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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Action fans have been crying out to Hollywood for years to deliver something as gritty, heartfelt, and rip-roaring as 1988's Die Hard. Director Antoine Fuqua (Training Day, Shooter) has heard those calls and responded with Olympus Has Fallen, a close quarters, man-vs.-an-army thriller that gets it mostly right, thanks to star Gerard Butler's mix of swagger and innate brutality. Why it can't live up to Die Hard (what could?) is in the sensationalism of the scenario: in this version, an office building is the White House, the maniacal Hans Gruber replaced by an endless force of North Koreans bent on America's destruction. Fuqua makes the stealthy techniques of Butler's Agent Mike Banning exhilarating, but pads it with blockbuster-sized bookends and more bloodshed than your typical Saw flick. Think of Olympus Has Fallen as Die Too Hard.
After a routine mission goes horribly wrong, Secret Service agent Banning is relieved of his position as head of security for President Benjamin Asher (Aaron Eckhart). Years after the debacle, Banning finds himself thrown back into action when a group of North Korean terrorists strike D.C., hitting the White House from every direction. The introductory mayhem is one of the more gruesome set pieces in recent memory: a Korean plane swoops over D.C., firing hundreds of rounds into unsuspecting pedestrians; tourists photographing the White House rip off their coats to reveal machine guns, a frontline for the home invasion; unmarked vans throw open their doors, functioning as makeshift tanks that clear a path. It's all out war and Fuqua doesn't hold back in the reality department. The front row of the theater is a splash zone.
RELATED: Gerard Butler and Antoine Fuqua Say Most Action Movies Are 'Precious'
When the action finally hones in on Banning — who shoots his way from behind the gun-toting Korean soldiers to gain entry to the White House — Olympus Has Fallen uncovers real thrills. Butler sells the punches, the stealth, the one-liners, and the gruff patriotism — he's more Jack Bauer than John McClane, a guy who can and will do anything to accomplish the mission. You never doubt him, and even when Olympus swerves in the wrong direction — oh no, a kid lost in the White House subplot! — Butler forcefully grabs the steering wheel and drives it back on course. His character builds to make any absurdity fit the movie's mosaic of action, building with close combat attacks and an interrogation scene straight out of the 24 playbook, and escalating all the way to a bazooka shootout.
If only there was more of Butler in the movie. Olympus splits its time pretty evenly between Morgan Freeman and Angela Basset, government officials spouting every "My… God…" variation imaginable while managing the crisis from a boardroom, and Eckhart's President Asher, who spends a majority of the movie handcuffed to a railing. The terrorists bark threats of nuclear apocalypse, the suits in Washington react. It's all padding to Butler's main quest. Melissa Leo manages to light up the screen momentarily as the captured Secretary of Defense; at one point, she's dragged across the ground by her hair. Her response? Scream the Pledge of Allegiance in an act of defiance. As the movie often does, the scene crosses the disturbing line to circle all the way back to bizarre fun.
In front of the wrong pair of eyes, Olympus Has Fallen could be a provocation of jingoism. For fans looking for a slight actioner with slick production value and a Hungry-Man serving of machismo, it's passable fun. Just don't take the image of the Washington Monument being shot to bits, smashing into helpless American citizens into puddles of blood, as a call to arms.
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Film District]
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
The 2012 Producer's Guild of America Awards are approaching, celebrating both Theatrical Motion Pictures and Long-Form Television with a new batch of nominees that the PGA has just released. Many of the films are no surprise—crossovers with the upcoming Golden Globes nominees abound. For theatrical motion picture include The Artist, The Descendants and Midnight in Paris; nominees for animated theatrical motion picture include Rango and The Adventures of Tintin.
The television nominees also offer some unsurprising names, including Mildred Pierce, Downton Abbey, Parks and Recreation, Boardwalk Empire,Game of Thrones, Mad Men and The Colbert Report.
Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures
Producer: Thomas Langmann
Producers: Judd Apatow, Barry Mendel, Clayton Townsend
Producers: Jim Burke, Alexander Payne, Jim Taylor
THE GIRL WITH THE DRAGON TATTOO
Producers: Ceán Chaffin, Scott Rudin
Producers: Michael Barnathan, Chris Columbus, Brunson Green
Producers: Graham King, Martin Scorsese
THE IDES OF MARCH
Producers: George Clooney, Grant Heslov, Brian Oliver
MIDNIGHT IN PARIS
Producers: Letty Aronson, Stephen Tenenbaum
Producers: Michael De Luca, Rachael Horovitz, Brad Pitt
Producers: Kathleen Kennedy, Steven Spielberg
The Producers Guild of America Producer of the Year Award in Animated Theatrical Motion Pictures
THE ADVENTURES OF TINTIN
Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg
Producer: Denise Ream
KUNG FU PANDA 2
Producer: Melissa Cobb
PUSS IN BOOTS
Producers: Joe M. Aguilar, Latifa Ouaou
Producers: John B. Carls, Gore Verbinski
The Producers Guild of America Producer of the Year Award in Documentary Theatrical Motion Pictures
BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST
Producers: Michael Rapaport, Edward Parks (*additional producers eligibility pending arbitration completion)
BILL CUNNINGHAM NEW YORK
Producer: Philip Gefter
Producer: Simon Chinn
Producer: James Gay-Rees
Producers: Cameron Crowe, Michelle Panek
The David L. Wolper Producer of the Year Award in Long-Form Television (Movies of the Week and Miniseries)
CINEMA VERITE (HBO)
Producers: Zanne Devine, Karyn McCarthy
DOWNTON ABBEY (Masterpiece) (PBS)
Producers: Julian Fellowes, Nigel Marchant, Gareth Neame
THE KENNEDYS (ReelzChannel)
Producers: Jon Cassar, Jonathan Koch, Stephen Kronish, Steve Michaels, Michael Prupas, Jamie Paul Rock, Joel Surnow
MILDRED PIERCE (HBO)
Producers: Todd Haynes, Pamela Koffler, Ilene S. Landress, Christine Vachon
TOO BIG TO FAIL (HBO)
Producers: Carol Fenelon, Jeffrey Levine, Paula Weinstein
The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:
30 ROCK (NBC)
Producers: Robert Carlock, Tina Fey, Marci Klein, Jerry Kupfer, Lorne Michaels, David Miner, Jeff Richmond, John Riggi, Don Scardino
THE BIG BANG THEORY (CBS)
Producers: Chuck Lorre, Steve Molaro, Faye Oshima, Bill Prady
Producers: Ian Brennan, Dante Di Loreto, Brad Falchuk, Ryan Murphy, Kenneth Silverstein
MODERN FAMILY (ABC)
Producers: Paul Corrigan, Abraham Higginbotham, Steven Levitan, Christopher Lloyd, Jeff Morton, Jeffrey Richman, Dan O’Shannon, Brad Walsh, Bill Wrubel, Danny Zuker
PARKS AND RECREATION (NBC)
Producers: Greg Daniels, Dan Goor, Howard Klein, Amy Poehler, Morgan Sackett, Michael Schur
The Norman Felton Award for Outstanding Producer of Episodic Television, Drama
BOARDWALK EMPIRE (HBO)
Producers: Eugene Kelly, Howard Korder, Stephen Levinson, Martin Scorsese, Rudd Simmons, Tim Van Patten, Terence Winter
Producers: Sara Colleton, John Goldwyn, Chip Johannessen, Robert Lloyd Lewis
GAME OF THRONES (HBO)
Producers: David Benioff, Frank Doelger, Mark Huffam, Carolyn Strauss, D.B. Weiss
