The English Patient (1996)

Director Anthony Minghella’s sweeping WWII romance ranked as #24 in my countdown of the greatest left-wing films of all time:

Filled with poetic dialogue, lush cinematography, some truly extraordinary scenes — such as the sandstorm sequence where Katharine and Laszlo fall in love — and  a charming subplot involving the short-lived but sincere romance between Binoche’s Canadian nurse and Kip (“Lost’s” Naveen Andrews), a brave Indian who defuses bombs, you almost will yourself  not to notice the film’s depraved and shockingly selfish philosophy. The film is seductive, though, and you want to give into it, but in the end the only moral outcome would be to have the cast of “Inglorious Basterds” storm in and beat Laszlo to death with a baseball bat.

If you don’t mind being manipulated by an ingeniously crafted and immoral piece of propaganda (and I don’t), another bonus is the look of the film (the cinematography won an Oscar), which is a jaw-dropper on Blu-ray.

—–

Shakespeare in Love (1998)

Many will never forgive the fact that director John Madden’s fictionalized account of a passionate but ill-fated love affair between a young, struggling William Shakespeare (Joseph Fiennes)  and the beautiful young woman (Gwyneth Paltrow) who inspires some of his greatest work, beat out Steven Spielberg’s “Saving Private Ryan” for that year’s top Oscar prize.

This might be heresy, but I think the best film won.

Thanks to one of the best screenplays ever written, “Shakespeare In Love” is also one of the most original films to come out of the 1990s. Paltrow is luminous, and the supporting cast — which includes Tom Wilkinson, Geoffrey Rush, Judi Dench (who along with Paltrow would win an Oscar for her work here), Simon Callow, and Ben Affleck — are all outstanding, thanks to their own talents and how well each character is individually defined. Some of story’s best moments come from the development of the Wilkinson and Affleck characters as Shakespeare’s talent and art overcomes their own personal agendas.

The story is at its most effective, though, in pushing the buttons a romance is supposed to push. You want this young couple to find a way be together, and you’re a little heartsick when you think about the possibility of them not making it.

Acted with great energy and humor and photographed in vibrant colors, this is an intelligent crowd-pleaser that looks gorgeous in high definition.

—–

Chicago (2002)

Director Rob Marshall pretty much revived (for a while, anyway) the musical genre with this age-old tale of murder and fame set in 1920s Chicago. Rene Zellweger might be the film’s star, but she’s completely blown off the screen by Catherine Zeta-Jones (who won a supporting Oscar) and a surprisingly game Richard Gere (who should’ve won a supporting Oscar).

The musical numbers are a little too choppy for my taste, and every one of them is staged as though it’s a finale, but the story is engaging and a few of the numbers are legitimate show-stoppers. Everyone’s obviously having a good time, and it’s more than a little infectious.

—–

Crash (2004)

There are all kinds of movies I dislike, ignore, dismiss and am even disgusted by. This is one of the rare titles I absolutely loath. This overwrought, melodramatic, piece of pretentious crap reeks of a left-wing superiority that emanates from the Hollywood Hills and looks down its oh-so-superior nose on the “little people” of Los Angeles. Sanctimony is its theme, superiority its muse, and smearing its goal. It’s an abomination of a film that reveals nothing about the good people of the Southland, who live and work and worship together in complete harmony, and everything about the self-serving elites who created and championed it.

My suggestion is that while you’re enjoying the other four Blu-rays, you use this one as a coaster for your Pabst Blue Ribbon.

—–

No Country For Old Men (2007)

An excerpt from my 2007 review, which, unfortunately, is no longer online:

The “country” in “No Country For Old Men” is a bleak, sun-bleached West Texas, not far from the Rio Grande circa 1980. Why 1980, is never explained. Maybe to get away with Chigurh’s haircut, a villain soon to become as iconic as Hannibal Lecter. But the barren landscapes, flares of dry lightning, and burgeoning towns just a few years away from being Applebee’d, perfectly symbolize a flat, hopeless, forbidding vastness offering nowhere to run and nowhere to hide from that thing that’s so spooked our Sheriff Bell.

The first one hundred minutes of “Old Men” are dynamite. The story is simply set up in act one with act two being its own symphony of unnerving tension as Chigurh and Moss play out their respective roles of unrelenting cat and crafty mouse. Nothing’s contrived to bring these two together and no superhuman acts are performed by either. All the action and suspense comes from entirely believable situations, which only adds to the unyielding tension as it becomes more and more clear Moss will never escape.

