Posts Tagged ‘The American’
Goldstein Thinks Ads For The American Were Unfair
Tuesday, September 7th, 2010Frenzy on the Wall: Who’s the Biggest Star in the World (Right Now)?
Monday, September 6th, 2010William Goldman is one of the greatest screenwriters of all-time, but he was also a fantastic essayist and one of the most insightful minds when it came to writing about films. His collection of essays, The Big Picture, has been read so many times by me that the pages are starting to break free from the binding. But one of the questions he came back to was: who is the biggest star in the world right now? Almost every year during the ’90s, he tried his best to answer that very question.
For whatever reason, Goldman’s not writing (or at least not publishing) his essays about film and I decided that I would try to answer the question as we wind down the year 2010. Just like Goldman, I won’t use a ton of numbers or charts and graphs, but I’ll present my evidence as best as I can.
Last year, I think the answer would have been a bit easier. James Cameron was clearly the biggest star in the world in 2009 and it wasn’t even close. The man released his first film in twelve years and just happened to make a movie that broke every box office record imaginable. It is now clear that any year in which Cameron releases a film, he will be the biggest star in that year. One could make a case that he’s the biggest star of this current year since Avatar raked in most of its dough after the calendar flipped to 2010, but by the time this year ends, I don’t think he’ll still be on anyone’s mind.
As for those in front of the camera, it would be easy to name folks like George Clooney or Brad Pitt. Up in the Air and Inglourious Basterds were hits both critically and commercially and it’s reasonable to expect every film to which one of these handsome men is attached will at least make its money back. People will go to the movies specifically because they hear the names “Clooney” or “Pitt” and that’s becoming increasingly rarer.
If you need evidence of this, check out this weekend’s grosses for The American. It was the number one film of the weekend, despite the fact that Clooney was the only actor anybody heard of and despite the fact that it’s a deliberately-paced film that most American audiences would usually find dull. I doubt it’ll have strong legs next weekend, when word of mouth spreads, but the bottom line is that Clooney put butts in seats this weekend. Audiences in this country feel comfortable with Pitt and Clooney, that they will deliver the goods in projects that are worthy of their time and money.
Johnny Depp might want in on this conversation.
I personally think he’s fading as an actor I trust, but Alice in Wonderland still made a ton of money. Although, I don’t know how much if it is Depp and how much of it is Burton and how much of it is the recognizable brand. Depp certainly didn’t help Imaginarium of Doctor Parnassus get seen by very many people, and while Public Enemies did okay, it didn’t do as well as expected in a cushy Independence Day slot. The Tourist will be a good test for him, where he’s paired with one of the top female stars out there.
Speaking of Angelina Jolie, could she be the biggest star in the world? She’s certainly one of the most recognizable faces, gracing the covers of magazines on newsstands around the globe. She was the only major draw in Salt and that film has grossed over a hundred million dollars at the box office. Jolie and action is a formula for success, as she had already proved with Wanted. Unfortunately, put her in a serious drama – even one she’s excellent in, like Changeling – and audiences turn away.
Speaking of Clint Eastwood, I must make mention of him because I think he was on William Goldman’s list every single year he made it. And the weird thing is that you could probably still put him somewhere on the list. The guy has been a commodity for about forty years already and has shown no signs of slowing, releasing a film every single year. When he actually gets in front of the camera, (a rare sight these days) people tend to show up, even if it’s something as dumb as Gran Torino.
Box office gross of the aforementioned film: nearly 150 million bucks and Eastwood was the only draw. Dude is nearly eighty and he still gets audiences to come out. His next film, Hereafter, reunites him with Invictus star Matt Damon and comes out in the fall.
Matt Damon, you say? Why yes, I did. I’d love to put him somewhere on this list, but the truth of the matter is that while he’s a recognizable face and name and he gives any film he stars in the air of respectability…he’s not quite in the running for biggest movie star status. The Bourne films were cash-cows, of course, but the truth of the matter is that he’s too much of a damned artist to be a movie star.