THE GOOD WIFE (CBS)
Producers: Brooke Kennedy, Michelle King, Robert King, Ridley Scott, Tony Scott, David W. Zucker
MAD MEN (AMC)
Producers: Jonathan Abrahams, Scott Hornbacher, Andre Jacquemetton, Maria Jacquemetton, Blake McCormick, Dwayne Shattuck, Dahvi Waller, Matthew Weiner
The Award for Outstanding Producer of Live Entertainment & Talk Television
THE COLBERT REPORT (Comedy Central)
Producers: Meredith Bennett, Stephen T. Colbert, Richard Dahm, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart (*additional producers eligibility pending arbitration completion)
THE ELLEN DEGENERES SHOW (Syndicated)
Producers: Mary Connelly, Ellen DeGeneres, Melissa Geiger Schrift, Ed Glavin, Andy Lassner, Kevin A. Leman II, Jonathan Norman, Derek Westervelt
REAL TIME WITH BILL MAHER (HBO)
Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin
SATURDAY NIGHT LIVE (NBC)
Producers: Ken Aymong, Steve Higgins, Erik Kenward, Lorne Michaels, John Mulaney
THE 64TH ANNUAL TONY AWARDS (CBS)
Producers: Ricky Kirshner, Glenn Weiss
The Award for Outstanding Producer of Competition Television
THE AMAZING RACE (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
AMERICAN IDOL (FOX)
Producers: Charles Boyd, Cecile Frot-Coutaz, Simon Fuller, Patrick Lynn, Nigel Lythgoe, Megan Michaels, Ken Warwick
DANCING WITH THE STARS (ABC)
Producers: Ashley Edens Shaffer, Conrad Green, Joe Sungkur, Rob Wade
PROJECT RUNWAY (Lifetime)
Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands
TOP CHEF (Bravo)
Producers: Daniel Cutforth, Casey Kriley, Jane Lipsitz, Dan Murphy, Nan Strait
The Award for Outstanding Producer of Non-Fiction Television:
30 FOR 30 (ESPN)
Producers: John Dahl, Connor Schell, Bill Simmons
AMERICAN MASTERS (PBS)
Producers: Susan Lacy, Julie Sacks
ANTHONY BOURDAIN: NO RESERVATIONS (Travel Channel)
Producers: Christopher Collins, Julie Lei, Lydia Tenaglia, Tom Vitale
DEADLIEST CATCH (Discovery Channel)
Producers: Thom Beers, Jeff Conroy, John Gray, Sheila McCormack, Ethan Prochnik, Bill Pruitt, Matt Renner
UNDERCOVER BOSS (CBS)
Producers: Chris Carlson, Susan Hoenig, Eli Holzman, Sandi Johnson, Stephen Lambert, Allison Schermerhorn
ANDERSON COOPER 360º (CNN)
BBC WORLD NEWS AMERICA (BBC)
NBC NEWS WITH BRIAN WILLIAMS (NBC)
THE RACHEL MADDOW SHOW (MSNBC)
60 MINUTES (CBS)
MONDAY NIGHT FOOTBALL (ESPN)
REAL SPORTS WITH BRYANT GUMBEL (HBO)
SPORTS CENTER (ESPN)
30 FOR 30 (ESPN)
2010 FIFA WORLD CUP (ABC / ESPN / ESPN2)
U.S. OPEN TENNIS CHAMPIONSHIP (CBS / ESPN2 / Tennis Channel)
DORA THE EXPLORER (Nickelodeon)
PHINEAS AND FERB (Disney Channel)
SESAME STREET (PBS)
SPONGEBOB SQUAREPANTS (Nickelodeon)
ASK A NINJA (blip.tv)
THE GUILD (WatchTheGuild.com)
PARKS AND RECREATION PRESENTS: "APRIL AND ANDY'S ROAD TRIP" (NBC.com)
30 ROCK PRESENTS JACK DONAGHY, EXECUTIVE SUPERHERO (NBC.com)
WEB THERAPY (LStudio.com)
*These programs were not vetted for producer eligibility this year but winners in these categories will be announced at the official ceremony on January 21st.