The only super power on display is that of the Coen brothers’ direction, the actors’ performances, the cinematography and editing. Each scene is ingenious in how it creates its own suspense, but also in how it builds on the knot tightening in your gut. The camera’s always in the right place, revealing a precise piece of information; even the removal of a pair of socks lifts your antennae. The editing is a work of art that utilizes timing, camera angles, and individual shots for maximum unease.

To the film’s further credit, just as no absurd coincidences or super human feats are contrived to move the plot, nobody does anything unrealistically stupid, either. It’s fascinating to watch the minds of Chigurh and Moss at work as each tries to get a step ahead of the other using whatever’s available to them. These aren’t MacGyvers turning paperclips into getaway cars; these are intelligent, very determined men thinking things through in a way we can relate to in their use of duct tape, wire hangers, phone bills, and compressed air to get what they want. …

The acting is first-rate, and in an era where lazy stars are continually caught coasting with lazy accents, everyone in “Old Men” hits it perfect. As I mentioned in my “Gone Baby Gone” review (another film with well-done accents), the key isn’t so much getting the accent perfect, the key is creating a believable accent that — and this is most important — the audience doesn’t notice. Even Scottish Kelly McDonald manages to convince and Woody Harrelson to not annoy. No small thing. One fine bit of casting is Tess Harper as Sheriff Bell’s wife. Her role here bookends beautifully with her memorable turn as Robert Duvall’s calming influence in “Tender Mercies.”

I close that review unsure about the film’s ending. At the time, I was dissatisfied that so much had been put into building up to a confrontation that never arrived.

In the five years since, that’s no longer a problem. This is one of the best films of the decade by a wide margin,, and repeated viewings only confirm that. The depth of the themes at work here make return visits even more satisfying, and the high-definition transfer of the landscapes, towns, light and shadow that the Coens shot so meticulously really come to life, as does a sound design that helps to immerse you into the landscape and feel every round fired.

There are some great films in this collection, but only one bona fide cinematic masterpiece, and this is it.

‘5 Bext Picture Collection’ is available today at Amazon.com.

Just as the anti-war artists of the 60’s expressed their political views through music, so too are an increasing number of artists of the TEA Party movement who refuse to keep silent about the destruction of this great nation by many who ironically subscribed to those radical, anti-government views of the 60’s counterculture movement.

James Kole - American Folk Blues Artist

One such patriot artist, whose musical style is reminiscent of the folk music of the 60’s, but with a contemporary blues/rock twist, is American Folk Blues artist James Kole.

We have been fans of James Kole’s for over two years since first stumbling upon his YouTube channel, impressed not only by his positive, pro-America lyrics, but also by his professionally produced videos, unique musical and vocal style, and his captivating delivery.

James is no newcomer to patriotic-infused songwriting promoting individual liberty and love of country.  His 1998 full-length release, Liberty, offered listeners a glimpse of what was to come over the years and culminate into his 7th full-length album (released July 4th, 2010):  Songs For Freedom in which he sings about the American Revolution, Frederick Douglass, the Constitution, U.S. Sovereignty, current uncertain times, and much more.

“Rockin’ the stage with a force like thunder”, James Kole’s musical talent is mesmerizing and his energetic aura commanding.  A singer/songwriter from Scottsdale, Arizona, Kole has impressed audiences with his unique blend of blues, rock, and American folk, earning him the title “Local Legend” in the 2008 edition of Perfectify Magazine.

Outside the local scene, his music has a long list of film and television credits, including projects for Miramax, HBO, Washington Square Films, MTV, PBS, and even Red Bull energy drinks.

In 2003, Kole was awarded the Best Original Song at the Saguaro Film Festival for his hit, Big Orange Sun.  James has shared stages with The Doobie Brothers, Nashville country artist Pat Green, SNL star Victoria Jackson, and many more.

An average kid with moderate talent, since her late teens, between acting, mothering, cooking, and singing, Gwyneth Paltrow has subjected America to incessant rounds of painful “No wait…let me start again,” off-tempo renditions of Für Elise followed by impromptu tap-dancing exhibitions by a grown woman who might as well be dressed in a tight pink tutu.