He’s the kind of guy who gains forty pounds to star in a Soderbergh film, the kind of guy who brings subtlety to his pitch-perfect performance in The Good Shepherd (one of my favorite performances of the last twenty years). He’s the kind of guy who will take time out of his schedule to film cameos in Soderbergh’s Che or Coppola’s Youth Without Youth. He doesn’t seem especially motivated by money or fame; instead it seems his one big desire is to work with as many great directors as possible.
The guy has worked with Scorsese, Coppola, Soderbergh, Minghella, Van Sant, Gilliam, Redford, Eastwood, and has a film coming up with the Coen Brothers. He might be one of the finest popular actors of his generation, but he’s not one of its biggest movie stars.
Damon also worked with Steven Spielberg on Saving Private Ryan and Spielberg used to be a staple on this list. You could always put him on it because he’s easily the most famous film director in the history of motion pictures. If you ask any bozo off the street to name a film director, they’ll definitely be able to mention Steven Spielberg. Unfortunately the man hasn’t released a film since Munich (What Indiana Jones film? I keep telling you, it doesn’t exist!).
He’s got a couple of projects on the horizon, including War Horse and Tintin, but I can’t put him anywhere near the top until he finally makes that damned Abraham Lincoln movie. Or, you know, if War Horse is brilliant and makes a ton of money. But he deserves a place on this list, even as just a producer. Hell, every Transformers movie is a gigantic hit and he’s one of the men responsible for it.
How about the star of that hit franchise? No, not Michael Bay or Optimus Prime, but Shia LaBeouf. He’s only 24 years old and he’s the lead actor in a franchise that has grossed a kajillion dollars (he was also in that Spielberg movie that doesn’t exist and grossed a lot of money). But, come on, we know people weren’t going to the theater for a chance to see LaBeouf. And while Disturbia was a decent-sized hit, Eagle Eye was a disappointment. We’ll see how he does with the Wall Street sequel, but even if it’s a huge success, it probably won’t be due to him. He might be the biggest star in the world in five to ten years, but he’s not there yet.
There’s no natural transition to this one, so I’m going to try not to snap my neck with this segue: Will Smith! What about Big Willie? He’s still getting jiggy with audiences, whether it’s in the atrocious Hancock or the even more atrocious Seven Pounds. It’s actually an amazing testament to his star power that the latter film managed to gross seventy million dollars, despite its subject matter.
I mean, that’s not an easy film to sell and basically they marketed it as “Will Smith…in a movie!” Nobody had any clue what it was about, but the promise of Will Smith drew people in. That’s pretty impressive. But he’s been absent from screens for two years now and Men in Black III isn’t coming out until 2012, so he’s taking a break from his throne.
No, Jaden Smith isn’t where I’m going next.
I don’t know who to blame or praise for the success of Twilight, so I can’t really put any of those kids or filmmakers on here. I’ll chalk that one up to “phenomenon” and move on. Same goes for the much better Harry Potter films.
Leonardo DiCaprio? He’s the star of one of the most talked-about movies of the year, Inception, which will end up with around 300 million bucks in the bank. Not too shabby. He’s also Scorsese’s favorite actor and DiCaprio has helped turn Scorsese into a legitimate box office favorite. Or maybe it was the other way around? Unfortunately, he couldn’t help turn Revolutionary Road or Body of Lies into hits.
In the right project, DiCaprio is gold. And Inception might have been more about Christopher Nolan than DiCaprio. I think his turn as the title character in Eastwood’s J. Edgar Hoover biopic will probably garner some awards buzz, but we’ll see if he can take it to the top of the box office.
