The world was a very different place 20 000 years ago. Humans and animals survived off each other and the land in a fend-for-themselves world; the chances of two species coming together for any purpose other than the hunt was unlikely. Thus the camaraderie between Manfred the Mammoth (voiced by Ray Romano) Sid the Sloth (voiced by John Leguizamo) and Diego the Saber-Tooth Tiger (voiced by Denis Leary) sounds odd but it proves it's possible to stumble upon future lifelong friends in the most improbable ways. In this case it's the caretaking of a human baby. When the baby washes up on the shore of a riverbank the three strangers become begrudging partners as they try to return the babe to its human family for their own reasons: Manny because he lacks a family of his own Sid out of the kindness of his heart and Diego to avenge his pride. The trek isn't easy of course; there are ice caves to navigate lava pits to jump over and secrets to unearth about each of them.
It doesn't take long to recognize comedian Ray Romano's voice as Manny. Although the screenplay credits belong to Michael Berg Michael J. Wilson and Peter Ackerman Romano really adopts the subtle jokes as his own. Admittedly it took a while to forget about Romano and realize there was a woolly mammoth on the screen. John Leguizamo's Sid though is by far the star of the show. His lisp and "slothful" way of speaking captures the kind of goofy talk kids love. Denis Leary gives Diego a strong and soothing voice one caught between loyalty to tradition and newfound friendship. Director Chris Wedge puts his voice to work too through the no-so-dialogue-intensive squirrel Scrat (and a few other minor characters) the acorn-chasing entrée act. His voice perfectly matches the squirrel's quick and erratic behavior.
Director Chris Wedge equally distributes the time spent on character development and the setting-up of family unit boundaries within a pack. Manny's naturally monstrous proportions make him the ultimate father figure and protector while his slow yet constant demeanor also makes him the decision maker and mediator. Also a parental figure Diego's inborn reflexes and hunting senses help him to be the better tracker of the group navigating the threesome and their tiny charge along the humans' path. Sid's long hook-like claws help him adapt to the ice-laden landscape skating across frozen lakes with ease but his small size and lack of maturity make him more an older brother to the baby than a parent. The major drawback to this familial cycle of life however is that it's unusually male dominated. Only four females appear in the entire script and each very briefly: one is the baby's mother one is the last known female dodo bird and the other two are skanky sloths whom Sid tries to scam in a mud bath.
An uncertain future awaits The Time Machine.
Originally scheduled for a Dec. 25 release, DreamWorks' $70 million version of the H.G. Wells literary adventure doubtless stands to benefit immensely from its move to March. In the wake of the Sept. 11 terrorist attacks, DreamWorks wanted to rework a scene during which large pieces of the moon rain down on New York City.
The Time Machine also ran the risk of stalling in December against The Lord of the Rings: The Fellowship of the Ring and Harry Potter and the Sorcerer's Stone. As it stands, The Time Machine represents the sole family oriented effects-driven spectacle to hit theaters since The Lord of the Rings: The Fellowship of the Ring.
Guy Pearce, as the inventor whose 800,000-year spin through time takes him to a dark and foreboding world, holds more appeal now than he did at Christmas. His villainous turn in January's The Count of Monte Cristo helped director Kevin Reynolds' remake of the Alexandre Dumas novel earn $48.4 million through Tuesday. Plus, Pearce earned rave reviews for last year's art house smash, Memento.
Accordingly, The Time Machine will zoom past holdovers We Were Soldiers, 40 Days and 40 Night and John Q and land in the No. 1 spot this weekend.
Given its March launch, The Time Machine won't post a dazzling holiday-like opening. Instead, the remake will likely exceed Mission to Mars's $22.8 million debut in March 2000. The Time Machine's fate ultimately rests upon its ability to compete against the upcoming Ice Age, E.T. The Extra Terrestrial and Clockstoppers, and, to a lesser extent, Resident Evil and Blade 2.
But the tinkering that has been made to this version of The Time Machine could stop it from earning no more than Mission to Mars' eventual $60.8 million. With its dazzling special effects, this Americanized version of The Time Machine might win over fans of director George Pal's somewhat staid and terribly dated 1960 effort to adapt Wells' novel. But The Time Machineis burdened with a laborious and unintentionally funny romantic predicament, lousy dialogue, stiff acting and monster makeup that Pal would have rejected as silly and fake looking.
Rollerball stands as the most recent example of a remake that crashed and burned with just $18.2 million because director John McTiernan failed to improve upon the original 1975 sci-fi classic.
