Movie Preview: “Sabotage,” Arnold is over — but nobody told Hollywood

His movies, post political career, have tanked. To a one.
The inescapable conclusion one can draw from “The Last Stand” and “Escape Plan,” is that Arnold Schwarzenegger is over. He doesn’t draw. His audience has aged out of going to movies and the kids don’t dig his brand of action, his style of stardom.
But there are half a dozen projects with him in them in various stages of development.
And “Sabotage” is due out in April.
Actresses are discarded when they age out of their prime, but for some reason, Hollywood refuses to accept that with Bruce fading, Harrison reduced to supporting roles, Stallone running on fumes (and “The Expendables”), Mel an outcast — those ’80s action stars have passed their expiration dates, none more than Schwarzenegger. All the PEDs in the pharmacy can’t hide that.

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Box Office: “Hunger Games, Catching Fire” is breaking the BO record for November, “Delivery Man” doesn’t deliver

ImageLots and lots of talk about whether the much-ballyhooed “Hunger Games: Catching Fire” would break the November opening weekend record at the box office.

It’s not in 3D, but they did open it Thursday to give it an extra push.

And there are all those Katniss and/or Peeta Pals who have been salivating for it.

Based on Thursday night and Friday’s numbers, it’s looking like $145-150 million will be in the bank by midnight Sunday. That is well short of what prognosticators were predicting just this week — $170-180.

But since the November opening record is over $142 for the last “Twilight” movie, well — we’ve got a winner.

And what George Lucas famously said all those years ago about the secret to getting rich making movies was figuring out what 12 year old girls like, there you go.

“Delivery Man” doesn’t look like it will even make it to $10 million. This is the end of Vince Vaughn as a name star who can open a movie by himself. He had good material, but the French-Canadian version of this story tugged the heartstrings in ways Vince simply could not manage.

“Dallas Buyers Club” chased “12 Years a Slave” out of the top ten. “Ender’s Game” is nosediving.

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Box Office: How much will “Catching Fire” cash in?

fire2It’s not in 3D, but “Hunger Games: Catching Fire” should ignite the box office this weekend, busting records for sequels, November movies, what have.

Good reviews won’t hurt, either.

Box Office Mojo figures it’ll pull in just under $170 million.

The Box Office Guru predicts over $180 million.

Variety took this occasion to remind us that “The Avengers” opened at over $207 million, which is the all time record. All time best sequel opening? “Iron Man 3,” at just over $174. That record is within reach.

“Delivery Man” opens wide to yawning reviews. Will it hit $15? Not likely.

Box Office Mojo predicts it won’t hit $14, which could herald the end of Vince Vaughn’s leading man who can open a movie era.

 

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Review Roundup: “Hunger Games” wildly over-rated, “Delivery Man” panned, “Christmas Candle” snuffed out

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Call it another form of bandwagoning, or a wave of critics relieved that at least the production values were sharper and the supporting cast beefed up.

But “Hunger Games: Catching Fire” is enjoying reviews that, based on the meta-meter and the tomatometer, would have you thinking it’s as good as “Gravity,” “All is Lost,” “Philomena,” etc.

It’s only reading through the reviews that you run into the asides — dull, overly chatty, action beats recycled, etc. Not a bad movie, I thought. But mediocre.Poor directors make poor movies, and Lionsgate hired Mr. “Constantine” to do the last three films in the series. Ouch.

Knowing it’ll be a blockbuster makes it awfully hard to pan, as with the Potter, Pirates and Twilight pictures. But sometimes, you have to.

“Delivery Man” is inferior to the French-Canadian film it is based on. Even having the same writer-director on board couldn’t lift the pathos needed out of Vince Vaughn. I found it watchable with some nice human dimensions, but I’m in the minority on this one, too.

“The Christmas Candle” is a lovely looking but emotionally barren holiday picture for the whole family, provided your family doesn’t mind period piece tedium.

 

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Movie Review: “The Christmas Candle”