Adam Sandler was the answer to this question for a while. But that was back when his movies cost nothing to make and grossed insane sums of money. Now the movies cost more, he costs more and he can’t even guarantee a hit when he’s working with Judd Apatow. Grown Ups grossed about $160 million, but it definitely cost quite a bit to make and market. He’s near the top of the list, but it seems he’s veering closer towards modern-day Eddie Murphy family-movie territory. And that’s a hit or miss world to live in.
Okay, enough beating around the bush, the answer to the biggest movie star in the world? Well, who could it be other than Sandra Bullock? She’s gracing the cover of Entertainment Weekly this week despite the fact that she’s got nothing to promote and she wasn’t even interviewed. She starred in two massive hits last year, got an Oscar and could get anything greenlit immediately. She was the star of 2009 and is the biggest movie star to grace a cinema screen right now.
But that’s not the answer. She might be the biggest actor in the world, but the biggest movie star right now (and I would argue, for the last decade) is very simple…
PIXAR.
Name me another company, actor, director, etc. in the history of cinema that has never made a film that bombed either critically or commercially. You can’t do it. (Okay, maybe John Cazale?) Every year, Pixar releases a film that grosses a ton of money and tops critics lists. This year, they put out Toy Story 3 and it grossed over 400 million dollars. I don’t think any movie star on the planet can guarantee you half that. Well, except for Pixar. I’m putting the over/under on the next five Pixar releases at 250 million and I’ll take the over. I’ll win every time.
Without a doubt, the biggest movie star in the world is Pixar. And it’s not even close.
Weekend Estimates – September 6
Monday, September 6th, 2010Four Day Estimates| | |
The American| 16.5| New| 19.6
Machete| 14.1| New| 14.1
Takers| 13.6| -47%| 40.1
The Last Exorcism| 8.7| -64%| 33.5
Going the Distance| 8.6| New| 8.6
The Expendables| 8.3| -46%| 93.9
The Other Guys| 6.6| -16%| 108
Eat Pray Love| 6.1| -29%| 70.2
Inception| 5.8| -6%| 278.4
Nanny McPhee Returns| 4.6| -24%| 23.4
The Weekend Box Office Report — Four Day and Summer Charts
Monday, September 6th, 2010Summer of Our Discontent
Domestic box office for the summer season dropped 3% from 2009 on an estimated gross of $4.05 billion. On an even graver note admissions sank at least 10% and possibly as high as 12%. Following a fast start in early May, movie going appeared to lose steam mid-stream and though the final Labor Day holiday frame contributed a slight 5% weekend boost it was insufficient to close the gap.
Heading into the weekend, Paramount led in market share but were out-gunned at the final shoot out by Sony with the latter closing the season with a 16.5% slice of the big pie to the former’s 15.9%. The summer’s top grossing film was Toy Story 3 with a $408.8 million tally. Five of the top 10 top seasonal grossers were in the 3D format and two others — Inception and Iron Man 2 — had a significant number of large format engagements. The surge of premium price movies proved to be a ferocious audience magnet. Collectively the seven films contributed $1.82 billion to the box office, or 45% of all summer ticket sales.
Despite the potency of such conventionally formatted films as The Twilight Saga: Eclipse and unexpected results for the likes of Grown Ups and The Expendables, box office events are increasingly tilted toward pictures with higher entry fees. And whereas the historic trend of successful films increasing attendance, the present situation appears to have limited the general publics frequency at the multiplex in what may be a factor of the slowly recovering American economy. Gloom and doom aside, major gains were made in the independent sector.
The likes of Summit and Lions Gate chose to compete against the majors for a change and the former was a hair’s breath away from nudging Fox out of the top six. Niche titles ranging from the first two portions of the Millennium trilogy, festival favorites such as Winter’s Bone and The Kids Are All Right and critical favorite I Am Love were a significant factor in summer sales. In all 13 films of this type grossed in excess of $4 million each — a seasonal record that indicates a growing audience for alternative fare.
Though the industry has long contended that there is an insufficient market for mid-range pictures, the absence of a breakout title on the order of The Hangover may have finally sealed that verdict. Summer 2010 certainly underlines that the multiplex comes in just two sizes — big and small.
