For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Billy Elliot is no Longer Mad: Good news for the formerly twinkle-toed Jamie Bell — Billy Elliot himself has been cast as the lead in AMC's first period drama, Turn. The show will focus on Bell, a New York cabbage farmer, who bands together with a group of friends in 1778 to become a band of unlikely spies that help Amerikuh get independent. It's based on the book Washington's Spies: The Story of America's First Spy Ring by Alexander Rose. [EW]
X-Files Star Returns to the FBI: Gillian Anderson has been cast as the older sister to FBI agent Susie Dunn (666 Park's Rachael Taylor) in an untitled NBC pilot from writer-executive producer Rand Ravich. The show will be an "emotionally charged action thriller" set in DC, and will center on a Secret Service agent charged with protecting the President's son, who is later kidnapped along with Dunn's biological daughter, who is being raised Anderson's character. [Deadline]
Supernatural Has a Full-Time Angel: After years of flip-flopping between recurring and regular status on the show (5 to be exact), fan-favorite Misha Collins (the angel Castiel) has been updated to regular status, again, on Supernatural. He's been recurring since the show's sixth season, and announced the switch — as he often does — on Twitter.
I don't think the feathers to the offices campaign was what saved the angel, but it does look like i'm going to be a regular for season 9.
— Misha Collins (@mishacollins) February 25, 2013
Runs In the Family: Prince Michael Jackson, the 16-year-old son of Michael Jackson, will make his acting debut in the Season 5 finale of The CW's 90210. Jackson will play a trauma victim named Cooper who bonds with Silver about the precious, fleeting nature of life. [THR]
Summer Fun: Gillian Anderson's not the only TV vet heading back to the small screen this year. Six Feet Under and Brothers & Sisters star Rachel Griffiths has signed on to star as a newly single camp director named Mackenzie Greenfield in NBC's 10-episode summer camp-set series, Camp. [Deadline]
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With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
When word got out that Gina Carano would be starring as the leading lady of Steven Soderbergh's spy thriller, Haywire, I was immediately intrigued. Granted, it's not the first time a martial arts expert has graced the silver screen thanks to the likes of Jackie Chan and Bruce Lee, but it's much less common to see a female make such a substantial crossover. Of course, it makes sense, especially when dealing with such action-packed movies, and Carano is the perfect pick for the job. Her well-trained athletic ability and good looks will undoubtedly provide great authenticity to any role she plays, automatically making her a huge box office draw. But let's not get too far ahead of ourselves. Carano's come a long way to make it to where she is today.
Born on April 16, 1982 in Dallas County, Tex., Carano was the middle child of Dana Cason and Glenn Carano. She has two siblings (both sisters) and is of Italian descent. And given the fact that her father was a former quarterback for the Dallas Cowboys, one can't be too surprised that she became an outstanding athlete herself -- it's in her genes. By the age of 18, Carano graduated from Trinity High School in Las Vegas, Nevada, where she helped lead her high school basketball team to a state championship. She also attended the University of Nevada for three years where she majored in psychology.
But later she discovered that her true passion lied in the area of Mixed Martial Arts. Carano kicked off her fighting career by developing a background in Muay Thai kickboxing (Thailand's combat style) and went on to hold a professional record of 12-1-1. From there she was invited to participate in the first-ever sanctioned female Mixed Martial Arts fight in Las Vegas in 2006, where she beat her opponent Rosi Sexton in the second round. And the rest, as they say, is history. Since then it's been one victory after another and her popularity continues to grow both in and out of the ring. In fact, she actually served as a mentor to aspiring female fighters in the Oxygen reality series Fight Girls and appeared as "Crush" on the NBC show American Gladiators. With all this growing on-screen time, it's not surprising she was ranked #5 on the Top Ten Influential Women of 2008 list on Yahoo and ranked #16 in Maxim's Hot 100 list in May 2009.
However, it now seems that Carano is determined to make her mark outside the martial arts arena and is attempting to solidify her place in the entertainment world in a more permanent way. She's been in a few fighting related flicks here and there, but never as the leading lady and never in this caliber of movie. So how did this fighter-turned-actress' transition come about? Soderbergh actually watched one of her fights, thought she'd be a perfect fit for the film, and decided to offer her the part. Of course, one could find it intimidating to go up against the likes of Channing Tatum, Ewan McGregor, and Michael Fassbender, but if anyone's up to the task, it's Carano. Perhaps she could even teach those guys a thing or two.
Will this be one of many more box office hits in Carano's future? I can't see why not. Hollywood is always looking for the next big female powerhouse and this girl really seems to fit the bill. Plus you know she'll look absolutely gorgeous in all those Red Carpet gowns. She'll fit right in!