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If lush settings were plums and costumes were nuts we’d all have fruitcake for Christmas.
And we could enjoy it watching the lovely looking but dramatically flat and emotionally sterile “The Christmas Candle”, a pretty period piece of a holiday fable that lacks only the wit,decent story and better dialogue that might have made it a holiday classic.  
Filmed in Gloucestershire, it’s a fable about a village — Gladbury — that has held onto a tradition that says that every 25 years, the local candle maker makes one batch of candles which holds that one magical candle that an angel ensures will grant the owner his or her heart’s desire.
In a poor town where “the people are disheartened,” that’s a nice thing to cling to — a little hope that being given this candle and told to “light this and pray,” grandpa’s blindness will be cured, that missing goat or prodigal son will return by the end of Advent.
But that 200 year-old tradition is pooh-poohed by the new preacher, handsome Rev. Richmond, played by Hans Matheson, wearing the same haircut he sported on TV’s “Tess of the D’Urbevilles” and “The Tudors.” It’s 1890 and England is going electric. There’s no “magical, wish-granting angel,” he preaches. And the locals are appalled.
Rev. Richmond was recruited from the Salvation Army, so eventually he sees the need to at least replace the “miracle” with something else to cling to. As the townsfolk pass on their Christmas Candle wishes to the candle-making Haddingtons (Lesley Manville, Sylvester McCoy), Rev. Richmond reads those wishes and attempts to make them come true.
“Be the miracle,” he advises his flock. Fix that roof, visit that lonely old lady. And so they do.
But the Reverend is harboring his own secret sadness. And there’s a fellow skeptic, the lovely Emily Barstow (Samantha Barks of “Les Miserables”), who might be lured back to church by his good deeds. Can he help her sickly dad (John Hannah of “Four Weddings and a Funeral”)? Or Charlie, the little boy who cannot speak?
Even the caretakers of the church parsonage, played by John Cosmo and Susan Boyle — yes THAT Susan Boyle, of “Britain’s Got Talent” and viral video fame — could use a miracle. 
The performances — save for Boyle, a better singer than actress — are uniformly fine, if limited. 
There’s not a whit of mystery to the proceedings, and even moments with the potential for great charm only manage the tiniest drop of it. 
Director John Stephenson comes from the animation and special effects realm, so the angel effect and miracle candle effects are well conceived. And the entire production is burnished to the point of handsome. He had the makings here of a “Masterpiece Theatre” Christmas production.
But neither he nor the screenwriters are able to turn Max Lucado’s novel into anything more than pablum — best served to babies and the undiscriminating.  No fruitcake for us, this Christmas. 
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MPAA Rating: PG for mild thematic elements . 
Cast: Hans Matheson, Samantha Barks, Lesley Manville, Susan Boyle
Credits: Directed by John Stephenson, written by Candace Lee and Eric Newman, based on the Max Lucado novel. An Echolight release.  
Running time: 1:40
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Cuaron’s kid does a “Gravity” short addendum to their film

The nepotism keeps on giving here as Juan Cuaron, co-writer of “Gravity” with his dad (that’s called buying your kid a credit, in some circles) does this short film about the other end of the distress call Sandra Bullock makes, only to hear some alien tongue come back at her through the static.
Calling attention to the fact that you’ve hired your kid may be the first wrong move this film’s team has made. The short is OK, but seriously, none of us spent much time in the reviews raising an eyebrow at the nepotism. And now, there it is.

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Next screening: “Homefront”

Jason Statham’s the guy who wants to mind his own business, do the low profile small town thing.
And James Franco is the fellow who isn’t having it.
Violence ensues.
“Homefront” opens Nov. 27.

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Movie Review: “Delivery Man”

