We opened 2014 with heated anticipation for the next great turns from Wes Anderson, Richard Linklater, Christopher Nolan, Lars von Trier, and a number of other cinematic vets. But the year has also treated us to a hefty sum of noteworthy first timers. We've caught a wide variety of debut attempts over the course of these past eight months, with enough qualitative range to incite reactions from "The next Hitchcock!" to "I might be able to get you a gig with my friend who does wedding videos, but don't tell him you know me." Here's a quick rundown of the debut flicks we've seen so far in '14, from great to terrible.
Tribeca Film via Everett Collection
Palo AltoDirector: Gia CoppolaWhy we're already on her bandwagon: In the vein of her aunt Sofia, the young Gia Coppola showcases an indubitable understanding of upper class ennui.
Hide Your Smiling Faces Director: Daniel Patrick CarboneWhy we're already on his bandwagon: Carbone's primarily wordless coming-of-age drama shows off his patience and pensiveness, not to mention his ability to skirt the self-importance than many films of Smiling Faces' ilk seem to bear.
Obvious ChildDirector: Gillian RobespierreWhy we're already on her bandwagon: It's funny as hell even within the margins of genre tradition, and sweet without succumbing to Hollywood sugar.
THE VERY GOOD
Zero MotivationDirector: Talya LavieShows promise of: A knack for absurdist humor and grounded character relationships alike.
It Felt Like LoveDirector: Eliza HittmanShows promise of: A uniquely keen empathy for how young people conduct themselves, both internally and among one another.
Tribeca Film via Everett Collection
The Bachelor Weekend/The StagDirector: John ButlerShows potential in: A good sense of humor, especially when it veers closer to Apatow than McKay.
Are You HereDirector: Matthew WeinerShows potential in: Social commentary through character construction, but Weiner needs a better handle on cinematic pacing.
The One I LoveDirector: Charlie McDowellShows potential in: Big ideas, and the presentation thereof, but lacks in the ultimate execution of where they can and ought to go.
Drafthouse Films via Everett Collection
Beneath the Harvest SkyDirector: Aron Gaudet and Gita PullapillyThere's room for improvement regarding: A sharper attention to the characters and story, which occasionally fade out of focus at the behest of a vivid North Maine setting.
LullabyDirector: Andrew LevitasThere's room for improvement regarding The acerbic but knowing humor shared by the central family members, in favor of the intense melodrama that the film feels impelled to stuff itself with from time to time.
Cheap ThrillsDirector: E.L. KatzThere's room for improvement regarding: The energy set toward invoking a truly interesting story or course of events, rather than the allowance of the "weird" or "dangerous" to take the wheel altogether like it does here.
TammyDirector: Ben FalconeThere's room for improvement regarding: An authentic commitment to the sincerity in the characters, in place of wild and wacky antics like jetski crashes and deer mouth-to-mouth... though these were probably studio notes, we have to assume.
Music Box Films via Everett Collection
Winter’s TaleDirector: Akiva GoldsmanWhat we hope he gets right next time: A more defined storytelling goal. While some of the film's elements worked in a vaccuum, Goldsman had been gestating a Winter's Tale adaptation for years, coming out the gate with something that is oddly both convoluted and terribly narrow.
MaleficentDirector: Robert StrombergWhat we hope he gets right next time: More Angie.
A Coffee in Berlin/Oh BoyDirector: Jan Ole GersterWhat we hope he gets right next time: A better understanding of the fine line between cheeky and irritating.
Earth to EchoDirector: Dave GreenWhat we hope he gets right next time: Ditch the essentially pointless found footage antic and hone in on the fleeting spirit of the kids.
TranscendenceDirector: Wally PfisterWhy we're nervous for his future: Pfister is a skilled cinematographer, but his grasp of character, story, and ambiance seem dangerously absent.
Goodbye to All ThatDirector: Angus McLachlanWhy we're nervous for his future: Ambitions seem to fall shy of originality, settling instead on retreading the same indie dramedy territory we've seen time and time again, but without any discernible charisma.
If I StayDirector: R.J. CutlerWhy we're nervous for his future: A dastardly aesthetic, paper-thin characters, a devoted marriage to teen movie cliches, and a potentially dangerous mentality driving the story altogether do not bode well for Cutler's future behind the camera.
Behaving BadlyDirector: Tim GarrickWhy we're nervous for his future: Because he thought this horrible thing could work.
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NBC sitcom disaster survivor Christina Applegate is probably very glad that the long nightmare of Up All Night is finally over. Now she gets to go back to the movies! Not only is she currently taping Anchorman 2: The Mustache's Revenge, but she's been cast in the remake/reboot/sequel-y think that they're turning National Lampoon's Vacation into, according to the Hollywood Reporter.