This should not have happened, considering The Time Machine remains a family affair. Director Simon Wells is the author's great-grandson (The Mexican's Gore Verbinski stepped in to finish the film when an exhausted Wells dropped out 18 days before shooting ended). Wells neither preserves his great-grandfather's vision of evolution or inject complementary new ideas.
The future also offered little solace for Ice Cube when he battled Ghosts of Mars. Director John Carpenter's sci-fi misfire opened last summer with a paltry $3.8 million en route to a down-to-earth $8.4 million. The rapper-turned-actor aims for a return to Friday-like popularity with All About the Benjamins, an action yarn executed strictly for laughs. Bounty hunter Ice Cube teams up with loudmouth grifter Mike Epps in a South Florida-set buddy movie as antiquated as the Tim Hardaway Miami Heat T-shirt that Ice Cube wears through much of the gunplay. It's all about the babes, bullets and big bucks.
The little-known Epps is an annoying substitute for Chris Tucker, whose manic presence drove Friday to $27.3 million in 1995. Tucker declined to reunite with Ice Cube for Next Friday, but the sequel still managed to earn $57.1 million in 2000.
All About the Benjamins should hold more appeal to black audiences than Ghosts of Mars, allowing Ice Cube to enjoy a $10 million-plus opening. Ice Cube shouldn't expect the Benjamins--or Hamiltons and Jacksons, for that matter--to roll in for too long. Showtime, an action comedy built around the inspired pairing of Eddie Murphy and Robert De Niro, will likely crush All About the Benjamins when it debuts March 15. Consequently, Ice Cube can expect All About the Benjamins to match Friday at the box office but fall far short of Next Friday.
The war will rage on for Mel Gibson's We Were Soldiers. The Vietnam-era epic will cede the No. 1 spot to The Time Machine after opening last weekend with an excellent $20.2 million. This strong opening demonstrates that audiences are not growing tired of war films in light of the recent failure of Hart's War.
This week's battle against al-Qaida fighters in eastern Afghanistan, which has claimed the lives of eight American soldiers since March 1, did not deter audiences from watching director Randall Wallace's Saving Private Ryan-styled account of the first major encounter between U.S. and North Vietnamese forces. We Were Soldiers made $26.3 through Thursday.
We Were Soldiers' debut falls between Braveheart's $12.9 and The Patriot's $22.4 million openings. Payback, a bloody but more commercial Gibson vehicle, managed a $21.2 million opening in 1999. Bearing this in mind, We Were Soldiers should emerge with a total somewhere between Braveheart's $75.5 million and Payback's $81.5 million.
The arrival of We Were Soldiers put Bruce Willis' disastrous Hart's War out of its misery. The POW camp-set courtroom drama plunged a staggering 69 percent in its third weekend, from $4.4 million to $1.4 million, despite only being dropped from 2,459 theaters to 1,982 theaters. Hart's War has $15 million through Sunday.
The era of the one-man army is possibly over for now in the wake of We Were Soldiers and Black Hawk Down. Arnold Schwarzenegger's Collateral Damage fell by 50 percent in its fourth weekend from $3.8 million to $1.9 million. The terrorist-themed thriller has a lackluster $37.6 million through Sunday.
The Oscar-nominated Black Hawk Down sustained minor damage in the wake of We Were Soldiers. Director Ridley Scott's Somalia-set war epic dropped a respectable 36 percent in its seventh week in wide release, from $3.6 million to $2.3 million. Black Hawk Down has $105.2 million through Wednesday.
Denying pleasures of the flesh proved bountiful for Black Hawk Down's Josh Hartnett. His vow of abstinence for 40 Days and 40 Nights enjoyed a $12.2 million opening, not bad considering that the R-rated comedy is the Hartnett's first solo vehicle. 40 Days and 40 Nights also faced little opposition from holdover Super Troopers, which has $15.9 million through Monday.
40 Days and 40 Nights looks set to match the $34 million earned by director Michael Lehman's previous romantic comedy, 1996's The Truth About Cats and Dogs. Its total through Thursday: $15.7 million.
Denzel Washington's anti-HMO screed John Q continues to connect with anyone willing to listen. The hostage drama eased by just 32 percent in its third weekend, from $12.4 million to $8.5 million, and has $53 million through Thursday. John Q lags somewhat behind last year's Training Day, which had $59.8 million during the same period of play. John Q, though, remains on pace to wind up with a healthy $70 million.