Weekend (estimates) September 3 – 6, 2010
Title | Distributor | Gross (average) | % change * | Theaters | Cume |
The American | Focus | 16.5 (6,060) | New | 2721 | 19.6 |
Machete | Fox | 14.1 (5,290) | New | 2670 | 14.1 |
Takers | Sony | 13.6 (6,170) | -47% | 2206 | 40.1 |
The Last Exorcism | Lions Gate | 8.7 (3,030) | -64% | 2874 | 33.5 |
Going the Distance | WB | 8.6 (2,840) | New | 3030 | 8.6 |
The Expendables | Lions Gate | 8.3 (2.440) | -46% | 3398 | 93.9 |
The Other Guys | Sony | 6.6 (2,520) | -16% | 2607 | 108 |
Eat Drink Pray | Sony | 6.1 (2,300) | -29% | 2663 | 70.2 |
Inception | WB | 5.8 (3,410) | -6% | 1704 | 278.4 |
Nanny McPhee Returns | Uni | 4.6 (1,690) | -24% | 2708 | 23.4 |
Despicable Me | Uni | 3.8 (2,400) | -2% | 1600 | 241.3 |
The Switch | BV | 3.8 (2.030) | -32% | 1885 | 22.2 |
Vampires Suck | Fox | 3.7 (1,520) | -43% | 2434 | 33 |
Toy Story 3 | BV | 2.6 (1,730) | 89% | 1520 | 408.8 |
Piranha 3D | Weinstein Co. | 2.9 (1,640) | -46% | 1789 | 23 |
Avatar (reissue) | Fox | 2.8 (3,480) | -43% | 811 | 758.1 |
Lottery Ticket | WB | 2.6 (1,990) | -41% | 1310 | 21 |
Scott Pilgrim vs. the World | Uni | 1.9 (2,390) | -38% | 807 | 29.2 |
Salt | Sony | 1.6 (2,230) | -34% | 705 | 115.5 |
Get Low | Sony Classics | 1.5 (2,910) | -26% | 526 | 5.7 |
Dinner for Schmucks | Par | 1.2 (1,540) | -45% | 804 | 71.1 |
Step Up 3D | BV | .89 (2,050) | -44% | 434 | 41.2 |
Grown Ups | Sony | .65 (1,950) | 88% | 333 | 160.1 |
Cats & Dogs: Revenge of Kitty Galore | WB | .64 (1,410) | -30% | 455 | 42.2 |
The Sorcerer’s Apprentice | BV | .57 (1,600) | 63% | 357 | 61.7 |
Twilight: Eclipse | Summit | .54 (1,360) | -18% | 396 | 298.8 |
The Kids Are All Right | Focus | .51 (2,130) | -22% | 239 | 19.9 |
* percentage changes are 3-day to 3-day
Weekend Total ($500,000+ Films) | $125.10 | |
% Change (Last Year) | 5% | |
% Change (Last Week) | -11% |
Also debuting/expanding
We Are Family | UTV | .32 (4,730) | 67 | 0.32 | |
Cairo Time | IFC | .22 (3,960) | -11% | 55 | 0.9 |
Mesrine: Killer Instinct | Alliance/Music Box | .16 (3,110) | -38% | 52 | 0.88 |
Mesrine: Public Enemy no. 1 | Alliance/Music Box | .15 (3,020) | 143% | 51 | 0.23 |
A Woman, a Gun and a Noodle Shop | Sony Classics | 33,800 (6,760) | 5 | 0.03 | |
My Dog Tulip | New Yorker | 14,100 (14,100) | 1 | 0.01 | |
Prince of Broadway | Elephant | 12,300 (12,300) | 1 | 0.01 | |
White Wedding | Mitropoulos | 6,700 (1,670) | 4 | 0.01 | |
The Winning Season | Roadside At. | 6,100 (2,030) | 3 | 0.01 | |
16 to Life | Water Dog | 3,500 (1,750) | 2 | 0.01 |
Domestic Summer Market Share (May 7 – September 6, 2010)
Rank | Distributor | Gross | Mkt Share | % Change | Rank |
(in millions) | 2009 | 2009 | |||
1 | Sony | 669.2 | 16.50% | 27% | 5 |
2 | Paramount | 643.6 | 15.90% | -18% | 2 |
3 | BV | 611.6 | 15.10% | -12% | 3 |
4 | Warner Bros. | 514 | 12.70% | -49% | 1 |
5 | Universal | 499.9 | 12.40% | 54% | 6 |
6 | Fox | 362.3 | 8.90% | -24% | 4 |
7 | Summit | 360.6 | 8.90% | 1148% | 9 |
8 | Lions Gate | 178.5 | 4.40% | 1273% | 12 |
9 | Focus | 47.3 | 1.20% | 172% | 11 |