Be sure to watch Gina Carano in action when Haywire hits theaters on January 20.
Making an earnest cinematic argument for the immortality of the soul and the existence of an afterlife without delving into mushy sentimentality is a difficult task for even the most gifted and “serious” of filmmakers. Oscar-winning director Peter Jackson discovered as much last year when his sappy grandiose adaptation of the ethereal bestseller The Lovely Bones opened to scathing reviews. Critics by and large tend to bristle at movie renderings of what may or may not await them in that Great Arthouse in the Sky.
And yet filmmakers seem determined to keep trying. The latest to make the attempt is Clint Eastwood who throughout his celebrated directorial career has certainly demonstrated a firm grasp of the death part of the equation. His filmography with a few notable exceptions practically revels in it: of his recent oeuvre Invictus is the only work that doesn’t deal with mortality in some significant manner. With his new film Hereafter Eastwood hopes to add immortality to his thematic resume.
The film's narrative centers on three characters each of whom has intimate experience with death and loss. Their stories in true Eastwood fashion can ostensibly be labeled Sad Sadder and Saddest: Marie (Cecile de France) is a French TV news anchor who’s haunted by disturbing flashbacks after she loses consciousness — and briefly her life — during a natural disaster; George (Matt Damon looking credibly schlubby) is a former psychic whose skills as a medium are so potent (the slightest touch from another human being triggers an instant powerful psychic connection a la Rogue from X-Men) they’ve left him isolated and alone; Marcus is a London schoolboy who retreats into a somber shell after losing his twin brother in a tragic car accident (both brothers are played rather impressibly by real-life twins Frankie and George McLaren).
Humanity offers little help to these troubled souls surrounding them with skeptics charlatans users and deadbeats none of whom are particularly helpful with crises of an existential nature. Luckily there are otherworldly options. Peter Morgan's script assumes psychics out-of-body experiences and other such phenomena to be real and legitimate but in a non-denominational Coast-to-Coast AM kind of way. Unlike Jackson’s syrupy CGI-drenched glimpses of the afterlife Eastwood’s visions of the Other Side are vague and eery — dark fuzzy silhouettes of the departed set against a white background. Only Damon’s character George seems capable of drawing meaning from them which is why he’s constantly sought out by grief-stricken folks desperate to make contact with loved ones who’ve recently passed on. He’s John Edward only real (and not a douche).
Marie and Marcus appear destined to find him as well but only as the last stop on wearisome circuitous and often heartbreaking spiritual journeys that together with George’s hapless pursuit of a more temporal connection (psychic ability it turns out can be a wicked cock-blocker) consume the bulk of Hereafter’s running time. We know the three characters’ paths must inevitably intersect but Morgan’s script stubbornly forestalls this eventuality testing our patience for nearly two ponderous and maudlin hours and ultimately building up expectations for a climax Eastwood can’t deliver at least not without sacrificing any hope of credulity.
It should be noted that Hereafter features a handful of genuinely touching moments thanks in great part to the film's tremendous cast. And its finale is refreshingly upbeat. Unfortunately it also feels forced and terribly unsatisfying. Eastwood an established master of all things tragic and forlorn struggles mightily to mount a happy ending. (Which in my opinion is much more challenging than a sad or ambiguous one.) After prompting us to seriously ponder life’s ultimate question Eastwood’s final answer seems to be: Don’t worry about it.
In a class-action suit filed in San Diego, California federal court, fashion designer Tarla Makaeff claims she was guaranteed a one-year apprenticeship and a personal real estate mentor that would be the "next best thing" to being on Trump's hit U.S. reality show The Apprentice.
Makaeff claims she received a half-day trip to discount home repair store Home Depot to examine supplies for fixing up foreclosed properties and mentors assigned to her failed to return calls. She also claims she lost $80,000 (£50,000) and her credit history has been damaged by other penalties and expenses.
Donald Trump has not been named personally in the suit.
However, bosses for the non-accredited school, founded by Trump in 2005, have denied the charges.
Trump University President Michael Sexton says: "This lawsuit is completely without merit. We will vigorously defend our brand, our services, our company, our reputation and our integrity."
This is not the first time Trump University has come under fire. Officials at the state education department has also demanded the programme immediately stop calling itself a university in violation of state education law.
American Pie 2 enjoyed the weekend's sweetest slice of box office pie.
Universal launched its R rated youth appeal comedy sequel Pie 2 in first place to a record setting ESTIMATED $45.1 million at 3,063 theaters ($14,724 per theater).
Pie 2's average per theater was the highest for any film playing in wide release this weekend.