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“Delivery Man” is a Vince Vaughn comedy about an irresponsible oaf who discovers that his sperm-donations-for-money years resulted in 533 kids he never knew he had.
Since he learns this news, that “his” kids are reaching out to break the anonymity of his donations, just as his “You’re too immature for me” girlfriend (Cobie Smulders) tells him she’s pregnant, we have the makings of a charming “Time to grow up and be responsible” comedy.
Which is exactly what “Delivery Man” manages to be.
To play David, the impulsive meat truck driver-son of a New York butcher, Vaughn tones down the manic patter that made him famous and reaches for the heartstrings. David is the guy his Dad (Andrzej Blumenfeld) and plump, butcher siblings can never count on. He’s always late, always letting people down, always trying to get rich quick through some harebrained scheme. How many books on hydroponic gardening should be buy before running a pot farm in his Brooklyn apartment? He’s in debt up to his eyeballs when the scary lawyer from the fertility clinic shows up.
“Yo no soy David Wozniak,” David insists. To no avail. Mistakes were made, his seed spread further than he ever wanted and now the offspring are suing to find their “father.”
He needs a lawyer. Slovenly, overwhelmed father-of-four Brett (Chris Pratt of “The Five Year Engagement”) is his pal, and his last hope.
“Kids are a blackhole,” Brett whines.
“Do I have to get a REAL lawyer?”
“You can’t afford a REAL lawyer!”
And then David makes the fateful decision to look at the profiles of the kids suing him, to look them up and stumble, anonymously, into their lives.
“Delivery Man,” based on the French-Canadian comedy “Starbuck,” takes us on a roller coaster ride through the lives of kids thriving (a pro basketball player) and struggling (a street musician, a bartender/actor). Writer-director Ken Scott, who also did the original film, deftly recycles the exultant highs and touching lows as David cheers on his Knicks-star son like a proud papa, and saves his distraught, overdosing daughter.
“They need me,” David pleads to Brett. “They need a guardian angel.”
The story plays up David’s innate good-heartedness, and happy accidents allow him to make a difference in their lives, even in a drop-in dad sense. But he also gets a taste of the tough side of parenting.
Vaughn is at his most appealing here, even if that robs the film of some of its potential laughs.
Yes, the French-Canadian version seemed to have more snap to it. But this was never a standard issue Hollywood yuk-fest. This story was always about growing up (better late than never), compassion and learning to be someone people can depend on and love. Whatever laughs there are, they don’t make or break the movie the way Vaughn’s scenes as a guy who meets kids growing up fatherless (no mention is made of who raised them) and with problems. Vaughn gives these scenes just enough heart to work, though the biggest moments were better played by his Canadian predecessor, Patrick Huard.
And a fit and trim Vaughn strips away some of the lumpy loser to dad character arc that Huard brought to David.
The supporting cast is a bit skimpy on comedy charisma, which happens in films where you spend all your money on your star. Smulders (“How I Met Your Mother”) has little to play save for being gorgeous and a woman worth becoming a better man for, and Pratt is mildly amusing but never in much danger of upstaging the star. Until the finale.
So it’s no “Starbuck,” which most people won’t mind because Americans don’t read subtitles. But even in this form, “Delivery Man” and the guy who plays him still deliver where it counts.
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(Read Roger Moore’s interview with Cobie Smulders here.)
MPAA Rating: PG-13 for thematic elements, sexual content, some drug material, brief violence and language
Cast: Vince Vaughn, Cobie Smulders, Chris Pratt, Britt Robertson,Adam Chanler-Berat
Credits: Written and directed by Ken Scott, based on his French Canadian film, “Starbuck.”  A Dreamworks release.
Running time: 1:45

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Movie Review: “Philomena”

ImageHe is an ex-journalist who crossed over to a government spokesman job that has just blown up in his face. Depressed, embarrassed, the one story idea he’s been pitched is “human interest,” a story by and about “weak-minded, vulgar, ignorant people.”
She’s an old ill-educated Irish woman in need of a journalist — disgraced or otherwise.
“Philomena” is a standard issue little-old-lady tour de force for Oscar winner Judi Dench. But it’s a delicious change of pace for cynical, snarky funnyman Steve Coogan. A true story about one of the many horrors of Ireland’s infamous “Magdalene laundries,” asylums for “fallen women” mandated by the government, at the Catholic Church’s urging, where pregnant women had their babies and worked in laundries where they were ill-used.
And women like Philomena, sent there in the 1950s, saw their babies long enough to love them only to see them snatched away, sold into adoption, never to be seen by their mothers again.
Philomena (Dench) doesn’t so much want her story told. She’s over the outrage, and still respectful enough of the Mother Church to accept their blizzard of lies about records “lost in a fire,” etc. She wants ex-BBC reporter Martin Sixsmith (Coogan) to find her little boy for her.
Coogan (“Tropic Thunder”,”Night at the Museum”) dials down his snarl just a hair as Sixsmith, a man who doesn’t share Philomena’s faith or patience with the nuns who refuse to acknowledge their crimes against her, way back when, and their ongoing cover-up.
“I don’t believe in God,” Sixsmith quips, ” and I think he can tell.”
The two have comical theological debates, as Philomena tries to get across something about forgiveness and Sixsmith tries to make her tap into her justifiable outrage, her misuse at the hands of nuns he calls “The Sisters of Little Mercy.”
The old woman’s simple faith — in him — pushes Sixsmith. And as he follows the 50 year-old trail to America, dragging her along with him — he senses not just a story, but a sensation.
Director Stephen Frears (“The Queen”), working from a script co-written by Coogan, never lets this true story lapse into sentiment. The third-act surprises are human-scaled “shocks,” nothing deeply out of the ordinary, but affecting nevertheless.
Dench lets her accent lapse, from time to time. But it’s mainly a performance of spunk and sparkle, a twinkly, grandmotherly working class woman who isn’t above enjoying a drink or a naughty word.
Most credit goes to Coogan for the success of this odd coupling. He doesn’t have to roll his eyes for us to sense his eyes rolling as Sixsmith endures Philomena’s lengthy summaries of lowbrow romance novels she thinks he should read, or her scoldings at his simmering fury at the brick walls church folk throw up in front of them as he tries to discover the truth.
And wherever this sad but hopeful investigation leads Philomena, Coogan makes sure that Sixsmith’s journey is every bit as redemptive, in its own way.