10 | Weinstein Co. | 23.9 | 0.60% | -80% | 7 |
Miramax | 22.2 | 0.50% | 158% | 13 | |
Sony Classics | 18.8 | 0.50% | 6% | 10 | |
Other | 96.3 | 2.40% | N/A | ||
4048.2 | 100.00% | -3% | |||
% Change 2010 (Other Distributors) | |||||
Fox Searchlight | -83% |
Jack Mathews Asks Why Critics Love The American
Sunday, September 5th, 2010The Weekend Box Office Report
Sunday, September 5th, 2010Ooops!
The final weekend of the 2010 crawled to roughly $105 million excluding the Monday portion that could add an additional $30 million.
A trio of new national releases did little to bolster the overall picture with The American topping the charts with an estimated $13.1 million (all figures are for the 3-day portion of the holiday). It entered the weekend with an additional $3.1 million from a Wednesday pre-weekend launch. Additionally the actioner Machete hacked away to $11.2 million and the rom-com Going the Distance lacked cheek with $6.8 million.
New niche entries were largely tepid including Bollywood entry We Are Family that garnered $228,000 from 67 venues. There was a small surprise with the exclusive debut of the animated entry My Dog Tulip that grossed $11,500.
Overall the current weekend box office appears to be about 5% improved from last year’s tally.
But the nettlesome issue is the performance of summer 2010 top to bottom. The answer is complicated because what we’ve come to identify as the summer season _ oh, that ever shifting calendar _ works out to be one week less than normal. By that yardstick box office is down from 2009 and the lowest of the past decade.
Even when an additional week’s box office is added to the mix, initial calculations put the current season down about 2% from the prior year’s tally. And it goes without saying that admissions are lagging; likely off by 8% to 10% from one year ago.
Some pundits have pointed to the fact that this year’s schedule has two fewer films that grossed in excess of $100 million and that certainly reflects the tip of the iceberg. That aside, it’s fair to say there were a comparable number of surprises and disappointments. In the former area, one can point to a record number of alternative titles that grossed in excess of $4 million (at least 10 on a quick scan).
The more telling factor in the decline is the medium-range performers that had box office of less than $40 million. The decade-long trend is one of haves and have nots. The chasm between films that work to those that are rejected continues to expand and despite claims that the future will foster fewer films in the marketplace, to date the difference is both infinitesimal and unlikely to shift (based on production starts and announcements) in the upcoming 18 months.
There is no definitive answer, rather a series of developments that include alternative ways of viewing movies and a continuing stasis in the economy that’s made the public both more selective and less avid in their movie going habits. The downturn might best be summed up as a slow, painful death by a million small cuts.
