Box Office: Families show up for the violent/stupid “Rampage,” edges “Quiet Place,” “Truth or Dare” hits $20

box2Saturday turned into the make or break day for the incredibly violent, laughably stupid “Rampage,” which looks as if it will hit that magical $34 million mark it was projected to achieve pre-release.

Can’t bet against The Rock.

“A Quiet Place” only owned the top spot for one weekend, but it will finish a very-respectable second, with over $32 million. That’s a VERY impressive 35% drop on its second weekend.

Speaking of horror, the inferior coeds-get-killed-off “Truth or Dare” did a dazzling not-quite-$20 million. For a horror movie not built on a franchise, that’s the sweet spot.

“Isle of Dogs” reached its peak screen count this weekend, which wasn’t enough to lift it over $5 million. Wes Anderson’s movie now stands at over $18, and won’t reach $35 by the time it’s done.

“Beirut” has about half as many screens, is one of the better pictures of the weekend, but Jon Hamm’s best big screen outing won’t make him a movie star. Didn’t come close to the top ten. The per screen average bears out a crack I made in my review of it — “Bleecker Street (the distributor) couldn’t market merlot to a wino.”

“Chappaquiddick” added a bunch of screens, and still lost 50% of its audience, but cracked the top ten.

“I Can Only Imagine” is now over $75, “Ready Player One” fell short of a big third weekend and is running out of gas at $114, “Black Panther” is finally losing screens and fading. It won’t quite reach $700 million domestic. Not that anybody at Marvel is crying over that.

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Milos Forman: 1932-2018

milosHe won two Oscars, for directing “One Flew Over the Cuckoo’s Nest” and “Amadeus.”

He acted, on occasion, too. Remember “Heartburn?”

Milos Forman, Czech child of World War II, famed director of 19 films, “A Walk Worthwhile” was the lastest, has died. He was 86.

“Taking Off” was his early English language hit (Thanks, Buck Henry). Even “Ragtime,” bloated as it seemed at the time, holds up.

A larger-than-life figure, gregarious as many of his characters, he didn’t work much (“Valmont” and “Goya’s Ghosts” were later credits), but when he did, invariably it was a big deal.

 

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Preview, Keanu goes Mad Scientist to Save Alice Eve in “Replicas”

Alice Eve? We get it.

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Preview, “Three Identical Strangers” is a doc that promises to keep you on the edge of your seat

Three brothers, separated at birth, who find each other in college.

It’s a feel good miracle of a story! Or IS it? WHO separated them?

Neon has its hands on a winner, here.

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Weekend Box Office: “Quiet Place” shushes “Rampage,” “Beirut” bombs

box4A big carryover Friday points toward “A Quiet Place,” that rare critically-acclaimed horror blockbuster, pulling in another $34 million this weekend at the box office.

Deadline.com is notoriously light in predicting the Saturday take for “family” oriented movies of every stripe, so they figure “Rampage” still has a shot at overtaking “Quiet.”

Early projections had “Rampage” earning a solid $34 million, sort of holdover “Jumanji” audience for the film’s star. That was the consensus.

But if families are reading reviews of Dwayne Johnson’s jokey, incredibly violent thriller, they might stay away. “It’s every bit at stupid as it looks.”

dogs2Families should be pouring into theaters for “Isle of Dogs,” a wonderful Wes Anderson stop-motion animated film that added 1400 or so screens and is earning another $4-5 million in its third weekend of platformed release.

 

“Truth or Dare” is the other wide-wider-widest release opening this weekend, and is doing a more respectable (for horror) $18.5 million. Bad reviews didn’t hurt it. 

“Beirut,” a more grown up thriller about the Middle East, spies, terrorists and an alcoholic negotiator trying to keep the lid on things, got good to great reviews. It’s opening on enough screens to crack the top ten, but isn’t. Under $2 million. As I’ve said before, Bleecker Street is where good movies go to die.

“Chappaquiddick” added 85 screens and has lost half of its opening weekend audience, but still made the top ten.

“Blockers” is holding audience and headed towards another $10 million, “Ready Player One” is well over $100, but probably won’t reach much more than $150, when all is said and done.