An early grave awaits Queen of the Damned. The chillingly feeble sequel to Interview With the Vampire descended by a lethal 60 percent in its second weekend, from $14.7 million to $5.9 million. Fans of both novelist Anne Rice's Vampire Chronicles and the late pop singer Aaliyah clearly went out their way to see Queen of the Damned during its opening weekend. With $25.5 million through Thursday, Queen of the Damned has one last weekend to claw its way as close to $30 million as possible before making way for Resident Evil on March 15 and Blade 2 on March 22.
Dragonfly fared somewhat better than Queen of the Damned, but not enough to recall Kevin Costner's glory days as a box office phenomenon. The silly supernatural love story dropped 36 percent in its second weekend, from 10.2 million to $6.6 million, for $20.8 million through Thursday. Dragonfly surpassed the pitiful $15.7 million amassed by Costner's 2001 bomb 3000 Miles to Graceland, yet it won't have the stamina to fly past fellow flops Thirteen Days ($34.5 million) or For Love of the Game ($35.1 million).
Return to Never Land can enjoy one last weekend before Peter Pan receives the cold shoulder from kids. The animated Ice Age will likely inflict Disney's Peter Pan sequel a deadly blow. Still, with $37 million through Thursday, Return to Never Land can still make it to $50 million with a little bit of magic.
Big Fat Liar and Snow Dogs continues to pull in pre-teens too old for Return to Never Land and too young for Britney Spears' Crossroads. Big Fat Liar has $39.8 million through Thursday, with $50 million possible after a $4.9 million fourth weekend. Snow Dogs has $75.5 million through Sunday, after a $2.3 in its seventh weekend, as it continues its run toward $80 million.
Spears might sell more records than fellow pop diva Mandy Moore, but she isn't selling quite as many tickets at the box office. The somewhat risqué Crossroads opened stronger than Moore's wholesome A Walk to Remember, but has experienced corrosive second and third weekend declines. With $31.5 million through Tuesday, Crossroads may fall short of A Walk to Remember's Sunday total of $39.3 million.
The prospect of Oscar glory continues to extend the fortunes of a handful of nominees. Best Pictures nominees Gosford Park and In the Bedroom have $31 million and $28.6 million, respectively, through Sunday. Monster's Ball, starring Best Actress nominee Halle Berry, has $13.1 million through Sunday. Iris, featuring Best Actress nominee Judi Dench, Best Supporting Actress nominee Kate Winslet and Best Supporting Actor nominee Jim Broadbent, has $1.6 million. Amélie, nominated for Best Foreign Language Picture, has $27.9 million, a U.S. box office record for a French film.
Nominated for 13 Oscars, The Lord of the Rings: The Fellowship of the Ring has $288.6 million through Thursday, with $300 million a slight possibility before Oscar night. New Line does have an insurance policy in the event Peter Jackson's epic fails to win the Oscar for Best Picture, and thus ruin its chances of surpassing Harry Potter's $314.9 million take through Sunday. On March 22, New Line will put The Lord of the Rings: The Fellowship of the Ring back into 2,000 theaters complete with a four-minute preview of the second film in the trilogy, The Two Towers.
A Beautiful Mind slowed by just 12 percent in its 11th weekend, going from $5.3 million to $4.6 million. Nominated for eight Oscars, Ron Howard's biography of mathematician John Forbes Nash Jr. has $140.4 million through Thursday. Seems Russell Crowe's temper tantrum at last month's British Academy for Film and Television Arts has not hurt the film, at least not at the box office.
A complete list of 44th Annual Grammy Award winners, announced Wednesday night:
Record of the Year: Walk On, U2
Rap Album: Stankonia, OutKast
Song of the Year: "Fallin'," Alicia Keys
Album of the Year: O Brother, Where Art Thou? soundtrack, Various Artists
Rock Performance By A Duo Or Group With Vocal: "Elevation," U2
New Artist: Alicia Keys
Country Collaboration with Vocals: "I Am a Man of Constant Sorrow," Dan Tyminski, Harley Allen and Pat Enright (The Soggy Bottom Boys), from the O Brother, Where Art Thou? soundtrack
Female Pop Vocal Performance: "I'm Like a Bird," Nelly Furtado
R&B Album: Songs in A Minor, Alicia Keys
Rock Song: "Drops of Jupiter," Charlie Colin, Rob Hotchkiss, Pat Monahan, Jimmy Stafford and Scott Underwood (Train)
Pop Collaboration with Vocals: "Lady Marmalade," Christina Aguilera, Lil' Kim, Mya and Pink
Pop Performance by a Duo or Group with Vocal: "Stuck in a Moment You Can't Get Out Of," U2
Rock Album: "All That You Can't Leave Behind," U2
Male Pop Vocal Performance: "Don't Let Me Be Lonely Tonight," James Taylor
Pop Instrumental Performance: "Reptile," Eric Clapton
Dance Recording: "All For You," Janet Jackson
Pop Instrumental Album: No Substitutions--Live in Osaka, Larry Carlton and Steve Lukather
Pop Vocal Album: Lovers Rock, Sade
Traditional Pop Vocal Album: Songs I Heard, Harry Connick Jr.