RELATED: 'Vacation' Reboot Writer/Directors on How They'll Update the Comedy Classic
Now just called Vacation (Van Wilder seems to have sullied the National Lampoon's brand), Ed Helms plays Rusty, the son of the original 1983 classic, who is now grown up, married to hilarious hottie Applegate and headed to Wally World with his kids in their very own wood paneled station wagon. We'll sure there will be a texting joke that Chevy Chase still won't understand. We couldn't think of a better choice. To make another '80s joke, this Vacation is all we ever wanted. Welcome back, Christina.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: Krista Kennell/Sipa Press/AP Images]
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The British Academy of Film and Television Arts has released its list of nominees for the annual BAFTA Awards, also known as the British Oscars or the only big awards show with a category just for British only. Surprise, surprise, the Brits have come out on top; the historical drama, The King’s Speech swept the noms with 14 in total. Close behind is Darren Aronofsky’s surprising thriller, Black Swan with 12 total nominations. The British Film category that comes in addition to the BAFTA’s “Best Film” category gives a second chance to 127 Hours, which doesn’t make the top five in the overall category but has the chance to take the top Brits-only honor. Also of note, 14 year old Hailee Steinfeld, who’s blowing audiences away in December’s True Grit, merits the grownup honor of a nomination for best lead actress for her role in the film (mini fist pump!).
While the awards will be broadcast exclusively on BBC One, sorry America, it’s still worth knowing which films made the cut.
And the nominees are:
• Black Swan - Mike Medavoy, Brian Oliver, Scott Franklin
• Inception - Emma Thomas, Christopher Nolan
• The King’s Speech - Iain Canning, Emile Sherman, Gareth Unwin
• The Social Network - Scott Rudin, Dana Brunetti, Michael De Luca, Céan Chaffin
• True Grit - Scott Rudin, Ethan Coen, Joel Coen
Outstanding British Film
• 127 Hours - Danny Boyle, Simon Beaufoy, Christian Colson, John Smithson
• Another Year - Mike Leigh, Georgina Lowe
• Four Lions - Chris Morris, Jesse Armstrong, Sam Bain, Mark Herbert, Derrin Schlesinger
• The King’s Speech - Tom Hooper, David Seidler, Iain Canning, Emile Sherman, Gareth Unwin
• Made in Dagenham - Nigel Cole, William Ivory, Elizabeth Karlsen, Stephen Woolley
Outstanding Debut by a British Writer, Director or Producer
• The Arbor - Director, Producer - Clio Barnard, Tracy O’Riordan
• Exit Through The Gift Shop - Director, Producer – Banksy, Jaimie D’Cruz
• Four Lions - Director/Writer - Chris Morris
• Monsters - Director/Writer – Gareth Edwards
• Skeletons - Director/Writer – Nick Whitfield
• 127 Hours - Danny Boyle
• Black Swan - Darren Aronofsky
• Inception - Christopher Nolan
• The King’s Speech - Tom Hooper
• The Social Network - David Fincher
• Black Swan - Mark Heyman, Andrés Heinz, John McLaughlin
• The Fighter - Scott Silver, Paul Tamasy, Eric Johnson
• Inception - Christopher Nolan
• The Kids Are All Right - Lisa Cholodenko, Stuart Blumberg
• The King’s Speech - David Seidler
• 127 Hours - Danny Boyle, Simon Beaufoy
• The Girl With The Dragon Tattoo - Rasmus Heisterberg, Nikolaj Arcel
• The Social Network - Aaron Sorkin
• Toy Story 3 - Michael Arndt
• True Grit - Joel Coen, Ethan Coen
Film Not In the English Language
• Biutiful - Alejandro González Iñárritu, Jon Kilik, Fernando Bovaira
• The Girl With The Dragon Tattoo - Søren Stærmose, Niels Arden Oplev
• I Am Love - Luca Guadagnino, Francesco Melzi D’Eril, Marco Morabito, Massimiliano Violante
• Of Gods And Men - Xavier Beauvois
• The Secrets In Their Eyes - Mariela Besuievsky, Juan José Campanella
• Despicable Me - Chris Renaud, Pierre Coffin
• How To Train Your Dragon - Chris Sanders, Dean DeBlois
• Toy Story 3 - Lee Unkrich
• Javier Bardem – Biutiful
• Jeff Bridges - True Grit
• Jesse Eisenberg - The Social Network
• Colin Firth - The King’s Speech
• James Franco - 127 Hours
• Annette Benning - The Kids Are All Right
• Julianne Moore - The Kids Are All Right
• Natalie Portman - Black Swan
• Noomi Rapace - The Girl with the Dragon Tattoo
• Hailee Steinfeld - True Grit
• Christian Bale - The Fighter
• Andrew Garfield - The Social Network
• Pete Postlethwaite - The Town
• Mark Ruffalo - The Kids Are All Right
• Geoffrey Rush - The King’s Speech
• Amy Adams - The Fighter
• Helena Bonham Carter - The King’s Speech
• Barbara Hershey - Black Swan
• Lesley Manville - Another Year
• Miranda Richardson - Made in Dagenham
• 127 Hours - AR Rahman
• Alice In Wonderland - Danny Elfman
• How to Train Your Dragon - John Powell
• Inception - Hans Zimmer
• The King’s Speech - Alexandre Desplat
• 127 Hours - Anthony Dod Mantle, Enrique Chediak
• Black Swan - Matthew Libatique
• Inception - Wally Pfister
• The King’s Speech - Danny Cohen
• True Grit - Roger Deakins
For the full list of nominees, visit the BAFTA site, here.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Blade 2 was a slashing success at the box office, opening in first place to a razor sharp $33.1 million.