Directed by J.B. Rogers, it stars Jason Biggs, Shannon Elizabeth, Alyson Hannigan, Chris Klein, Natasha Lyonne, Thomas Ian Nicholas, Tara Reid, Seann William Scott, Mena Suvari, Eddie Kaye Thomas and Eugene Levy.
"The first one opened to $18.7 million," Universal distribution president Nikki Rocco said Sunday morning, referring to the original American Pie, which after its July 9, 1999 launch went on to gross $102.7 million in domestic theaters.
Now with the sequel's blockbuster opening, Rocco said, "With Friday's business, Universal became the number one (distributor in terms of domestic) market share for the year. We've been number one for the summer. We became number one for the year. We're well over $600 million in domestic box office grosses as of now."
Rocco also pointed to a number of records set by Pie 2: "This picture is the biggest R rated comedy. It's the second highest opening for an R rated film ever, just behind our own Hannibal (in which Universal was partnered with MGM). It's the third biggest comedy ever (of any type), not just R rated. It's the fourth movie that Universal has opened consecutively to over $40 million. Our records show that no other studio has done that twice in a row. And it's the fourth number one movie in a row for Universal."
Universal's outstanding success this year includes its first place openings of The Mummy Returns the weekend of May 4-6 to $68.1 million, The Fast and the Furious the weekend of June 22-24 to $40.1 million, Jurassic Park III the weekend of July 20-22 to $50.8 million (and a five day cume of $81.4 million) and now Pie 2 with an ESTIMATED $45.1 million.
Focusing on the sequel's profitability, Rocco observed, "It made back more than its production cost, which was $30 million."
All told, she added, "I'm delighted with the results of this picture. This is our own home grown franchise and it's so exciting that audiences were anxious to revisit characters that they fell in love with for the first time."
Rocco said that the studio's exit polls for Pie 2 were outstanding, showing that its audience was 53 percent female and 47 percent male. "67 percent of the audience was under the age of 25, as expected," she said. "For that core audience, the Top Two Boxes (excellent and very good) scored 94 percent. Overall, it scored 90 percent in the Top Two Boxes. For the core audience, the definite recommend was 73 percent against a norm of 50 percent. Overall, the definite recommend was 69 percent, which is fabulous."
New Line Cinema's PG-13 rated action comedy blockbuster sequel Rush Hour 2 dropped one rung to second place in its second week with a still impressive ESTIMATED $31.48 million (-53%) at 3,118 theaters ($10,095 per theater). Its cume is approximately $131.9 million, heading for $175-200 million.
Directed by Brett Ratner, it stars Jackie Chan and Chris Tucker.
Buena Vista/Disney's G rated family comedy The Princess Diaries held on to third place in its second week with a still royal ESTIMATED $14.1 million (-38%) at 2,706 theaters (+169 theaters; $5,211 per theater). Its cume is approximately $51.9 million, heading for $85-100 million.
Directed by Garry Marshall, it stars Julie Andrews and Anne Hathaway.
Dimension Films' opened its PG-13 thriller The Others in fourth place to a promising ESTIMATED $13.67 million at 1,678 theaters ($8,147 per theater).
Directed by Alejandro Amenabar, it stars Nicole Kidman.
"We'll be in profit by the end of the week on this one. It was made for $17 million all-in," Miramax L.A. president Mark Gill said Sunday morning. "Cruise/Wagner did a brilliant job creatively and economically. I think Nicole Kidman becomes a serious Oscar contender after the great reviews she got. So we're excited about that."
Asked about Kidman's prospects as an awards contender, Gill added, "She's just gotten astonishingly great reviews, so I think there's almost no doubt she'll be a serious Oscar contender."
Given the film's strong opening, Gill said, "We're on about a thousand screens less than everybody else, so we'll about 500 more this coming week. At $8,147 a screen, (exhibitors) will be ringing our phones (asking for prints of The Others)."
Did all the media attention Kidman's been getting as the result of her divorce from Tom Cruise hurt or help the film's opening? "There's no doubt that publicity gets attention," Gill replied. "But the key to this, of course, is you can all the attention in the world, but if people don't like what they're seeing they don't go. So the movie had to deliver and the advertising had to look like it was presenting a good movie. Mercifully, all that was true.
"The movie is fantastic. It reminds me a lot of Hitchcock movies. But, you know, pick your favorite influence. It's more psychological than it is anything else. As a consequence, it's, I think, better and scarier not to rely on blood and gore. It gets you there in other ways. The Spanish director Alejandro Amenabar brought a ton of style to it. It's a really great movie."
