Here’s the tally from Exhibitor Relations.
1. SONIC THE HEDGEHOG ($26M)
2. THE CALL OF THE WILD ($24M)
3. BIRDS OF PREY ($7M)
4. BRAHMS: BOY II ($5.9M)
5. BAD BOYS FOR LIFE ($5.8M)
“Emma” made staggering money on just five screens, “Impractical Jokers” did well for a junk prank “reality TV” movie on 350 or so screens. In the millions.
“Bad Boys” cleared the $200 million mark in North America.
In conspiracy buff terms, the 1960s were the “Rush to Judgment”decade.
Major figures in American political life were assassinated, and the FBI, the courts, the Warren Commission and local criminal justice systems seemed awfully anxious to wrap their cases up, nice and neat, and convince the American public that there was “nothing to see here.”
The Feb. 1965 assassination of Black Muslim civil rights leader Malcolm X, in a public speaking event with hundreds of witnesses, is the one murder that screams “COVER-UP” the loudest.
But half a century has passed. And while there have been revelations and moments where you’d think we’d demand more details, more damning “Who pulled the strings of those who pulled the triggers?” investigations, nothing has come of it.
But a lone Washington D.C. Muslim, whose day job is tour guide at Arlington National Cemetery, has made it his obsession and his life’s work to get at the truth. Abdur-Rahman Muhammad was drawn to Malcolm’s persona and his religion as a young man. And having ties to the African American Islamic community and the Nation of Islam has allowed him to open doors and get answers where others might not be so much as heard out.
But “Who Killed Malcolm X?” shows us how those questions haven’t been asked before because the police didn’t know or want to know. It points to the wrong men being railroaded into prison for the crime. And it levels its gaze at those who almost certainly were responsible, and the reasons they were able to avoid justice back in 1965.
Pulitzer Prize-winning historian David Garrow is here to attest to the bonafides of Muhammad as the world’s foremost Malcolm X murder expert, to verify Muhammad’s assertion that “the police did not take that seriously” either the threats to Malcolm’s life that week of his death, or the investigation afterward.
Other historians, experts on the movement and actual members of the Nation of Islam and alumni of its paramilitary arm, “Fruit of Islam,” either fume at police unwillingness to get to the truth, or more damningly, urge Muhammad to “Leave him alone, leave him alone” as he gets close to a long-hidden trigger-man.
The prosecutor, Herbert Stern, turns intimidating and testy with a filmmaker when asked why this witness, that cop informant, wasn’t questioned or why when the one man caught red-handed as he fled New York’s Audubon Ballroom insisted that the other two brought to trial for the crime and convicted were innocent, that he wasn’t listened to.
The surviving convicted killer, noting the strong Nation of Islam presence in his prison, allows that the inmates there let him live for a reason.
“If they’d thought I was guilty, I’d have been dead.”
The six part Netflix series takes a lot of tricks from teasing news magazine storytelling and reality TV’s pursuit of “cliffhangers,” which make one question just how close they came to interviewing this key figure or when exactly this major political name’s association with one of the accused is known.
But that drag-the-mystery-out (very “Dateline N.B.C.”) element allows for a lot of terrific historical background — Malcolm’s life, the career of Nation of Islam “Messenger” Elijah Muhammad, whom Malcolm broke with, and the context of that pre-CSI era in criminal detection.
We take trips to the NYPD archives to view color crime scene photos, and sample the incriminating collection of on-the-day TV news film, hunting for clues.
A clip that seared into my mind — Malcolm’s widow Betty Shabazz, who’d survived a firebombing at their house a week before and who has just seen her husband gunned down, glowering at questions from a white TV reporter.
The conspiracy theories erupted the moment the smoke cleared in that ballroom — police involvement, a white establishment (including the media) that didn’t want to know “the truth,” the Nation of Islam hastily circling the wagons to protect the real killers.
In this case, the conspiracy-minded were onto something, which Abdur-Rahman Muhammad is very close to completely unraveling in this series.
As retired cop Tony Bouza puts it at one point, “If you got the shooter, you better get the guy who sent him.”