______________________________________
Weekend Estimates: September 3 – 5, 2010
Title | Distributor | Gross (average) | % change | Theas | Cume |
The American | Focus | 13.1 (4,810) | New | 2721 | 16.2 |
Takers | Sony | 11.3 (5,130) | -45% | 2206 | 37.8 |
Machete | Fox | 11.2 (4,210) | New | 2670 | 11.2 |
The Last Exorcism | Lions Gate | 7.6 (2,650) | -63% | 2874 | 32.4 |
Going the Distance | WB | 6.8 (2,250) | New | 3030 | 6.8 |
The Expendables | Lions Gate | 6.6 (1,950) | -31% | 3398 | 92.2 |
The Other Guys | Sony | 5.3 (2,020) | -16% | 2607 | 106.7 |
Eat Drink Pray | Sony | 4.8 (1,700) | -29% | 2663 | 68.9 |
Inception | WB | 4.6 (2,690) | -6% | 1704 | 277.2 |
Nanny McPhee Returns | Uni | 3.6 (1,310) | -24% | 2708 | 22.4 |
The Switch | BV | 3.1 (1,650) | -32% | 1885 | 21.5 |
Despicable Me | Uni | 2.8 (1,740) | -2% | 1600 | 240.2 |
Vampires Suck | Fox | 3.0 (1,,220) | -43% | 2434 | 32.3 |
Avatar (reissue) | Fox | 2.3 (2,800) | -43% | 811 | 757.6 |
Piranha 3D | Weinstein Co. | 2.3 (1,300) | -46% | 1789 | 22.4 |
Lottery Ticket | WB | 2.3 (1,740) | -41% | 1310 | 20.6 |
Toy Story 3 | BV | 1.9 (1,260) | 89% | 1520 | 408.1 |
Scott Pilgrim vs. the World | Uni | 1.6 (1,930) | -38% | 807 | 28.8 |
Get Low | Sony Classics | 1.2 (2,300) | -26% | 526 | 5.4 |
Salt | Sony | 1.2 (1,760) | -34% | 705 | 115.2 |
Dinner for Schmucks | Par | 1.0 (1,220) | -45% | 804 | 70.9 |
Step Up 3D | BV | .70 (1,600) | -44% | 434 | 40.9 |
Grown Ups | Sony | .44 (1,321) | 65% | 333 | 159.9 |
The Sorcerer’s Apprentice | BV | .43 (1,200) | 63% | 357 | 61.6 |
Twilight: Eclipse | Summit | .42 (1,060) | -18% | 396 | 298.7 |
The Kids Are All Right | Focus | .41 (1,720) | -22% | 239 | 19.8 |
Weekend Total ($500,000+ Films) | $98.30 | ||||
% Change (Last Year) | 5% | ||||
% Change (Last Week) | -10% | ||||
Also debuting/expanding | |||||
We Are Family | UTV | .23 (3,400) | 67 | 0.23 | |
Cairo Time | IFC | .16 (2,940) | -11% | 55 | 0.84 |
Mesrine: Killer Instinct | Alliance/Music Box | .13 (2,480) | -38% | 52 | 0.75 |
Mesrine: Public Enemy No. 1 | Alliance/Music Box | .11 (2,080) | 112% | 51 | 0.19 |
A Woman, a Gun and a Noodle Shop | Sony Classics | 25,200 (5,040) | 5 | 0.03 | |
My Dog Tulip | New Yorker | 11,500 (11,500) | 1 | 0.01 | |
Prince of Broadway | Elephant | 8,600 (8,600) | 1 | 0.01 | |
White Wedding | Mitropoulos | 5,900 (1,480) | 4 | 0.01 | |
The Winning Season | Roadside At. | 4,900 (1,630) | 3 | 0.01 | |
16 to Life | Water Dog | 1,900 (950) | 2 | 0.01 |
Domestic Market Share: January 1 – September 2, 2010
Distributor (releases) | Gross | Market Share |
Paramount (11) | 1224.2 | 16.10% |
Fox (14) | 1198.3 | 15.70% |
Warner Bros. (20) | 1196.1 | 15.70% |
Buena Vista (13) | 1079.9 | 14.20% |
Sony (19) | 886.4 | 11.60% |
Universal (14) | 700.4 | 9.20% |
Summit (9) | 422.9 | 5.50% |
Lions Gate (10) | 354.1 | 4.70% |
Fox Searchlight (4) | 70.6 | 0.90% |
Overture (4) | 67.4 | 0.90% |
Weinstein Co. (6) | 55.4 | 0.70% |
MGM (1) | 50.4 | 0.70% |
CBS (2) | 50 | 0.70% |
Sony Classics (17) | 46.2 | 0.60% |
Other * (228) | 215.7 | 2.80% |
* none greater than 0.4% | 7618 | 100.00% |
Friday Estimates by Klady, The American vs The Mexican
Saturday, September 4th, 2010It seems to me that the fair box office comparisons for the two Labor Day openers are The Constant Gardener and Crank The American and Machete are running a few hundred thousand ahead for the Friday, which even without 3D, is about right for two films being released 4 and 5 years later. This should lead to each film doing somewhere between $11 million – $14 million by end of business Monday.