Source: Producer's Guild
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
A billionaire TV producer (Robert Mammone) has a great idea for a reality show that he wants to put on the Internet and his goal is to beat the 40 million Super Bowl audience. He has compiled a crack team of young hip and immoral tech geeks directed by Goldman (Rick Hoffman) and puts cameras throughout a remote island where former prisoners are going to kill each other while audiences watch after shelling out the pay-per-view fee. The location is done on a remote secret island and the death row prisoners are bought from prisons around the world with the promise that the survivor gets to walk free. Among the contestants are a rogue Aussie named McStarley (Vinnie Jones) a martial arts expert (Masa Yamaguchi) a husband-and-wife team (Manu Bennett and Dasi Ruz) a monstrous killer who doesn't do much more than grunt (Nathan Jones) and others known only as The Italian The German and other monikers quickly forgotten. Enter the sole American Jack Conrad (Steve Austin) who's in a South American prison for some obscure reason and is recognized on TV by his wife (Madeleine West) who tries to save him. However it looks like Conrad is pretty good at helping himself. Don't expect the acting to be much more evolved than what could be seen among the World Wrestling Entertainment superstars especially since many of them were plucked from the ring to star in this morality tale. But Austin (who had in a strong cameo in Adam Sandler's Longest Yard) proves he has a sense of humor as well as strength. Vinnie Jones is ridiculously over-the-top as the Aussie who's the hand-picked winner of this game shown setting up alliances Survivor style only to turn on them later. The supporting cast are refreshingly entertaining but one-note caricatures both in the contest and running the contest. It's obvious that they aren't going to be around long but the actors do milk their tiny roles for every bit of attention they can get. Rick Hoffman as the brilliant camera mastermind of the project is both whiny sniveling and mean-spirited so when he joins some of the rest of the crew and suddenly develops a backbone and a conscience he ends up stealing the movie with his acerbic humor. But it's the understated American hero Conrad who holds a mirror up to the people who like to watch this stuff. Director Scott Wiper who co-wrote this story has also acted in similar movies like this (A Better Way to Die). It’s obvious he knows what he’s doing with The Condemned and develops a sense of voyeuristic angst like those of us who can't keep our eyes off a train wreck. Like the darkly subversive Belgian film Man Bites Dog the camera crew remains safely distant and remote until the reality directly involves them. Then the crew wonders "What the hell are we doing?" while the audience might be thinking "What the hell are we watching?" Much like Series 7: The Contenders Rollerball and other movies which show a dark and bloody near future this kind of reality doesn't seem too far away and maybe proves that movies which provide this type of gladiator spectacle target a certain segment of the human population who need to blow off steam.
Box office figures were Served this Super Bowl weekend.
The youthful hip-hop dance film You Got Served, starring the defunct boy band B2K, took the top spot with $16 million*, knocking last week's champ, the Ashton Kutcher thriller The Butterfly Effect, down to the third spot with $9.9 million.
"[You Got Served] is one of those movies that flies beneath the radar, then suddenly, it's at No. 1," Paul Dergarabedian, president of box-office tracker Exhibitor Relations, told The Associated Press. "It just shows when you go after that teen audience, it's an audience that definitely has power."
Second place belonged to the raucous romantic comedy Along Came Polly, which took in a decent $10 million, while the regal The Lord of the Rings: The Return of the King came in fourth with $5.2 million.
Rounding out the top five was another newcomer, the SAT heist flick The Perfect Score with $5 million, while the other heist flick opening this week, The Big Bounce, failed to make it to the top 10, scraping by with a measly $3.3 million.
With the Academy Award nominations announced on Tues. Jan. 27, the box office also saw a few familiar faces return in re-release, including Best Picture nominees Master and Commander: The Far Side of the World, which earned $2.3 million in 1,118 theaters, and Lost in Translation, which grossed $2.1 million in 632 theaters. Both joined Mystic River, which expanded last week. The indie drama Monster, which stars Best Actress nominee Charlize Theron, also saw a 49 percent jump, with a healthy $3 million in 668 theaters.
The overall Super Bowl weekend figures of $75.2 million, were slightly down, 5.93 percent, from the same Super Bowl weekend last year (which came a week earlier), at $79.9 million.
THE TOP TEN
Screen Gems' PG-13 rated hip-hoppin' You Got Served opened in the No. 1 slot with an ESTIMATED $16 million, which comes somewhat as a surprise since it only opened in 1,933 theaters. Still, its $8,277 per theater average was the highest of any film playing wide this week.
The former boy band B2K hits the big screen as an urban dance crew competing for a big cash prize.
Directed by Chris Stokes, it stars Marques Houston, Omarion, Jarell "J-Booq" Houston and Dreux "Lil Fizz" Frederic.
Universal Pictures' PG-13 rated romantic comedy Along Came Polly stayed in second place in its third week with an ESTIMATED $10 million (-38%) in 3,052 theaters (+57 theaters; $3,300 per theater). Its cume is approximately $66.7 million.
Directed by John Hamburg, it stars Ben Stiller, Jennifer Aniston, Philip Seymour Hoffman and Debra Messing.