Female Rock Vocal Performance: "Get Right With God," Lucinda Williams
Male Rock Vocal Performance: "Dig In," Lenny Kravitz
Hard Rock Vocal: "Crawling," Linkin Park
Metal Performance: "Schism," Tool
Rock Instrumental Performance: "Dirty Mind," Jeff Beck
Alternative Music Album: Parachutes, Coldplay
Female R&B Vocal Performance: "Fallin'," Alicia Keys
Male R&B Vocal Performance: "U Remind Me," Usher
R&B Performance by a Duo or Group With Vocal: "Survivor," Destiny's Child
R&B Song: "Fallin'," Alicia Keys (Alicia Keys)
Traditional R&B Album: "At Last," Gladys Knight
Rap Solo Performance: "Get Ur Freak On," Missy "Misdemeanor" Elliott
Rap Performance by a Duo or Group: "Ms. Jackson," OutKast
Rap/Sung Collaboration: "Let Me Blow Ya Mind," Eve Featuring Gwen Stefani
Female Country Vocal Performance: "Shine," Dolly Parton
Male Country Vocal Performance: "O Death," Ralph Stanley, from the O Brother, Where Art Thou? soundtrack
Country Performance by a Duo or Group With Vocal: "The Lucky One," Alison Krauss + Union Station
Country Instrumental Performance: "Foggy Mountain Breakdown," Earl Scruggs, Glen Duncan, Randy Scruggs, Steve Martin, Vince Gill, Marty Stuart, Gary Scruggs, Albert Lee, Paul Shaffer, Jerry Douglas and Leon Russell
Country Song: "The Lucky One," Robert Lee Castleman (Alison Krauss + Union Station)
Country Album: Timeless--Hank Williams Tribute, Various Artists
Bluegrass Album: New Favorite, Alison Krauss + Union Station
Contemporary Jazz Album: M2, Marcus Miller
Jazz Vocal Album: The Calling, Dianne Reeves
Jazz Instrumental Solo: "Chan's Song," Michael Brecker
Jazz Instrumental Album: This Is What I Do, Sonny Rollins
Large Jazz Ensemble Album: Homage To Count Basie, Bob Mintzer Big Band
Latin Jazz Album: Nocturne, Charlie Haden
Rock Gospel Album: Solo, DC Talk
Pop/Contemporary Gospel Album: CeCe Winans, CeCe Winans
Southern, Country or Bluegrass Album: Bill & Gloria Gaither Present A Billy Graham Music Homecoming, Bill and Gloria Gaither and The Homecoming Friends
Traditional Soul Gospel Album: Spirit of the Century, The Blind Boys of Alabama
Contemporary Soul Gospel Album: The Experience, Yolanda Adams
Gospel Choir or Chorus Album: Love Is Live!, LFT Church Choir, Hezekiah Walker, choir director
Latin Pop Album: La Musica De Baldemar Huerta, Freddy Fender
Latin Rock/Alternative Album: Embrace the Chaos, Ozomatli
Traditional Tropical Latin Album: Dejame Entrar, Carlos Vives
Salsa Album: Encore, Robert Blades
Merengue Album: Yo Por Ti, Olga Tanon
Mexican/Mexican-American Album: En Vivo ... El Hombre y Su Musica, Ramon Ayala y Sus Bravos del Norte
Tejano Album: Nadie Como Tu, Solido
Traditional Blues Album: Do You Get the Blues?, Jimmie Vaughan
Contemporary Blues Album: Nothing Personal, Delbert McClinton
Traditional Folk Album: Down From the Mountain, Various Artists
Contemporary Folk Album: Love and Theft, Bob Dylan
Native American Music Album: Bless the People--Harmonized Peyote Songs, Verdell Primeaux and Johnny Mike
Reggae Album: Halfway Tree, Damian Marley
World Music Album: Full Circle/Carnegie Hall 2000, Ravi Shankar
Polka Album: Gone Polka, Jimmy Sturr
Musical Album for Children: Elmo and the Orchestra, Sesame Street Characters
Spoken Word Album for Children: Mama Don't Allow, Tom Chapin
Spoken Word Album: Q: The Autobiography of Quincy Jones, Quincy Jones
Spoken Comedy Album: Napalm and Silly Putty, George Carlin
Musical Show Album: The Producers, Original Broadway Cast with Nathan Lane and Matthew Broderick, lyricist and composer Mel Brooks
