Box Office: Read between the lines, “Haunted” bests “Zero Dark,” “Hobbit” is still making money

In actual per screen averages, last weekend’s number 2 film at the box office, the sluggishly paced and laugh-starved “Haunted House” made more money than “Zero Dark Thirty,” the Oscar nominated winner of the overall box office race. That’s money per screen.

“Rise of the Guardians” will finally clear $100 million by the end of this week. “Life of Pi” will get enough of an Oscar extension of life to clear $100 million by next weekend.

“Skyfall” will clear $300 million by next weekend.

“The Hobbit” made another $9 million.

“Silver Linings Playbook” is the picture that got the “true” Oscar bounce. “Argo” was thrown back on screens and did respectable numbers.

And last weekend’s winner, the Godawful “Texas Chainsaw 3D” fell off 76% in its second weekend. Rejected or spent, you decide.

 

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Golden Globes: A true “Alternative Oscars” this year?

Image“Les Miserables” won best picture/comedy or musical, “Argo” won best picture, drama and Ben Affleck won best director.

Since none of those (first two) are likely to win the Academy Award, and Affleck wasn’t even nominated, let’s call the 70th Golden Globes what the Oscar folks have been loathe to call this Hollywood Foreign Press & Doormen and Beer Distributors affair — a true Oscar alternative.

It’s what The Academy, hallowed be thy name, has been fighting these past several years, moving their nominations and their ceremonies around willy nilly, trying to mute the impact of the Golden Globes stealing their thunder. They have failed and continue to fail. It seems like a lost cause, since they’re dealing with the same limited pool of “acclaimed” (by critics groups) pictures, pictures which have been Internet buzzed about nonstop since September of the preceding year.

The Academy voters failed, pretty much, to widen the field and look to worthy pictures beyond what the Globes, and assorted other critics’ groups nominated or honored. They left out some of the consensus worthies. Usually, it’s the Indie Spirit Awards that find a home for those left out in the Oscar cold — John Hawkes and “Smashed” and “Bernie” and the like.

But with Oscar plainly going its own way and yet not offering up pleasant surprises among the nominations (“snubs” instead), the Globes put on a Tina and Amy show (funny), let Jodie Foster wave goodbye to all that,  sort of “come out” and sort of retire, and give Affleck his “You have arrived” due.

The Globes honored Jessica Chastain and Jennifer Lawrence in their drama vs. comedy best actress awards, Hugh Jackman and Daniel Day-Lewis as best actors, Anne Hathaway, and Christoph Waltz as best supporting players.

They paid tribute to “this year’s crop” of TV shows. And they got off the air on time.

Will the Oscars actually surprise us after this? They’ve left few chances, thanks to the “usual suspects” lineup of nominees.

“Lincoln” will be their favorite, and Hathaway and Day Lewis, maybe Jennifer Lawrence and Tommy Lee Jones, unless “Lincoln” rises up as some safe choice.

They went overboard on nominees from “Silver Linings Playbook,” but does anybody figure somebody other than Lawrence is a favorite there? DeNiro could sneak in as a “career” honor, even though he’s already won and been lauded as the male Meryl Streep for decades.

So while the Globes, with their slicker/shorter/snarkier production, may have produced few real surprises, they basically set the table for the Oscars to produce even fewer. Is that a reason for people to tune in? Aside from this guy most of America has never seen or heard of as the host?

Complete list of winners below…

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Movie Review: “Harry Potter and the Half Blood Prince”

ImageA great treachery is revealed, a great light is snuffed out and the final quest is set up in Harry Potter and the Half-Blood Prince, an emotional and involving installment in the hit-or-miss Harry movie series.

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Movie Review: “Harry Potter and the Chamber of Secrets”

ImageThe kid looks bored. Two movies into the lifeless Harry Potter franchise, and wee mop top Danny Radcliffe’s looks of perpetual surprise and delight and fear have blended into one long grimace. Can you hear the “How much are they paying us, mummy?” whispers through his perfect gritted teeth in every scene? I can.

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Movie Review: “Harry Potter and the Deathly Hallows: Part 1”

There are no eye-rolling pauses to stare at this new magical prop or that extra-special special effect. No time for time-killing Quidditch matches.

“Harry Potter and the Deathly Hallows: Part 1” is a brisk, bracing film of actors in close-up. The lead players have grown into the roles and of the Who’s Who of British character actors in supporting parts shine like never before, placed, as they are,  in both real-world London and a selection of desolate landscapes that match the gloom of this apocalyptic tale.

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ImageWait a minute. Sequels aren’t supposed to get better.

They sputter and stutter and run out of gas long before the studio stops spending money on them.

