the girls and the men in their lives are being bumped off one by one in rather gruesome ways by a killer in a angel mask with most of the murders taking place at Dorothy's Valentine's Day party. Is it Jeremy who's come back for revenge or someone else?
Well there certainly isn't a lack of beautiful people in this movie. And that's what a slasher film is all about. Not much is required of the acting besides looking scared and asking "Who's there?" But darn it they all look good doing it. As far as any notable standouts Denise Richard's sexy bad girl actually has the audience guessing whether or not she's the killer which is a credit to her performance. Other than that the rest of the cast just goes along for the ride in an extremely predictable script.
Really what can one say about another slasher film that is incredibly formulaic? There are no real twists or surprises. One must plod through the whole movie hoping to find a touch of originality or even creativity but is pretty much served the same tired horror schtick as in most other horror flicks. The only saving grace is the more well-known cast members especially David Boreanaz ("Angel") as Kate's boyfriend Richards ("The World Is Not Enough" "Wild Things") and Shelton (in the new release "Sugar and Spice"). And unfortunately that really isn't saying a whole lot.
Look at those X-Men go!
X2: X-Men United came barreling out on top for the second week in a row, taking in a hefty $41.4 million*, nearly double the $27.6 million opener Daddy Day Care took in at No. 2.
After the top two, however, the box office dropped off considerably. In third place, The Lizzie McGuire Movie only raked in $7.8 million, while fourth place holder Identity managed a measly $6.3 million. Rounding out the top five, Anger Management collected $5.5 million.
Still, the true Cinderella story of the Top 10 this week was the quirky A Mighty Wind. After the film's run was expanded to more than 600 theaters, it made the list for the first time since its release, coming in at No. 7 with $2.8 million.
Interestingly, the romantic comedy Down With Love, which opens wide against The Matrix Reloaded next week, popped up in one theater in New York and gathered an impressive $44,098, while the Neil Labute dark comedy The Shape of Things debuted in 40 theaters with $177,506.
THE TOP TEN
At the top of the heap, 20th Century Fox's PG-13 X2 swept up with an ESTIMATED $41.4 million at 3,748 theaters ($11,046 per theater). Although it dipped 52 percent from its huge $85 million opening last weekend, the sequel--in which Prof. Xavier and his X-Men must join the metal-controlling villain Magneto to battle against a society that fears and distrusts them--has reached approximately $149 million in two weeks, making it the fifth film this year to cross the $100 million mark.
Directed by Bryan Singer, it stars Patrick Stewart, Hugh Jackman, Ian McKellen, Halle Berry, Famke Janssen and more.
Sony Pictures' PG-rated Eddie Murphy laffer Daddy Day Care debuted in second place with an ESTIMATED $27.6 million at 3,370 theaters ($8,190 per theater), making it the third largest opener for Murphy following Nutty Professor II: The Klumps ($42.5 million) and Dr. Dolittle ($29 million).
The film focuses on a father who loses his job and decides to start up a day care center with one of his fellow laid-off colleagues to make ends meet.
Directed by Steve Carr, it also stars Jeff Garlin, Steve Zahn, Regina King and Anjelica Huston.
Buena Vista's PG-rated The Lizzie McGuire Movie slipped a spot to third with an ESTIMATED $7.8 million (-55%) at 2,825 theaters ($2,761 per theater). Based on the hit Disney Channel series, the film is about 13-year-old Lizzie's whirlwind trip to Rome where she is mistaken for a celebrity pop star and gets the royal treatment. Its cume is approximately $27.2 million in two weeks.
Directed by Jim Fall, it stars Hilary Duff, Adam Lamberg and Yani Gellman.
Coming in at No. 4 was Sony's R-rated Identity with an ESTIMATED $6.3 million (-33%). Playing at 2,618 theaters (-115 theaters; $2,406 per theater), this Hitchcockian thriller has collected approximately $39.2 million thus far.
Directed by James Mangold, it stars John Cusack, Ray Liotta, Amanda Peet, Rebecca DeMornay and Alfred Molina.