MPAA Rating: TV-MA, scenes of violence
Cast: Abdur-Rahman Muhammad, Akbar Muhammad,Muhammad A. Aziz, David Garrow, Tony Bouza
Credits: Directed by Phil Bertelsen, Rachel Dretzin A Netflix Original
Running time: 6 episodes @:42 each
“Over the Rainbow” is a mesmerizing, diffuse and scattered movie about odd beliefs, deeply-held convictions and Scientology.
It’s kind of a mess as it starts out more about the first two — specifically how people who believe they’ve been abducted by aliens REALLY believe it, and show clinical responses to this “experience” that match victims of rape and other violent trauma — and then backs into the third.
A genuine Harvard psychologist, Dr. Susan Clancy marvels how people talk about alleged alien abduction as both the trauma of their lives, and as the most “positive” thing that they’ve ever experienced.
“Their perspective changes.”
Then the movie settles into Scientology, speaking to true believers, church employees and one woman in particular who fled and whose awful experience there is verified when we overhear a threatening, double-talk phone call from her DEEP-in-the-cult Dad that she puts on speaker phone so that she can be filmed in mid-argument with him.
But even then, filmmaker Jeffrey Peixoto wanders off topic, if indeed he ever had one. Academics speak of “new” religions in what appears to be an effort to normalize the science fiction author L. Ron Hubbard’s invented belief system, church status and authoritarian church hierarchy. All “new” religions are easily questioned, but “when you’re in it, it becomes your reality.”
True believers say “LRH would create an island of sanity” in an unhappy, confused world. He “came here to reverse the downward spiral” of humanity.
He came here to get rich and get out of paying taxes, kids. But never mind.
There are the Thomas Kincade “painting” sellers who demonstrate E-Meter “audits,” the pseudo-scientific gadget that records your unfiltered responses to probing questions about morality, ethics and your past lives. If Peixoto aims to show how gullible and “sentimental” Scientologists are, that they think this overtly “sentimental” tripe is art, well-played.
We visit The Ranch School and the New Horizons Academy where teachers talk of the goals such places have and where they fit in Scientology’s lifelong learning (with that “billion year contract” you sign with the church) promoted there.
And Lara Anderson, the woman who left, recounts the abuse she suffered, the “punishment” meted out to her father — for years — in the church’s “rehabilitation project.” Did Peixoto stumble into her, mid-project, and not have the nerve to make his movie about her and lose all the “abduction” stuff that opens it?
An archivist is inexplicably here, showing us the U.C. Santa Barbara American religious documents archive.
Peixoto fixates on odd images — this homemade Boston terrier painting on a table next to Barrett Brown, a journalist who simply considers a pioneering “technology driven religion,” and that “If the Ganges is appropriate for worship” then the river of information that is the Internet is, as well.
And we get just a glimpse of Clearwater, Florida, the Gulf Coast town the church basically bought out and took over, where Scientologists are kept so busy that they can’t even entertain the idea of going to the beach.
There are much better, more pointed and damning documentaries about Scientology, and no doubt there are church-sponsored “explainers” that trumpet its virtues.
Peixota has made a spacey film that is almost neutral on its subject, a soft-spoken pastel-colored meditation on Scientology that never wrestles it into the larger thesis of the psychology of “belief” he might have been aiming for.
MPAA Rating: unrated, some profanity, disturbing accounts of violence
Credits: Directed by Jeffrey Peixoto. A 1091 release.
Running time: 1:13
With the investment in time involved, how long do you give a series — broadcast or streaming, limited or open-ended — before deciding it’s not worth your time?
Pilot episode? One or two beyond it? On and on because “maybe it’ll get better?” Here’s a tip. They rarely, if ever, do.
Perhaps the time is right for a comic bookish Jewish “Hunters” tracking and killing Nazi war criminals series. Parking Al Pacino at its center, a “Bruce Wayne-rich” financier of Nazi hunting, is a coup. Logan Lerman as “the kid” given entre to this underworld team of avengers? Well, OK.
Setting it in the lurid, grimy Earth-tony and crime-ridden 1970s? Perfect.
But that’s all the slack to be cut this Amazon extravaganza, a long slow slog through a Tarantino-ish cartoon of glibly served-up gore and goofy, over-the-top touches attempting to hide the tedium.