But darned if this Harry Potter franchise isn’t sharpening, expanding, growing into itself as it progresses. The fourth film in the series, Harry Potter and the Goblet of Fire, has a couple of those great out-of-body popcorn movie moments that popcorn movies have been missing this year. It’s better acted, more beautiful, with the most dazzling effects yet. It’s lighter-hearted when it needs to be, more brooding and depressing when that’s called for.

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Movie Review: “Harry Potter and the Deathly Hallows: Party 2”

The finale to the Harry Potter saga is, like most of the films in the series, a bit of a slog. But it’s a generally satisfying slog — two hours of wrapping up loose ends, saying fond, if not exactly tearful farewells and Harry facing his destiny with “You Know Who.”

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Movie Review: “The Help”

They answer doors, cook and serve meals, change diapers and raise children for parents who are, supposedly, too busy to bother. They do all this with an air of invisibility, ignored except when they’re being snapped at.

And through it all, “The Help” have to maintain a silent stoicism, even when their white employers in 1960s Mississippi mutter about “The Colored Situation,” even when they blurt out the most ignorant and hatefully callous remarks.

“They carry different diseases than we do.”

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Movie Review: “Fright Night”

Can a 3D horror movie be a thing of beauty? In the case of the remake of “Fright Night,” the answer is “Yes!”

This violent and violently funny vampire tale covers no new ground, sporting the same jokey tone as the original. But there’s a quirky sensibility that we might attribute to director Craig Gillespie, who gave us the gently twisted “Lars and the Real Girl.” “Fright Night” can also boast of having the best vampire-villain in ages. The bushy-browed Colin Farrell was BORN to wear fangs.

But hiring Javier Aguirresarobe, who shot “Goya’s Ghosts,” “New Moon” and “Vicky Cristina Barcelona,” was also a coup. His 3D camera sweeps into smoky, shadowy rooms, lit only by candles or a flickering TV screen, through the empty streets of a Vegas suburb and into the garish neon of Las Vegas itself. Yeah, the screen hurls blood, guts, shattered glass, arrows and crucifixes right in our face. It is a 3D HORROR movie after all.  But the look here is as striking as any film to use 3D.

The story? Kids and adults are disappearing. But the economy’s bad and foreclosed houses are everywhere. And besides, as Charlie (Anton Yelchin) says, “Nobody lives in Vegas, they just pass through.”

That makes this the perfect spot for a vampire killing spree. Charlie pays no attention to the warnings of his nerdy friend, Ed (Christopher Mintz-Plasse). The kid reads “too much ‘Twilight,’” just one of the reasons Charlie abandoned him as a pal. He can’t impress the stunning Amy (Imogen Poots) if his geek past is right there in front of her.

But Charlie soon has reason to become just as suspicious of their new neighbor as Ed. Jerry (Colin Farrell) is a hunk who seems to do a lot of home repairs on his tract house — at night. Charlie can’t tell the cops or tell his mom (Toni Collette) or even Amy. Who would believe him, even as the truancy list at his high school grows by the day?

The bulk of the movie is Charlie trying to outrun and outsmart a very clever, ruthless vampire, a blood-sucker who deals with the suspicious the same way he deals with everybody else — with a bite.

We know all the “rules” for fighting vampires, thanks to pop culture. “Fright Night” adds smart phones to the vampire hunter’s tool kit, right next to stakes of holly, holy water and crucifixes.

Former Doctor Who David Tennant does a Russell Brand turn as the drunken, over-sexed Peter Vincent, star of a Vegas stage show about fighting and killing vampires, a show called “Fright Night.”  Roddy McDowell played this campy role in the original film — a fraud who passes himself off as an expert, but is given a put-up-or-shut-up choice when the kid comes to him for help fighting real vampires.

The vamp-transformation effects are quite good, the gimmicky uses of 3D lots of fun. But perhaps the most special effect of all is Farrell. Pardon the pun, but he chews this movie up.

As we’ve seen in films from “Captain America” to “The Help,” spending the money on landing a very good, very menacing actor to be your villain makes the difference, especially in a movie that otherwise is a entirely too familiar to keep us awake all the way through one long night of fright.

 

MPAA Rating: R, for bloody horror violence, and language including some sexual references.

Cast: Anton Yelchin, Colin Farrell, Imogen Poots, Toni Collette, David Tennant, Christopher Mintz-Plasse.

Credits: Directed by Craig Gillespie, written by Marti Noxon, based on “Fright Night,” written and directed by Tom Holland, produced by Michael DeLuca, Michael J. Gaeta and Alison R. Rosenzweig. A DreamWorks release.

Running time: 1:45.

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Movie Review: “I Saw the Devil”

Kim Jee-woon’s “I Saw the Devil” is a thriller that makes you wish you knew how to scream “O.M.G.” in Korean.

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