Still holding strong in the Top Five, Sony's PG-13 Anger Management dropped a notch to fifth place with an ESTIMATED $5.5 million (-35%) at 2,819 theaters (-652 theaters; $1,951 per theater). Its cume is approximately $122.9 million.
Directed by Peter Segal, it stars Adam Sandler, Jack Nicholson, Marisa Tomei and John Turturro.
Buena Vista's PG-rated Holes captured the sixth spot with an ESTIMATED $4.6 million (-33%) at 2,452 theaters (+50 theaters; $1,876 per theater). In its fourth week, the film's cume is approximately $51.4 million.
Directed by Andrew Davis, it stars Rick Fox, Sigourney Weaver, Jon Voight, Tim Blake Nelson and Shia LeBeouf.
*Box office estimates provided by Exhibitor Relations, Inc.
Making its way into the box office's Top 10 list for the first time since its release was Warner Bros. PG-13 A Mighty Wind, coming in at No. 7 with an ESTIMATED $2.8 million (+178%). Warners expanded the film's release to 765 theaters (+608 theaters; $3,752 per theater) and now in its fourth week, Wind's cume is approximately $9.3 million.
The film follows three sets of famous '60s folk singing groups who come together for a benefit concert 40 years later.
Directed by and starring Christopher Guest, it also stars Michael McKean, Harry Shearer, Bob Balaban, Eugene Levy, Catherine O'Hara and more.
Warner Bros.' PG-13 rated comedy Malibu's Most Wanted dropped from sixth to eighth place in its fourth week with an ESTIMATED $2.1 million (-47%) at 2,008 theaters (-332 theaters, $1,063 per theater). Its cume is approximately $31.7 million.
Directed by John P. Whitesell, it stars Jamie Kennedy, Taye Diggs and Anthony Anderson.
In what could turn out to be another My Big Fat Greek Wedding, Fox Searchlight's PG-13 rated Bend It Like Beckham moved up a spot to No. 9 with an ESTIMATED $1.6 million (+12%) at 563 theaters (+80) with a per theater average of $$2,931. Its cume is approximately $13 million.
The film follows the aspirations of a young Indian girl living in London whose only desire is to play soccer--even if it means going against her traditional family's wishes.
Directed by Gurinder Chadha, it stars Parminder Nagra, Keira Knightley and Jonathan Rhys Meyers.
Lions Gate's R-rated Confidence fell three rungs to 10th place with an ESTIMATED $1.5 million (-41%) at 1,188 theaters (-683 theaters; $1,263 per theater). Its cume is approximately $11 million.
Directed by James Foley, it stars Edward J. Burns, Dustin Hoffman, Andy Garcia and Rachel Weisz.
Fox's PG-13 romantic comedy Down With Love debuted in one New York theater with an impressive $44,098. An homage to those wacky Doris Day/Rock Hudson movies, the film follows a feminist writer who knocks heads with a playboy journalist. The film opens wide next week.
Directed by Peyton Reed, it stars Renee Zellweger, Ewan McGregor and David Hyde Pierce.
Also debuting this week was Focus Features' R-rated The Shape of Things, which gathered an ESTIMATED $177,506 in 40 theaters ($4,438 per theater).
A contemporary love story set in a college town in which sex and art intertwine as the relationships between four college students become increasingly complicated.
Written and directed by Neil Labute, it stars Paul Rudd, Rachel Weisz, Gretchen Mol and Frederick Weller.
The Top 12 films this weekend grossed an ESTIMATED $103 million, down considerably, nearly 28 percent from last week when they totaled $141.4 million.
The Top 12 were also down 10.6 percent from last year when they totaled $115 million.
Last year, Sony's PG-13 rated Spider-Man stayed at the top of the box office for the second week with $71.4 million at 3,615 theaters ($19,756 per theater); Fox's steamy R-rated Unfaithful came in second with $14 million at 2,613 theaters ($5,383 per theater); and Sony's PG-13 comedy The New Guy came in third with $9 million at 2,687 theaters ($3,352 per theater).