20th Century Fox's PG-13 sci-fi action adventure Planet of the Apes fell three pegs to fifth place in its third week with a quieter ESTIMATED $13.32 million (-52%) at 3,405 theaters (-125 theaters; $3,910 per theater). Its cume is approximately $148.7 million, heading for $175-180 million in domestic theaters.
Directed by Tim Burton and produced by Richard D. Zanuck, it stars Mark Wahlberg, Tim Roth, Helena Bonham Carter and Michael Clarke Duncan.
Universal and Amblin Entertainment's PG-13 rated action adventure fantasy sequel Jurassic Park III slipped two notches to sixth place in its fourth week with a still impressive ESTIMATED $7.3 million (-41%) at 3,175 theaters (-287 theaters; $2,299 per theater). Its cume is approximately $160.2 million, heading for $175 million or more in domestic theaters.
Directed by Joe Johnston, JP III stars Sam Neill, William H. Macy, Tea Leoni, Alessandro Nivola, Trevor Morgan, Michael Jeter, John Diehl and Bruce A. Young.
Warner Bros.' PG rated comedy Osmosis Jones kicked off in seventh place to a calm ESTIMATED $5.58 million at 2,305 theaters ($2,419 per theater).
Directed by Peter Farrelly & Bobby Farrelly, it stars Chris Rock, Laurence Fishburne, David Hyde Pierce, Brandy Norwood, William Shatner, Molly Shannon, Chris Elliott and Bill Murray.
Revolution Studios and Columbia Pictures' PG-13 rated romantic comedy America's Sweethearts slid three slots to eighth place in its fourth week with a less romantic ESTIMATED $4.6 million (-43%) at 2,686 theaters (-325 theaters; $1,713 per theater). Its cume is approximately $83.4 million, heading for $100 million in domestic theaters.
Directed by Joe Roth, it stars Julia Roberts, Billy Crystal, Catherine Zeta-Jones and John Cusack.
MGM's PG-13 rated comedy hit Legally Blonde fell two rungs to ninth place in its fifth week with a still attractive ESTIMATED $3.82 million (-35%) at 2,031 theaters (+505 theaters; $1,881 per theater).
Blonde, which cost only $18 million to produce, has a cume of approximately $78.7 million and is on its way to a very profitable $85 million in domestic theaters.
Directed by Robert Luketic, the Marc Platt production stars Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber and Jennifer Coolidge with a special appearance by Raquel Welch.
Rounding out the Top Ten was MGM's R rated thriller Original Sin, down four pegs in its second week with a slow ESTIMATED $3.05 million (-52%) at 2,194 theaters ($1,391 per theater). Its cume is approximately $12.49 million.
Written and directed by Michael Christofer, it stars Antonio Banderas and Angelina Jolie.
This weekend also saw the arrival of Dimension Films' new expanded version of its PG rated youth appeal action comedy Spy Kids Special Edition with an unfunny ESTIMATED $1.43 million at 1,676 theaters ($851 per theater). Its cume (including its original run, which began with its $26.5 million opening the weekend of Mar. 30 - Apr. 1) is approximately $109.0 million.
Directed by Robert Rodriguez, it stars Antonio Banderas and Carla Gugino.
"Video and DVD are coming up in September so this was sort of the pre-amble to that," Miramax L.A. president Mark Gill said Sunday morning. (Dimension is a unit of Miramax Films, which is owned by Disney.)
Fox Searchlight Pictures R rated thriller The Deep End kicked off to a very encouraging ESTIMATED $0.14 million at 6 theaters ($23,415 per theater) in Los Angeles and New York. Its cume after five days is approximately $0.2 million.
Written produced and directed by Scott McGehee and David Siegel, it stars Tilda Swinton, Goran Visnjic and Jonathan Tucker.
"That's significantly higher than our excellent opening on Sexy Beast (earlier this summer), which was $18,009 per theater," Fox Searchlight distribution president Stephen Gilula said Sunday morning. "We'll be adding theaters this week, both expanding in New York and L.A. and another nine markets, so we'll go up to over 50 theaters by this Friday. And we have an expansion the following week, which will take us up to around 200 theaters."
Focusing on the promising kick off for Deep, Gilula noted, "We're very, very excited. It just shows, again, that there's a really avid moviegoing audience in the summertime for alternative, thoughtful movies in addition to the mega-movies. When the critics embrace a film, as they did with this--particularly with Tilda Swinton's performance--the crowds have come. It's a crowded marketplace (this summer) with the sheer number of films opening, so (our marketing department, under Nancy Utley) did a great job of getting the word out.