Gwynie (I like to call her Gwynie) is an attractive woman with a superior gift of imitating British accents.  Ms. Paltrow started her career in Hollywood when her mother, actress Blythe Danner, and her father, the late director Bruce Paltrow, together with family friend Steven Spielberg brokered a deal and got her a starring gig in the movies at 19 years of age.

An unabashed recipient of Hollywood nepotism, after winning an Academy Award for Shakespeare in Love Gwyneth was crowned the “Muse” of Miramax studios by film producer Harvey Weinstein.  Since that day, Gwyneth has been nothing short of unbearable.

Raised in Massachusetts, Gwynie moved back to Los Angeles where her career and love life with Brad Pitt took off. Paltrow traveled the world, and now speaks British-style English, French, Spanish, and a little Italian. Gwen even married a temperamental British rock star – Chris Martin of Coldplay – who she’d never have met without the benefit of a VIP backstage pass.

After adopting London as her new home, Ms. Gwyneth, in classic Madonna I’m Evita-I’m British-I’m a single mom to a couple of African kids- mode, dissed America, set up house in Berkshire Gardens, and practiced her fake English accent while taking children Apple and Moses to buy groceries in trendy food shops.

Over the years the only thing more irritating than Paltrow feigning a British accent in the movie Sliding Doors was seeing her accepted as a gourmet cook. Gwyneth Paltrow even traveled with Mario Batali through Spain and lunched with Ina Garten, the “I’m cooking a fabulous dinner for my good friend Gwyneth” Barefoot Contessa.

After soaking fava beans became too much of a chore, Ms. Paltrow re-focused and said “I could do that. I bet I could do that,” and decided to resuscitate her former career as a Duet singer, but not just a singer, a country singer, which right there was weird enough for a woman who spent so much of her life practicing speaking with a British accent. Nevertheless, two weeks into her revitalized singing career golden child Gwyneth was starring in the movie Country Strong.

Soon after, Paltrow showed up on the 2011 Grammy Awards singing “Forget You” with the Muppets and Cee Lo Green and vamping around in a precociously overconfident number on Glee.  Mrs. Coldplay’s routine was rivaled only by Katie Holmes embarrassing herself while torturing the nation on So You Think You can Dance.

The desire to share her varied gifts must have motivated Paltrow to go beyond her expertise in thespianism, Epicureanism, and crooning, because in addition to mastering all three, Paltrow created Goop.com, a place where a Renaissance woman could branch out, blog, and author an informative newsletter.

At Goop.com, the artiste/chef/chanteuse tells readers: “Make, Go, Get, Do, Be and See.”  The only way to describe the venture is that Goop is authored by an overindulged, self-impressed, spoiled rich kid sharing navel-gazing insights into experiences, locations, products, and ideas few people will ever encounter, let alone be able to afford.  Can anyone say “Clueless?”

Paltrow’s Oprah-style New Age views are a cacophony of beliefs similar to the Cheese Board area of Goop’s “Make” section. While Gwyneth’s channeling of Tammy Wynette, making Duck Ragu, recommending skin products from a French pharmacy, and explaining the Year of the Tiger is irritating, it is still all relatively harmless. However, her views on religion, philosophy and sexuality step out of the Christian Louboutin realm and into the downright unappreciated.

Case in point: Gwyneth recently introduced her seven year-old daughter Apple, whose name was chosen because it was “Biblical,” to the idea of lesbianism. Mom assured the tyke that her classmate, who had two Mommies, was “lucky,” after which she implied on Goop that she didn’t know the answer to the question: “What does it actually say in the Bible that will cause some people to be upset by my line of thinking?”  You mean besides confusing a first grader?

I don’t buy the feigned perplexed confusion, because based on Gwyneth Paltrow’s history the query was more of a challenge than a question.  It’s likely that Paltrow has already resolved the issue and feels totally confident that, even if the Bible and God Himself doesn’t support her “line of thinking,” hers is still the right answer, because in Gwyneth Paltrow’s superior world her answer is correct simply because it’s hers.

Clerks has some hilarious moments. But Director Kevin Smith is not afraid to drive a point home ad nauseum. I can’t remember… was Dante supposed to be working that day or not? Clerks showed promise, and comedy is hard, but I do expect improvement in the craft. With Smith, there is no improvement. I could deal with his achieving a career based on this Clerks, however sloppy the film is, but the iconic rockstar status he achieved blows my mind. Still, I don’t hate Kevin Smith, I just hate things about him and his zealous defenders.