I gritted my teeth through the pilot, which begins with a slaughter when a Nazi State Dept. insider in the Carter White House (Dylan Baker — Vorst Nazi ach-sent effa!) is outed at a pool party and shoots everybody there.
The unheralded blunt rookie FBI agent (Jerrika Hinton) given to making threats while digging into the Nazi past of a NASA scientist is on one story thread. Will she figure out who is offing Hitler’s minions?
Because that’s what the millionaire Jewish leader of the pack assembled that pack to do.
“You know vat iz the best revenge? REVENGE!”
Lerman is established as a bullied lightweight pot peddler who can’t defend himself, much less his Auschwitz survivor safta (grandmother, played by Jeannie Berlin) when a killer comes to their Brooklyn door.
But Jonah has an eye for patterns, clues and ciphers. He could be useful when he demands a place on Meyer Offerman’s Birds of Prey.
Jonah’ll complement the master of disguise (Josh Radnor of “How I Met Your Mother”), sassy black radical counterfeiter/forger (Tiffany Boone), torture-prone trigger-woman nun (Kate Mulvany), the Asian (Louis Ozawa) “forever soldier,” and the Holocaust survivor couple “gadget experts” (Carol Kane and Saul Rubinek).
The script is a cliched collage of Hebrew and Yiddish puns, anachronistic (remember, this season is set in 1977) slang and trash talk straight out of old WWII C-movies and bad war comic books.
“Juden cockroach!”
The violence in the Holocaust flashbacks is horror movie exploitive.
Pacino doesn’t need a huge screen to chew the scenery, but he’s more subtle here. Until he opens his mouth and this laughably arch script reveals its Oy-chilles Heel.
“As ze Talmud tells us…I zuppose I vatch too much ‘Kojak.’ A potato of the couch” is he.
“Vell, Scooby Dooby, zis is von monster who need not be unmasked.”
Every so often, there’s a horrific, over-the-top flashback to the savage sadism of the Nazis they’re hunting, cunning ghouls who were thrill killers always looking for new thrills such as using camp inmates as human chess pieces in to-the-death matches.
The chilling topper to that is Mr. Next Gen Nazi (Greg Austin), an overtly racist “cleaner” who has a swastika tattooed on his shoulder, intimidates Congressmen and tidies up messy situations involving the vast Master Race conspiracy that keeps all these fugitives from justice safe and thriving in America.
SOMEbody had to keep the flame alive and inspire tomorrow’s Proud Boys.
The flippant tone and eyes-averting violence make this a series for everybody who loved the finale of “Once Upon a Time…in Hollywood” or “Inglourious Basterds.”
But it is so…damned…slow. The drip drip of plot doesn’t keep the viewer from getting ahead of the story. And all the Hebrew hep cat patter or Nasty Nazi trash talk isn’t enough to sustain it.
As with too many limited series, they had a feature film’s supply of story and (comic book) wit, saddled it with far too many distracting and less interesting outside of the leads, and then slow-walked the entire affair to a genuinely inevitable conclusion.
But go ahead, watch the pilot (I invested more time on other episodes so you wouldn’t have to). If it’s not instantly irritating to you, carry on, mazeltov and all that.
Not everything Jordan Peele slaps his brand on is worth our time.
MPAA Rating: TV-MA, violence, nudity, profanity
Cast: Al Pacino, Logan Lerman, Jerrika Hinton, Tiffany Boone, Kate Mulvany, Josh Radnor, Saul Rubinek, Lena Olin, Dylan Baker, Carol Kane
Credits: Created by David Weil. An Amazon Original.
Running time: 10 episodes, 11 hours (1:30 pilot)
A little small town pluck is on display in this feel good “true story” from the UK.
The second weekend of the surprising smash hit video game adaptation is slightly more down to Earth as *Sonic the Hedgehog” is on a $26 million pace, after a $58 million opening.
Down over 50%, how far below 50% we won’t know until Sunday. It could hit $27 on its second weekend, and is already on track to clear the $100 million mark today or Sunday.
“Call of the Wild” is out performing expectations, with a $23 million and change weekend. The CGI dogs in the movie pushed its costs into the $130 million range, so that won’t be good enough to save it’s digital bacon.
“Brahms: The Boy II” is bombing, only managing a $5 million opening.
