As dismissive as many people are when it comes to blogs, what’s often neglected is that they can sometimes represent genuine grassroots movements. And Minneapolis’ Tapes ’n Tapes has been a major beneficiary.
When Batman ($445 million through August 11) knocks Star Wars ($461 million) off as the second-highest-grossing movie in domestic-box-office history – which should happen this weekend – please keep the accomplishment in perspective. Adjusted for ticket-price inflation, The Dark Knight at that point will still need nearly $130 million in additional gross before it even cracks the top 20.
The theatrical success of High School Musical 3 begs a question: Was Disney too slow to capitalize on the success of the original, which drew an audience of nearly 14 million the first two nights it aired in January 2006? High School Musical 2, after all, got 17 million pairs of eyes with its American television premiere. Maybe it was about building the brand, but that seems like a lot of ticket cash foregone to me. With an average movie-ticket price approaching $7 (according to the National Association of Theatre Owners), the second sequel got about 6 million asses in seats in its opening weekend. Senior Year also topped this week’s Box Office Power Rankings by a wide margin, and it was the only release in the top 10 to be Rotten Tomatoes-approved “fresh.”
A document of my film education and something that I hope will help guide people who are intimidated by the thousands of film books available – from omnibus guides to explorations of single works.
There was a moment early in the airless 28 Days Later when I knew that the movie was going to be something special – one of those little expert touches that tells you the filmmakers understand the power of the material and are in complete control of it.
As 2008 exited, withered and old and tired, The Curious Case of Benjamin Button was birthed into theaters, fully formed as a Best Picture favorite. Among the major contenders, it’s the only conventional Oscar bait to have been given a wide release at this point. (Ignore The Dark Knight and WALL•E, which are first and foremost popular movies that just happened to garner a lot of passionate praise, and hence Oscar potential after they were released.) So how did David Fincher’s latest fare in the final Box Office Power Rankings of the year? Well, it won, but not by much, challenged by the scrappy Marley and Me.
I was expecting something special out of the IMAX presentation of The Lion King, but it was merely bigger than I’d ever seen it. This was not the transcendent experience I expected and (to a degree) hoped for.
The few weeks that I neglected the Box Office Power Rankings featured two hotly anticipated movies – Indiana Jones and the Kingdom of the Crystal Skull and Sex and the City – as well as the second chapter in the Chronicles of Narnia series. Iron Man kicked all their asses, with a little help.
Just how powerful a force is The Dark Knight? Aside from winning this week’s Box Office Power Rankings, it’s breaking a ton of box-office records. But these sorts of milestones are often meaningless because of ticket-price inflation and a record-obsessed movie economy that floods the market with prints. But looking at Box Office Mojo’s comparison of “all-time openers” is instructive.
Like most of his movies, David Cronenberg’s Camera is a sly piece of work. On the surface, it’s an illustration of the effects of lighting, camera movement, recording format, performance, and even costumes. Camera appears to be Cronenberg’s most warm and human work. But it packs a lot into its running time, and, on closer inspection, it’s a downer about submission to addiction.