Compilation Soundtrack Album For a Motion Picture, Television or other Visual Media: O Brother, Where Art Thou?, Various Artists
Score Soundtrack Album for a Motion Picture, Television or other Visual Media: Crouching Tiger, Hidden Dragon, composer Tan Dun
Song Written for a Motion Picture, Television or Other Visual Media: "Boss of Me," (They Might Be Giants from Malcolm in the Middle), songwriters They Might Be Giants
Instrumental Composition: "Cast Away (End Credits)," Alan Silvestri (Alan Silvestri)
Instrumental Arrangement: "Claude Debussy 'Doctor Gradus Ad Parnassum' from Children's Corner," Bela Fleck and Edgar Meyer (Bela Fleck with Joshua Bell and Gary Hoffmann)
Instrumental Arrangement Accompanying Vocalist(s): "Drops of Jupiter," Paul Buckmaster (Train)
Recording Package: "Amnesiac (Special Limited Edition)" (Radiohead)
Boxed Recording Package: "Brain in a Box--The Science Fiction Collection," (Various Artists)
Album Notes: (tie) Richard Pryor ... And It's Deep Too! The Complete Warner Bros. Recordings (1968-1992), (Richard Pryor); Arhoolie Records 40th Anniversary Collection: 1960-2000 The Journey Of Chris Strachwitz, (Various Artists)
Historical Album: Lady Day: The Complete Billie Holiday on Columbia 1933-1944, (Billie Holiday)
Engineered Album, Non-Classical: The Look of Love, (Diana Krall)
Producer of the Year, Non-Classical: T Bone Burnett
Remixed of the Year, Non-Classical: Deep Dish, "Thank You (Deep Dish Vocal Remix)" (Dido)
Engineered Album, Classical: Bernstein (Arr. Brohn & Corigliano): West Side Story Suite (Lonely Town; Make Our Garden Grow, Etc.) (Joshua Bell)
Producer Of The Year, Classical: Manfred Eicher
Classical Album: Berlioz: Les Troyens, James Mallinson, producer
Orchestral Performance: "Boulez Conducts Varese (Ameriques; Arcana; Deserts; Ionisation)," Pierre Boulez (Chicago Sym. Orch.)
Opera Recording: "Berlioz: Les Troyens," Sir Colin Davis; Michelle De Young, Ben Heppner, Petra Lang, Peter Mattei, Stephen Milling, Sara Mingardo, Kenneth Tarver; James Mallinson, producer (Various Artists; London Sym. Orch.)
Choral Performance Award: "Bach: St. Matthew Passion," Nikolaus Harnoncourt (Arnold Schoenberg Chamber Orch. and Wiener Sangerknaben; Concentus Musicus Wien)
Instrumental Soloist(s) Performance: "Strauss Wind Concertos (Horn Concerto; Oboe Concerto, etc.)," Dale Clevenger, horn; Larry Combs, clarinet; Alex Klein, oboe; David McGill, bassoon; Daniel Barenboim, piano/conductor (Chicago Sym. Orch.)
Instrumental Soloist Performance (without Orchestra): "Britten Cello Suites (1-3)," Truls Mork, cello
Chamber Music Performance: "Haydn: The Complete String Quartets," The Angeles String Quartet
Small Ensemble Performance (with or without Conductor): "After Mozart (Raskatov, Silvestrov, Schnittke, Etc.)," Kremerata Baltica; Gidon Kremer, violin
Classical Vocal Performance: "Dreams & Fables--Gluck Italian Arias (Tremo Fra' Dubbi Miei; Di Questa Cetra in Seno, etc.)," Cecilia Bartoli, mezzo soprano
Classical Contemporary Composition: "Rouse: Concert De Gaudi for Guitar and Orch.," Christopher Rouse, composer
Classical Crossover Album: Perpetual Motion (Scarlatti, Bach, Debussy, Chopin, etc.) Bela Fleck, banjo (Joshua Bell, violin; Evelyn Glennie, marimba; Gary Hoffman, cello; Edgar Meyer, bass and piano; Chris Thile, mandolin; John Williams, guitar)
Short Form Music Video: "Weapon of Choice," Fatboy Slim featuring Bootsy Collins
Long Form Music Video: "Recording the Producers--A Musical Romp With Mel Brooks," Mel Brooks (with Various Artists including Nathan Lane and Matthew Broderick)
New Age Album: A Day Without Rain, Enya