Ice Age slid into second place with a still solid $31.1 million, melting only 33 percent. E.T.'s 20th anniversary reissue opened in third place, celebrating with $15.1 million. Also helping to drive ticket sales to record setting heights were holdovers Showtime with $8.2 million and Resident Evil with $6.6 million.
For the second consecutive weekend, key films--those grossing $500,000 or more--enjoyed summer sized grosses. Studio estimates put ticket sales at $132.7 million, down less than one percent from last weekend's $133.8 million. Business was up nearly 75 percent from last year's $76 million.
Distribution sources said that when the weekend's final numbers are released Monday they could be lower than today's estimates because of competition from tonight's Oscar telecast. Adult appeal films, in particular, are considered to be the most vulnerable to competition from the Oscars.
For years the industry avoided having a negative impact at the box office by holding the Oscars on Monday night, the weakest night of the weak for ticket sales. Last year, the Oscars were moved to Sunday night. A key reason for the move was to take advantage of there being less traffic in Los Angeles on Sundays so those attending could get to the ceremonies more easily.
THE TOP TEN
New Line Cinema's R rated vampire thriller Blade 2 kicked off in first place to a bloody good ESTIMATED $33.1 million at 2,707 theaters ($12,228 per theater).
Blade 2's average per theater was the highest for any film playing this weekend.
Directed by Guillermo Del Toro, it stars Wesley Snipes.
"It could be heading to $100 million," New Line distribution president David Tuckerman said Sunday morning.
"This was just terrific. It's Wesley's biggest opening and it almost doubled the first Blade's opening (of $17.1 million the weekend of Aug. 21-23, 1998)."
Looking at the opening weekend demographics, Tuckerman said exit polls showed were encouraging because they showed the urban appeal film played to a broader audience than expected. Those on hand were 69 percent non-African-American and 31 percent African-American.
"Non-African-Americans were 55 percent male and 45 percent female, which also is terrific," Tuckerman said. "The African-American audience was equally divided 50-50 (by gender). By age (the overall audience) was equally divided under and over 25."
Looking at New Line's timing in releasing the film now, Tuckerman observed, "One of the reasons I picked this date was because (in terms of upcoming openings) there was only Panic Room, which is not in our demo at all. It looks to me like there's four weeks for it to play without anything to bother it. And it looks like we're going to play for a while."
20th Century Fox's PG rated animated feature Ice Age fell one slot to second place in its second weekend, holding strongly with an ESTIMATED $31.08 million (-33%) at 3,345 theaters (+29 theaters; $9,291 per theater). Its cume is approximately $88.3 million.
Directed by Chris Wedge, it features the voices of Ray Romano, John Leguizamo and Denis Leary.
"You know, if we had opened to this figure we would have been ecstatic," Fox distribution executive vice president and general sales manager Rick Myerson said Sunday morning.
"We have about 12 digital runs in North America. The presentation in digital is phenomenal because this was computer generated digitally. People are waiting for the next digital presentation at some of those theaters. What they're saying is, 'Look, I know there's one in 15 minutes, but I'd rather wait a half-hour and see the (next) digital presentation."
Noting that Ice Age is also playing abroad now, Myerson said, "The international market is unbelievable. (Based on early grosses coming in) they may have done $30 million internationally and they have only opened up the U.K., Germany and one other European country plus Singapore and a few South American (territories) and Mexico. But the numbers are just unbelievable.