Going The Distance feels like a dump from WB. Funny thing is, it is apparently quite a New Line affair, much raunchier and less (15) Days of Summer than advertised. But most of the world will never know, as even a $20m domestic gross seems a long ways away.
And what is odder than Sony Classics dumping a Zhang Yimou movie? A Woman, a Gun and a Noodle Shop, as someone once said, is escaping, not being released.
Weekend numbers will land here on Monday, not Sunday, this week.
Boone Answers: What’s So European About The American?
Friday, September 3rd, 2010Quiet Cool
Friday, September 3rd, 2010My favorite songs are ones that slowly build to a crescendo – David Bowie’s “Rock N’ Roll Suicide” for example – and I’ve often felt that way about movies. I have always enjoyed the slow build, tightening the screws ever so delicately until the tension is unbearable. Sure, there are great movies that come out firing on all cylinders right from the start, but my preference is to let things slowly sink in. The movies of Antonioni, Rohmer, Malick, Truffaut, and Kubrick have always appealed to me because they were confident enough in their abilities to let things quietly unfold rather than explode. The modern day filmmaker that I think employs this technique most effectively is probably Gus Van Sant; films like Paranoid Park and Elephant unfurl their narratives in an almost maddeningly oblique way. But I find those films to be rewarding because of the work I put into trying to understand them.
This is all to say that it makes me downright giddy that there seem to be a couple films on the horizon that employ this technique. Anton Cobijn’s The American is, according to everyone who has seen it, an Antonioni-esque exercise in languidness. And today, I read a bunch of reviews of Sofia Coppola’s Somewhere that apparently takes place in the same dreamy state as Lost in Translation. And to me, this is the equivalent of most audiences seeing that giant wave in the trailer for The Perfect Storm. When I hear that a movie has a deliberate pace and is compared to a director like Antonioni or Malick, that’s when I get excited.
What are some of the other great “slow-build” movies I’m missing?
Box Office Hell – September 2
Thursday, September 2nd, 2010Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
Machete|16.4|10.1|18|15|15.5
Going the Distance|15.6|12.6|12|14.5|11
The American|13.6|9.5|12|10.5|11.5
Takers|12.3|10.8|13|12.5|13.5
The Last Exorcism|10|9.4|11|8|9.2
Anton Corbijn Breaks Down A Scene From The American
Thursday, September 2nd, 2010Clooney is The American
Wednesday, September 1st, 2010“Everything I’ve done I’ve had good cause to do.”
Review – The American
Wednesday, September 1st, 2010It’s an odd thing. About 20 minutes into The American and similarly in another film I can’t review right now (Sept 4), I was strongly struck by the sense that critics would be wildly split on the film. Masterpiece or Bore.