“Birds of Prey” is the third place movie of a very thin weekend, pulling in $7 million, enough to push it over $70 million, still a long way from $100.
“Bad Boys” are within reach of $200 million and could hit that mark with one more decent weekend in the top ten after this one.
Here’s a documentary about the “brave new world” of brain research that points a day when we we “fundamentally change what it means to be human.”
In “I Am Human,” filmmakers Elena Gaby and Taryn Southern talk to futurists, neuroscientists, entrepreneurs and science fiction writers to create a snapshot of where brain research and the possibilities of “brain interface” devices stand today.
It’s the focus of much of what is being done to correct illnesses or physical disabilities and create “enhanced” human abilities via technology that could alter the path of human evolution.
“Everything we’re trying to do, everything we’re trying to become, everything we’re trying to FIX” is in the brain, as brain research entrepreneur Bryan Johnson of Kernel Labs puts it.
It’s the “everything we’re trying to fix” part of this informative but generally dry documentary that will grab everyone’s attention.
We meet a “tetraplegic” man in the chapter, “I Am Bill,” someone disabled in a bicycle accident but willing to work with the cutting edge — and invasive (at this point) — technology that could let our brain send signals to devices or machinery to compensate for his injuries.
Anne is “not really sure what’s going on in my brain.” She has Parkinson’s, and the “I Am Anne” profile shows how “deep brain stimulation” can tamp down symptoms of that condition and allow her something like a more normal life.
In “I Am Stephen” the “human guinea pig” is a blind man willing to take on an interface that looks not wholly unlike the glasses worn by Lavar Burton’s Lt. LaForge on “Star Trek” so that he might “see” the sister he hasn’t been able to gaze upon in years.
Lip service is paid to the potential “dehumanizing” effect of all this. But if a blind person is given her or his sight back, with the possibility of enhanced “Six Million Dollar Man/Woman” vision (infrared, for instance), if people confined to a bed in a extended care facility room are given mobility, it’s hard to see any downside that would outweigh that.
Then we’re reminded of all the ways tech has brought out the worst in human nature via social networks and intrusive Google data farming, and we’re given pause.
And with the rationed health care of today, who exactly will be able to afford these “miracles” bears considering.
Still and all, a pretty good film of the “What will they think up next?” variety.
MPAA Rating: unrated
Cast: Bryan Johnson, Nita A. Farahany, Ramez Naam
Credits: Directed by Elena Gaby and Taryn Southern. A 1091 Films release.
Running time: 1:31
Projections for the second weekend of release for this “Sonic the Hedgehog” movie are as all over the place as the opening weekend’s guesses were.
Maybe it’ll manage $29 million, perhaps $40 is within reach. My guess would be the lower number.
About $1 million in tickets were sold last night to the kid friendly “Call of the Wild” co starring Harrison Ford and a digital dog. It could grab $20 million all in by midnight Sunday, but saner heads are saying $17 million.
The sequel to “The Boy” titled “Brahms: The Boy II” is on its way to a $9 million or less weekend. I saw it with two other people in the multiplex I went to last night. I figure $5 is the best STX should bank on from this dog.
“Birds of Prey” should be in the $80 million range by Sunday night. Not turning into the complete disaster it seemed at first.
Think of “Farmageddon” as a child’s introduction to science fiction cinema.
It’s a non-verbal giggle — a bit slow to be a romp — through decades of sci-fi on the big screen (and on the small) packaged in a preschool age-friendly “E.T.,” with our old pal Shaun the Sheep as our guide.
It’s about an alien flying saucer landing in English farm country, Mossington and Mossingham Forest, where Shaun and his fellow sheep share their sheared lives with Farmer John and his dog, Bitzer, who keeps the peace on the farm.
Kids will enjoy the usual Aardman stop-motion animation sight-gags as sniggering Shaun tries to outwit Bitzer, this time helping a blue alien with a puppy dog’s head, shapeless tentacles for arms and a body like a Christmas tree, “go home.”
The sight gags include glue accidents, alien-hunters in hazmat suits in the “alien hunter cafeteria” (one wears a chef’s hat…over his hazmat helmet), an electronic scoreboard of the “No Accidents In X Days” variety that displays “UFOs Captured – 0001” — zip line ingenuity, a dumpster chase, a farm combine that accidentally carves crop-circles in Farmer John’s barley and an alien with a taste for pizza with just two words in her vocabulary which any Mazda owner will recognize.