"It's mirroring what we're doing. The numbers in Germany, Venezuela, Brazil, Mexico and (other markets) are bigger than Shrek and Dinosaur combined, which were huge. It seems like the picture is just coming along with us (in paralleling its domestic success). The admissions they had in Mexico in 10 days were unheard of. If you take a bunch of animated pictures and put them together, (Ice Age is) doing better in those first 10 days. It's just phenomenal."
Universal's 20th year anniversary reissue of its PG rated sci-fi fantasy drama E.T. landed in third place with a happy ESTIMATED $15.05 million at 3,007 theaters ($5,005 per theater).
Directed by Steven Spielberg, it stars Dee Wallace Stone, Peter Coyote, Drew Barrymore and Henry Thomas.
"We're very pleased with E.T.'s performance," Universal distribution president Nikki Rocco said Sunday morning. "The whole idea of the reissue was to celebrate the 20th anniversary of a film that we at Universal and at Amblin are all very proud of.
"Its performance is very much like any Disney animated reissue, if you look at the numbers. It ranks number four in all time reissue openings behind the three Star Wars and that's good company to be in. There's every indication that the audiences that did go to see it absolutely adored the film, including the non-parents category."
Among non-family moviegoers, Rocco noted, "ratings were well above average among 25 year olds and over. They were also, of course, incredible for kids and for parents. But I highlight that category because it's interesting. You don't have to be parent or a kid to enjoy the experience of E.T."
Warner Bros.' PG-13 rated action comedy Showtime from Village Roadshow Pictures and NPV Entertainment slipped one peg to fourth place in its second week with an okay ESTIMATED $8.23 million (-45%) at 2,917 theaters (theater count unchanged; $2,821 per theater). Its cume is approximately $26.9 million.
Directed by Tom Dey, it stars Robert De Niro, Eddie Murphy and Rene Russo.
Sony's Screen Gems label launched its R rated thriller Resident Evil from Constantin Film, New Legacy Film and Davis Films dropped three notches to fifth place in its second week with a less scary ESTIMATED $6.6 million (-63%) at 2,528 theaters (theater count unchanged; $2,611 per theater). Its cume is approximately $28.8 million.
Written and directed by Paul W.S. Anderson, it stars Milla Jovovich, Michelle Rodriguez and Eric Mabius.
Resident Evil, which was made by Constantin for about $30 million, is being released through Sony domestically and in certain international territories, including all of Latin America.
"I think we're headed towards a very profitable $40 million (in domestic theaters)," Sony Pictures Entertainment worldwide marketing & distribution president Jeff Blake said Sunday morning. "It's the nature of the genre and the world we now live in (in terms of the highly competitive movie marketplace) that things drop a bit more than we'd like--not to mention some pretty strong competition from Blade 2."
Paramount and Icon Productions' R rated Vietnam war drama We Were Soldiers fell one rung to sixth place in its fourth week with a slower ESTIMATED $5.8 million (-32%) at 2,859 theaters (-284 theaters; $2,029 per theater). Its cume is approximately $61.7 million, heading for $80-90 million in domestic theaters.
Written and directed by Randall Wallace, it stars Mel Gibson.
DreamWorks and Warner Bros.' PG-13 rated time travel fantasy drama The Time Machine fell three pegs to seventh place in its third week with a quieter ESTIMATED $5.2 million (-52%) at 2,809 theaters (-149 theaters; $1,851 per theater). Its cume is approximately $48.0 million. The film is being released domestically by DreamWorks and internationally by Warner Bros., which co-financed its production.
Directed by Simon Wells, it stars Guy Pearce.
Universal, DreamWorks and Imagine Entertainment's PG-13 rated drama A Beautiful Mind--which has eight Oscar nominations including best picture--rose one notch to eighth place in its 14th week, still holding very well with an ESTIMATED $4.26 million (+26%) at 1,455 theaters (-78 theaters; $2,930 per theater). Its cume is approximately $154.9 million. How far it goes from here will depend on how well it does in tonight's Oscar race.
Directed by Ron Howard, the Brian Grazer production stars Russell Crowe, Ed Harris and Jennifer Connelly.
Buena Vista/Touchstone's R rated youth comedy Sorority Boys opened in a virtual tie for eighth place with an unfunny ESTIMATED $4.2 million at 1,801 theaters ($2,317 per theater).
Directed by Wally Wolodarsky, it stars Barry Watson.
Rounding out the Top Ten was Miramax and Universal's R rated romantic comedy 40 Days and 40 Nights, down three slots in its fourth week with a dull ESTIMATED $2.72 million (-38%) at 1,831 theaters (-481 theaters; $1,487 per theater). Its cume is approximately $34.2 million.