I feel The American is a beautifully rendered, intimate, deceivingly simple film loaded with emotional and intellectual mines that not everyone will choose to step on. It is the 70s film that George Clooney continues to try to make in his career. As I watched, I felt the movie was a kindred cousin of Zinnemann’s The Day Of The Jackal, albeit without the device of De Gaulle being threatened with assassination. It’s not because of rifles, but because of the quiet intimacy of a man doing his work. In this case, the central figure is far more self-reflective. It also reminded me a lot of Boorman’s Point Blank, as we wander through our central character’s history, though not always directly or with the most explained meanings… especially when a female character shows up and she is undeniably sexualized by the film and the holder of great power.
Anton Corbijn doesn’t seem interested in conventional storytelling here… and people who go into the film looking for it will be bitterly disappointed unless they allow themselves to get over their expectations. I don’t want to tell you the story elements, as you should experience them blindly, but essentially, it is a one-last-job movie, but the job is not a thrilling heist or a complex effort… it’s a job that creates introspection in Clooney’s character in great part because he is not pressed into much action.
And this is the power… and for some, the frustration of this film. The more action, the less Clooney’s character shows any thought about what he is doing or why he is doing it. He just reacts, never seeking more insight. And when he breathes, he lingers on his life, which flashes before his eyes, much as it repeats itself in the story.
I don’t want to make this about other critics, though this is one of those films that raises those hairs on the back of my neck in anticipation of the reviews. One item, for instance, is offered up by AO Scott in the NYT review, glibly suggesting that a prostitute in the story is drawn to Clooney’s American because of his sexual prowess. With due respect to a smart guy, he wasn’t really watching the movie. It is so clear in the film that her attraction to him is central to his story – the repeating relationships with women who are not meant to become intimate – and that it is not driven by her sexual interests (though she is very free with using her sexuality as bait), but by his seeming honesty and her wish to find another life with a good man. Maybe he got all of that and still wasn’t interested and decided to blow it off. But that’s not really fair to the work, is it?
Clooney’s effort here to dress down for the role… to make his beautiful face tight and unwilling… to turn those eyebrows into two roads with trucks blazing down them, headed for a crash… to make himself small, it impressive. He has worked hard to avoid all of his performance crutches, from the megawatt smile to the growl of a voice. Because of the filmmaking, he manages not to get caught in the Javier Bardem/Eat Pray Love problem of being too attractive for the role that might be better suited to the physicality of Richard Jenkins.
I quite like this film and won’t be surprised if I feel more deeply in love with future viewings. It strikes me odd that some reviews are suggesting that any of what those writers see as flaws were a function of an unsteady hand. I have no doubt, even more so than in Corbijn’s Control, that every choice in this film was quite well thought out, regardless of how it rubs one person or another. All kinds of small elements are more complex than you might expect in a more conventional film, from The Priest to The Mechanic (played by the great Filippo Timi) to The Buyer to the restaurateur who mocks the foreigner.
It’s not going to be everyone’s taste… and it certainly isn’t the movie that Focus is selling. But respect should be paid, in earnest. It’s a powerful, tiny tale whose whole story could dance on the head of a pin… but whose soul lingers and grabs and demands. For me, that’s a great night out at the movies.
Testing, Testing, 1, 2, 10!
Tuesday, August 31st, 2010We were wondering how large graphics could be in this new blog design, so I decided to run a test. And who better to be the test rabbit than the co-star of tomorrow’s release, The American, Violante Placido?
There were more graphic images… and not inappropriate to this film… but this one, I thought, captured what she brings to the film without being… well, you know, it’s just a human body… we all have body parts… uh… God works in mysterious ways.
Ebert’s 4-Star Notice For The American Goes Beyond Other Reviews’ Admiration
Tuesday, August 31st, 2010“I felt exaltation at this detail. It is so rare to see a film this carefully crafted, this patiently assembled like a weapon, that when the word comes it strikes like a clap of thunder.”
Ebert‘s 4-Star Notice For The American Goes Beyond Other Reviews’ Mere Admiration