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(Roger Moore’s interview with the Oscar nominated Steve Coogan is here)

MPAA Rating: PG-13 for some language.
Cast: Judi Dench, Steve Coogan, Anna Maxwell Martin
Credits: Directed by Stephen Frears, written by Steve Coogan and Jeff Pope, based on the Martin Sixsmith book. A Weinstein Co. release.
Running time: 1:38

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Movie Review: “The Hunger Games, Catching Fire”

ImageIt begins with a 90 minute fashion show masquerading as a sci-fi epic, and ends abruptly.
Because “Hunger Games:  Catching Fire,” is the most female-friendly/runway ready sci-fi franchise ever, and we’re not above pandering to that audience, are we? And the latest film in the four film trilogy is meant to a cliffhanger, after all.
But once things get going, FINALLY get underway, this humorless chatterbox of intrigues, rebellion and a love triangle that seems “Twilighty” in its lovelessness, packs in some real pathos. And while it may leave fans begging for more, and right away, the rest of the universe can be excused for rolling its collective eyes and snapping, “Oh, for Peeta’s sake, get ON with it.”
The victors in the 74th Hunger Games are touring the land, sharing their “love story for the ages” at the behest of The Capital, and The President, played by Donald Sutherland.
President Snow knows all, including the fact that Katniss and Peeta don’t click as a couple.
“At what point did he realize the depth of your indifference towards him?”
Katniss also knows too much and senses the unrest in the land, which worries the daylights out of Snow. Perhaps she’ll use her manufactured celebrity to inspire a revolt.
“Remember who the REAL enemy is.”
And they cannot leave her and Peeta to their dull District 12 mining lives, where Katniss can share her REAL feelings with hunky miner Gale (Liam Hemsworth).
So the “next” Hunger Games, the 75th, the “Quarter Quell” event, will round up lots of recent winners/survivors of the Games to go at it, to the death, to get these symbolic young lovers/would-be revolutionaries out of the way. Aiding President Snow’s designs are Plutarch, the Game builder (Philip Seymour Hoffman). He envisions turning the public against Katniss.
A favorite moment –the president tells Plutarch, “This is what you predicted,” as the games unfold. Except that ISN’T what he predicted.
They spent more on production design for this wintry, woodsy sequel to “The Hunger Games.” Jennifer Lawrence has since won an Oscar and has grown into a formidable young woman, and Josh Hutcherson’s voice has deepened and has real screen presence, now. The acting is better, with Jeffrey Wright, Amanda Plummer, Jenna Malone and Sam Claflin brought in as games players.
Lionsgate hired an Oscar winning screenwriter (Simon “Slumdog” Beaufoy) and “Constantine/I Am Legend” director Francis Lawrence to handle both this film and the upcoming pair of “Mockingjay” movies. Which doesn’t exactly pay dividends. Beaufoy was rewritten by Michael “Oblivion” Arndt. Francis Lawrence is nobody’s idea of an A-list sci-fi director.
Woody Harrelson’s Haymitch, the veteran of the Games who conspires to keep our two Mockingjay lovebirds alive, evolves into a nobler if still boozy mentor. Elizabeth Banks has even more outlandish costumes and makeup as Effie, the couple’s PR consultant, but nothing funny to say or play.
Only Stanley Tucci, all teeth and purple hair in a ponytail, wrings laughs from this grim slog through the middle acts of  novelist Suzanne Collins’ YA opus.
Not that it’s supposed to be that amusing, but something is needed to break up the glumness. Deep thoughts about re-directing cynically manipulated celebrity, lump in the throat moments at people rising up against their oppressors, a couple of memorable deaths and attempts at sacrifice play as flat when there’s nothing around them to serve as contrast.
“Catching Fire” has promising themes where young people trapped in a cutthroat competition question authority and try to reason their way out of a kill-or-be-killed fate.
But the sad realization sinks in, just as the fashion show is ending and the action movie is beginning, that this is as good as Lionsgate cares to make these pictures. The die is cast for the rest of the series.
Maybe “Divergent,” the March, 2014 “Hunger Games” knockoff starring Shailene Woodley, will be better.
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MPAA Rating: PG-13 for intense sequences of violence and action, some frightening images, thematic elements, a suggestive situation and language .
Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Stanley Tucci, Jeffrey Wright
Credits: Directed by Francis Lawrence, written by Simon Beaufoy and Michael Arndt, based on the Suzanne Collins novel. A Lionsgate release.
Running time: 2:26

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