“I Can Only Imagine” has been the week-to-week indie blockbuster of the spring, clearing $75 million in medium sized bites.

“The Miracle Season” isn’t quite making it.

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Preview, Elle Fanning IS “Mary Shelley”

A period piece with feminist cred and that classic sci-fi horror hook hanging over it, the very young lady who wrote “Frankenstein.”

This feels like an award’s season moment for Elle Fanning. Probably not, timing and all. But “Mary Shelley” has a sheen about it that feels like a classic. Yeah, I’m talking through my hat, so we’ll see.

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Movie Review: “The Escape of Prisoner 614”

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The late Stanley Kubrick all but disowned his first attempt at making a feature film, saying “I finished it” was its singular achievement.

Something one keeps in mind with every first effort at making a movie. Even one as dismal as “The Escape of Prisoner 614.” You never know when you’re seeing the first flailings of “genius.”

The writing-directing debut of Internet phenom and self-published cookbook author Zach Golden, he of “What the F*@# Should I Make For Dinner?” fame, it is a comedy as free of laughs as any film that’s landed Ron Perlman in its cast and rented a train for its finale has a right to be.

It’s sort of a “Tucker and Dale vs. Evil,” without the evil, without charismatic leads, without any joke that plays like the first draft ATTEMPT at a joke.

Seriously, unless that cookbook is filled with hash brownie recipe variations, I defy even Golden’s fans and family to name one laugh-out-loud moment in it. It just leans on the screen, winded and motionless without anybody involved hinting that they’ve burned any calories to make it better.

Jake McDorman (“American Sniper”) and “Silicon Valley” vet Martin Starr are Thurman and Jim, two upstate New York rubes, sheriff’s deputies in a county with so little crime they spend their down time playing sheriff and robbers.

The sheriff (Ron Perlman) lays them off for never arresting anybody. But when the warden of Adirondack State Prison (Ralph Cashen) calls as they’re cleaning out the desks in their log cabin office, well, here’s their chance. Prisoner 614, “a cold blooded cop killer,” has escaped. If they can catch him, maybe the sheriff will give them back their jobs.

With these yokels target practicing away their ammo as they trek up the mountain where 614 has fled, dealing with insecurities, phobias and general stupidity as obstacles to their accomplishing this mission, what could wrong?

But in the “even a blind pig” logic of the movie, of course they catch the guy. All they have to do is convince him (George Sample III) to come along and not make any fuss.

“You’re a prisoner. Prisoners belong in prison.”

What do THEY know about it?

“Well, I seen ‘Cool Hand Luke’ a coupla months back. Seems alright. Lotsa eggs.”

OK, I grinned at that.

Perlman, sheepishly wearing the costume cooked-up for this 1960s period piece — Western cowboy-cut fedora, boots, dime-store “Sheriff” badge — has nothing remotely funny to say or play. The sheriff’s all about holding a newspaper photographer hostage so he can get a shot of himself holding the suspect in the paper.

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Sample (of “Person to Person”) plays a guy blandly protesting his innocence and suggesting there’s a racist motivation for his imprisonment.

And McDorman and Starr mug for the camera, let their facial hair get away from them and try not to act disappointed that their lines never get any better than this.

“If we’re not deputies, then what ARE we?”

“Nothing.”

“We’re WORSE than nothing. We’re CIVILIANS.”

In Los Angeles and New York, it’s not uncommon for well-heeled student filmmakers to line up “name” stars for their projects, and that’s what this looks and plays like — a student film with a couple of gettable-movie “stars” in it.

Still, it got distribution. That’s almost more than Stanley Kubrick was able to say about his first film. Of course, he had more sense than to try for a comic period piece his first time out.

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MPAA Rating: PG-13 for smoking throughout, and for language

Cast: Martin Starr, Jake McDorman, Ron Perlman, George Sample III

Credits:Written and directed by Zach Golden. A Saban Films release.