Last week's champ, New Line Cinema's R rated supernatural drama The Butterfly Effect, dropped to third place in its second week with an ESTIMATED $9.9 million (-42%) in 2,605 theaters (unchanged; $3,820 per theater). Its cume is approximately $32.4 million.
Directed by Eric Bress and J. Mackye Gruber, it stars Ashton Kutcher, Amy Smart, Elden Henson and Ethan Suplee.
New Line Cinema's PG-13 rated fantasy epic The Lord of the Rings: The Return of the King actually moved up a spot to fourth in its seventh week with an ESTIMATED $5.2 million (-22%) at 2,556 theaters (-302 theaters; $2,338 per theater). Its cume is approximately $345.2 million.
Directed by Peter Jackson, it stars Elijah Wood, Viggo Mortensen, Orlando Bloom, Ian McKellen, Sean Astin, Liv Tyler, Miranda Otto, Billy Boyd and Dominic Monaghan.
Paramount Pictures' PG-13 rated dramedy The Perfect Score opened in fifth place, scoring $5 million in 2,208 theaters with a $2,264 per theater average.
A group of high school seniors conspire to steal the answers to the SAT test.
Directed by Brian Robbins, it stars Chris Evans, Scarlett Johansson, Erika Christensen, Bryan Greenberg and Leonardo Nam.
*Box office estimates provided by Exhibitor Relations, Inc.
Sony's PG-13 rated drama Big Fish dropped two notches to fourth place in its eighth week with an ESTIMATED $4.6 million (-35%) in 2,280 theaters (-158 theaters; $2,018 per theater). Its cume is approximately $55.3 million.
Directed by Tim Burton, it stars Ewan McGregor, Albert Finney, Billy Crudup, Jessica Lange, Helena Bonham Carter and Alison Lohman.
Miramax Films' R rated Civil War drama Cold Mountain held on to seventh place in its sixth week with an ESTIMATED $4.5 million (-9%) at 2,500 theaters (-302; $1,813 per theater average). Its cume is approximately $78.8 million.
Directed by Anthony Minghella, it stars Jude Law, Nicole Kidman and Renee Zellweger.
Dropping considerably, DreamWorks' PG-13 rated romantic comedy Win a Date With Tad Hamilton! came in at No. 8 in its second week with an ESTIMATED $4.5 million (-39%) in 2,808 theaters (+97; $1,603 per theater). Its cume is approximately $13.4 million.
Directed by Robert Luketic, it stars Kate Bosworth, Josh Duhamel and Topher Grace.
Warner Bros.' dramatic R rated Mystic River moved up a spot to ninth place since expanding to more theaters last week with an ESTIMATED $4.4 million (+31%) at 1,370 theaters (+43 theaters; $3,215 per theater). Its cume is approximately $64.8 million.
Directed by Clint Eastwood, it stars Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Laura Linney and Marcia Gay Harden.
Twentieth Century Fox's PG rated family comedy Cheaper by the Dozen rounded out the top 10 in its fifth week with an ESTIMATED $4.1 million (-36%) in 2,396 theaters (-416 theaters; $1,711 per theater). Its cume is approximately $127.8 million.
Directed by Shawn Levy, it stars Steve Martin, Bonnie Hunt, Hilary Duff and Tom Welling.
Warner Bros. PG-13 rated Hawaiian heist caper The Big Bounce didn't have much spring in its step in its opening weekend, taking in an ESTIMATED $3.3 million in 2,304 theaters with a $1,439 per theater average.
Directed by George Armitage, it stars Owen Wilson, Charlie Sheen, Morgan Freeman, Sara Foster and Gary Sinise.
This week, the Top 12 films grossed an estimated $75.2 million, down 8.75 percent from last week's $82.4 million, as well as down 19.65 percent from last year's $93.6 million.
Last year, Buena Vista's PG-13 rated The Recruit debuted at the No. 1 spot with $16.3 million at 2,376 theaters with a $6,861 per theater average; New Line Cinema's R rated horror sequel Final Destination 2 opened in second with $16 million in 2,834 theaters with a $5,652 per theater average; and DreamWorks' PG-13 rated actioner Biker Boyz premiered in third with $10 million in 1,766 theaters with a $5,723 per theater average.