"It's actually been, I think, a fairly good summer (for specialized films), going back to Anniversary Party and Sexy Beast and then The Closet and Made and now The Deep End. There really is an alternative audience in the summertime that is looking for this type of product."
Gilula added that Beast in its ninth weekend did about $198,000 at 29 theaters, "which takes it to $5,964,500, which means we'll cross $6 million by Wednesday or Thursday. That's a tremendous result for us. It's also the number one limited release film for the summer."
USA Films' R rated sci-fi thriller Session 9 arrived to a quiet ESTIMATED $0.083 million at 30 theaters ($2,750 per theater).
Directed by Brad Anderson, it stars David Caruso, Peter Mullan, Brendan Sexton III, Steven Gevedon and Josh Lucas.
Paramount Classics' PG-13 rated drama An American Rhapsody opened to a drab ESTIMATED $0.042 million at 7 theaters ($6,000 per theater).
Written and Directed by Eva Gardos, it stars Nastassja Kinski, Scarlett Johansson and Tony Goldwyn.
Paramount held sneak previews Saturday night of its PG-13 comedy Rat Race.
Directed by Jerry Zucker, it stars Rowan Atkinson, John Cleese, Whoopi Goldberg, Cuba Gooding, Jr., Seth Green, Jon Lovitz, Breckin Meyer and Amy Smart.
"The sneaks were about 60 percent capacity," Paramount distribution president Wayne Lewellen said Sunday morning. "There were 1,012 sneaks. We had 700 locations that had two sneaks, so you can say we effectively had 1,700 sneaks. The capacities at the later sneaks (at 10:30 p.m.) were only around 35 percent (given the later hour). The index score from the exit polls was 78, which is very good. I (don't yet have) the full exit polls, but I know it was 50-50 male-female."
Asked about the index score, Lewellen explained, "That is the result of the combination of checking the boxes (on the exit poll forms). It's an average. Anything over 70 or 71 is a very good response. Like, Forrest Gump got an 81, as an example. It's a very good score."
Lewellen said he anticipates that the film will play to a family audience.
Race opens this Friday (Aug. 17), Lewellen said, at "about 2,500 locations and probably 2,800 screens or so."
On the expansion front, this weekend saw Miramax's R rated French comedy The Closet go wider in its seventh week with an okay ESTIMATED $0.43 million (+5%) at 145 theaters (+17 theaters; $2,975 per theater). Its cume is approximately $4.0 million.
Directed by Francis Veber, it stars Daniel Auteuil, Gerard Depardieu, Thierry Lhermitte and Michele Laroque.
Artisan's R rated comedy Made widened in its fifth week with a dull ESTIMATED $0.4 million at 128 theaters (+11 theaters; $3,125 per theater). Its cume is approximately $3.0 million.
Written and directed by Jon Favreau, it stars Jon Favreau, Vince Vaughn, Sean Combs, Famke Janssen, Faizon Love and Peter Falk.
Miramax's R rated Apocalypse Now Redux widened in its second week with a still promising ESTIMATED $0.35 million at 19 theaters (+17 theaters; $19,323 per theater). Its cume is approximately $0.53 million.
Directed by Francis Ford Coppola, it stars Marlon Brando, Robert Duvall, Martin Sheen, Laurence Fishburne, Dennis Hopper and Harrison Ford.
MGM's release of United Artists' R rated youth appeal comedy Ghost World widened in its fourth week with a still lively ESTIMATED $0.35 million (+1%) at 34 theaters (+11 theaters; $10,294 per theater). Its cume is approximately $1.3 million.
Directed by Terry Swigoff, it stars Thora Birch, Scarlett Johansson, Brad Renfro, Illeana Douglas and Steve Buscemi.
Fine Line Features' R rated rock musical drama Hedwig and the Angry Inch added a few theaters in its fourth week with a still hopeful ESTIMATED $0.26 million (-9%) at 50 theaters (+4 theaters; $5,180 per theater). Its cume is approximately $1.2 million.
Directed by John Cameron Mitchell, who also wrote adapted his hit Off-Broadway play to the screen, Hedwig stars Mitchell in its title role.
Key films--those grossing more than $500,000--took in approximately $150.17 million, up about 47.89 per cent from the comparable weekend last year when key films grossed $101.54 million.
This weekend's key film gross was down about 9.51 per cent from last weekend this year when key films took in $165.94 million.
Last year, Sony's second week of Hollow Man was first with $13.05 million at 2,956 theaters ($4,414 per theater); and Warner Bros.' second week of Space Cowboys was second with $13.02 million at 2,835 theaters ($4,591 per theater). The top two films one year ago grossed $26.0 million. This year, the top two films grossed an ESTIMATED $76.6 million.
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.