“Zoom zoom!”
Grownups? We can turn this comical clay-animated contraption into a drinking game. Or not. Nobody could survive playing a game where you take a belt every time a science fiction movie or TV show is referenced in “Farmageddon.”
There’s a “Wall-E/Short Circuit” robot, Daleks, a “2001” HAL 3000 computer bank, and way too much of “E.T.” for this to wholly avoid charges of plagiarism. A “Life of Brian” visual cue here, a “Close Encounters” musical one there.
Those robot arms came off Robby the Robot from “Lost in Space.”
And could that be Doctor Who?
It takes a while to get up to speed, but once it does, “Farmageddon” delivers the jokes, visual puns and slapstick in a mad flurry. Any money Netflix spends making movies with Aardman is welcome, and well spent.
MPAA Rating: G, general audiences
Credits: Directed by Will Becher and Richard Phelan, script by Jon Brown and Mark Burton. An Aardman/Netflix release.
Running time: 1:26
Joan Didion’s cluttered, convoluted pot-boiler of a thriller “The Last Thing He Wanted” becomes a cluttered, convoluted mess of a movie for Netflix.
Who knew? Certainly not director and co-screenwriter Dee Rees, who brought the hilariously over-rated “Mudbound” to the streaming service. She never saw it coming. Apparently.
A nonsensically twisty take on the muddled geo-politics of 1984, when journalists couldn’t get America interested in the Reagan administration’s hysterical fear of “socialism” south of the border and its illegal support of Nicaragua’s “Contra” rebels, “Last Thing” is about guns for cocaine smuggling, shady operators in and out of government and a “Pennsylvania Ave. reporter with a moral compass.”
She’s played by Oscar winner Anne Hathaway. She took the role to bite off big chunks of that famous Didion dialogue. She scripted the Streisand “Star is Born,” “Play it As It Lays” and a minor classic — “True Confessions.”
Nobody tells Elena McMahon (Hathaway) that she’s in over her head, sniffing around a story no one — including her editor — wants. It’s about “selling a few third rate military leftovers to second rate revolutionaries at, I’m guessing, first rate mark-ups.”
Elena and her photographer colleague (Rosie Perez) have been in conflict zones. She’s seen stuff. So when her disreputable, estranged father (Willem Dafoe) reconnects long enough for his dementia to require her to complete “last thing” “big deal” for him, she grimaces, but never flinches.
In an odyssey that takes her from Miami to Nicaragua to Costa Rica to Antigua, she hunts for clues that aren’t readily apparent to the viewer, stumbling by with her instincts as this or that faction seems to be gunning for her, setting her up or stealing her passport.
There’s a government “ambassador at large” (Ben Affleck), a gun runner go-between (Edi Gathegi) and a gay resort owner (Toby Jones). Can she trust any of them?
I should mention that this, the meat of the movie, takes over an hour to set up. First, our reporter has to do a lot of what reporters do in movies — yelling at her editor for having to cover Reagan’s “victory lap” ’84 campaign.
“The incumbent cowboy is already neck deep in four years of deceit!”
She’s got to placate her boarding school daughter with promises of letting her return to Malibu. Hah. Right. On a reporter’s paycheck.
All the while, she’s the subject of the ire of the Secretary of State, George Schultz (Julian Gamble) who won’t be convinced she can be used as “the bullhorn” for administration policy via Affleck’s character’s sales pitch.
It stops making sense about thirty minutes in and never recovers.
Director Rees let herself be seduced by the character, a tough smart broad in a tight spot, and by all that juicy dialogue, some of it delivered in voice-over narration.
“Some real things happened lately…I wanted to know why.”
Let’s hope neither she nor Netflix lets that happen again.
MPAA Rating: R for language, some violence, disturbing images and brief nudity
Cast: Anne Hathaway, Willem Dafoe, Rosie Perez, Edi Gathegi, Toby Jones and Ben Affleck
Credits: Directed by Dee Rees, script by Marcos Villalobos and Dee Rees, based on a Joan Didion novel. A Netflix release.
Running time: 1:55
Movie Nation 