Running time: 1:37

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Preview, the first full “Incredibles 2” trailer gives us a villain, girl power and Bob Odenkirk

Yeah. Holly Hunter’s Elastigirl is the breadwinner, Mr. Incredible is stay at home dad and the family is blowing itself apart.

Literally. Looks like a lot of fun. June 15.

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Movie Review: Survivors Recall what came “After Auschwitz”

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Holocaust documentaries are often filled with numbers — the staggering death toll, the percentages of Gypsy, Jewish or homosexual populations wiped out.

Here’s one that doesn’t make it into “After Auschwitz” — 66% of Millenials don’t know what “Auschwitz” is, over 20% have never heard of the Holocaust. A majority of Americans polled now think, in the current American and global political environment, that  “Something like that could happen again.”

So maybe we need to retire the “Holocaust fatigue” at the movies cracks, the “Get yourself into a Holocaust movie if you want a Golden Globe/Oscar” Ricky Gervais jokes. For now, anyway.

Jon Kean’s “After Auschwitz” is a different take on the familiar subject, an almost-upbeat recounting, by survivors, not just of the horrors, but of the lives they made for themselves afterwards.

Kean’s years-in-the-making film (some interview subjects have since died) lets six women tell their stories and remember what they endured. And then they talk about what all they witnessed in the hours, days, months and years after their liberation from near certain death.

They speak of their intense hatred for Germans and Germany, hatred which quickly cooled just enough for them to feel pity for the homeless, starving refugees wandering through ghost cities that they themselves hiked through after being freed from camps.

Over archival newsreel footage, they talk about the horrors they’ve seen, their rage at their Allied liberators for forcing Storm Trooper guards haul Jewish, Gypsy and other bodies for mass burials, and so dishonoring the dead.

They remember well-meaning soldiers saying “You can go home, now,” only to face more ugliness and reprisals upon their return to Poland looking for relatives and their former lives.

“You want your stuff back? You can FORGET it!”

And then these six left the devastated, anti-Semitic Old World behind. They beam as each recalls this first trip to a New York deli, that first-ever plane ride, “My first, and last, Coke.”

Renee Firestone cannot stop smiling as she remembers her life as a fashion designer, Rena Drexler recounts how she met her husband, moved to California and opened a North Hollywood deli.

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Most fascinating of all, Kean gets them to connect their lives to the history passing by around them, from their own children and peers, who rarely got them to open up about their experiences, to their grandchildren and generations of curious school kids, who were the key to many survivors bringing back those awful memories and beginning the process of Bearing Witness.

For years, it was “You’re now in America. Forget it,” Firestone recalls. Then came the books, the “Holocaust” TV series, “Shoah” and “Schindler’s List.” People wanted to know, and those with a gift for speaking and a desire to share were suddenly in demand. I’ve interviewed a few survivors over the years, and have yet to meet one who wasn’t steeled by the experience, turned into a moving storyteller simply by the need for others to remember.

There have been hundreds of Holocaust documentaries, so many that I could name several, right off the top of my head, that this supposedly “complete” list mentions. “After Auschwitz” doesn’t cover enough new ground to be among the very best.

But in focusing on the lives lived AFTER living through a genocide, co-writer/director Kean has made a most accessible documentary, one built around compelling characters giving eyewitness testimony to both the worst moments in human history, and some of the most inspiring.

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MPAA Rating: unrated, images of graphic violence, corpses

Cast: Renee Firestone, Erika Jacoby, Rena Drexler, Eva Beckmann, Linda Sherman, Lili Majzner

Credits:Written and directed by Jon Kean. A Passion River release.

Running time: 1:22

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Preview, “Hot Summer Nights” features another iffy Timothee Chalamet “love” scene

It’s a stoner romance, apparently another period piece, about a lad “coming of age” (“Such a cliche.”) one summer at Cape Cod.

Dullard becomes “cool” or at least not as dull when he’s schooled in the ways of weed (Alex Roe is his sensei).

Maika Monroe (“It Follows”) is the love interest, William Fichtner is in it. Nothing sexier than making out over a freshly-used public urinal. At least there’s no peaches involved.

“Hot Summer Nights” goes into limited release in mid-summer.

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