Directed by Michael Lehmann, it stars Josh Hartnett, Shannyn Sossamon and Maggie Gyllenhaal.
This weekend also saw the arrival of Miramax's PG rated drama Stolen Summer--famous for having been featured in HBO's Project Greenlight series--to a slow ESTIMATED $0.062 million at 13 theaters ($4,769 per theater).
Written and directed by Pete Jones, it stars Aidan Quinn, Bonnie Hunt, Kevin Pollak and Brian Dennehy.
Sony Pictures Classics' R rated comedy Son of the Bride opened to a hopeful ESTIMATED $0.037 million at 6 theaters ($6,098 per theater).
Directed by Joan Jose Campanella, the film is Argentina's official entry in the Oscars and a nominee for best foreign language film.
There were no national sneak previews this weekend.
On the expansion front this weekend USA Films' R rated romantic comedy Monsoon Wedding added theaters in its fifth week with a still festive ESTIMATED $0.81 million (+4%) at 128 theaters (+30 theaters; $6,310 per theater). Its cume is approximately $3.3 million.
Directed by Mira Nair, it was produced by Nair and Caroline Baron.
Fox Searchlight Pictures' R rated romantic comedy Kissing Jessica Stein expanded in its second week to a still sexy ESTIMATED $0.55 million at 66 theaters (+40 theaters; $8,300 per theater). Its cume is approximately $1.1 million.
Directed by Charles Herman-Wurmfeld, it stars Jennifer Westfeldt and Heather Juergensen.
"This Friday we're adding another 19 cities and we'll go up to over 30 theaters," Fox Searchlight distribution president Stephen Gilula said Sunday morning.
Focusing on Kissing Jessica Stein's performance this weekend, Gilula said, "It's terrific. The holdover theaters declined less than 10 percent and we continued to move into more regional cities where the film is performing extremely well. So we're seeing evidence of very, very strong word of mouth in a wide range of cities and theaters. It's crossing over into a broader and broader audience. So we're quite pleased about that."
IFC Films' unrated erotic drama Y Tu Mama Tambien went wider in its second week with a still hot ESTIMATED $0.46 million at 52 theaters (+10 theaters; $8,785 per theater). Its cume is approximately $1.1 million.
Directed by Alfonso Cuaron, it stars Maribel Verdu, Gael Garcia Bernal and Diego Luna.
Universal's international division reported Sunday that Ali G Inda House, its latest film from Working Title, opened in first place in the U.K. to a terrific $2.9 million for two days on 394 playdates. Ali G Inda House is 69 percent ahead of the second place Ice Age and has 32 percent of the marketplace.
Spy Game in its second weekend in Germany grossed $0.82 million on 634 playdates, ranking third behind the openings of Ice Age and Resident Evil. A Beautiful Mind was sixth with $0.6 million on 350 playdates.
In Austria, Spy Game grossed $0.1 million on 63 playdates in its second weekend, coming in second to the opening of Ice Age. Spy Game's international cume is $71 million.
A Beautiful Mind, a Universal DreamWorks co-production that is being distributed by UIP for DreamWorks, continued to hold very well internationally. In Australia A Beautiful Mind was second with $0.91 million on 220 playdates, down only 18 percent and only behind the opening of Ice Age. In the U.K., A Beautiful Mind grossed $0.5 million on 350 playdates, down 27% and fourth in the marketplace in its fifth week.
In Spain, A Beautiful Mind was fourth in its fifth week, grossing $0.3 million for two days on 200 playdates, down 25%. In Argentina, A Beautiful Mind in its fifth week took over the top spot on the chart again with a weekend gross of $95,000 on 46 playdates, down only 9 percent. In Brazil, A Beautiful Mind finished third in its sixth weekend With $0.22 million on 163 playdates, down only 7 percent. In Mexico A Beautiful Mind was fifth in its fourth week, with $0.34 million on 170 playdates, down only 10 percent. A Beautiful Mind's international cume is $64 million.
Key films--those grossing more than $500,000--took in approximately $132.66 million, up about 74.74 percent from last year when they totaled $75.92 million. Key films this weekend were down a marginal 0.33 percent from the previous weekend of this year's total of $133.81 million.
Last year, MGM's opening week of Heartbreakers was first with $11.8 million at 2,750 theaters ($4,291 per theater); and Sony's opening week of The Brothers was second with $10.3 million at 1,378 theaters ($7,477 per theater). The top two films one year ago grossed $22.1 million. This year, the top two films grossed an ESTIMATED $64.2 million.