I hate that he apologized for Mallrats. I hate that his fans accepted it, and now embrace the movie. I hate how you can’t hate the guy; you criticize him for his shoddy production valus or the rambling speeches that fill his movies, and the Smithites say it’s part of the charm. I hate that a mediocre talkfest like Chasing Amy is treated with reverence – Kevin Smith gets serious, swoon! I hate that Clerks II got an eight-minute standing ovation – eight minutes! – at some film festival, I can’t remember which one. Let me look it up… let’s see, it was… CANNES?!

Putain de merde, Cannes!

That this guy is granted auteur status is surely a sign of the apocalypse.

The back story on Clerks is the stuff of Hollywood fairy tales. A guy sells his comic book collection for $27,000, makes a movie, gets into Sundance, Miramax buys it, it makes millions, and a career is launched. More movies, comic books, and a speaking tour (Seriously? Seriously?!) follow. I thought I would love Clerks. I loved Smith’s grit and determination, which reminded me of course of Robert Rodriguez and Quentin Tarantino. But when I saw the movie I thought, “Where’d the other $24,000 go?”  But that’s a part of the charm!

I can actually buy that with one movie, made for peanuts, but all of his movies look bad.

Yes, I confess, I’m jealous. And in a weird way, proud of Kevin Smith. People keep waiting for Tarantino to fail, but he keeps making good movies. Smith keeps making bad ones, and no one wants to admit it! Okay, they admitted it with Cop Out, but his fans sniff, “Well, he didn’t write it.” My jealousy doesn’t negate my criticism, because after all, I’m also jealous of Tarantino, Judd Apatow, Jack Black, the Farrelly Brothers, and all University of Alabama football fans. But I like everybody else on that list, except Paul Finbaum, head cheerleader for UA. I think Smith’s an amusing guy whose movies are embraced as works of genius. That he’s in on it, and admits he’s a hack, dulls some of the sting.

You just don’t get it! The Smithites say, and they’re right. I don’t get how the following comedies can be rated below Clerks on Imdb:

There’s Something About Mary

Bottle Rocket

Broadcast News

Bull Durham

Slap Shot

Way Out West

Airplane!

The Gods Must Be Crazy (indeed!)

Tootsie

Blazing Saddles

I can only hope that when you control for the foul-mouthed insane nerd vote, Clerks ranks below Cabin Boy, because no rational person can believe that Clerks is better than any movie on the above list. Can they? Can they?!

Okay, so how does a movie I don’t like make the cut in a series about The Best Year Ever? Well, because it wasn’t just the best year ever in terms of quality, but in terms of what was happening at the multiplex too. Clerks, along with Pulp Fiction, helped to cement Miramax’s foothold in the industry, which in turn helped in the mainstreaming of independent film. After crashing the Oscars for a couple of years with arthouse fare that no one saw like My Left Foot and The Piano…zzzzzzzzzzzz…sorry, I dozed off thinking about The Piano… anyway, in 1994, Miramax finally became a brand, recognizable outside the arthouse. More importantly, independent film became way more mainstream.

In that sense, I cannot deny that Clerks is an important movie.  It was fun, and Smith has certainly accomplished more than I have, and probably ever will, in the industry. I just wish he wasn’t so obnoxious (witness his snipes at Tim Burton), overly sensitive (witness his whining when Burton sniped back), and sloppy (witness any of his movies). For his next magic act, Smith turns to the horror genre. In Red State, Smith aims to repackage Democrat loon Fred Phelps as a psychotic (is there another kind?) conservative Republican. Let’s see who calls him on it.

Smith, the mind behind the low-grade classic “Clerks” and last year’s “Zack and Miri Make a Porno,” says he can’t get the funding together for a new project dubbed “Red State.” The film, ostensibly a horror movie, would be based on a Fred Phelps type character. Phelps is the infamous pastor behind the Westboro Baptist Church, the group known for its awful God Hates Fags rhetoric. Smith claims the dark subject matter is scaring potential studios away.

The Weinstein Co., his usual financial partners, passed on the film. And Smith recently hinted he might try a donation model to get enough funds for the project. Why is “Red State” so radioactive?

Smith has been cryptic about the film’s content … but the name of the title certainly is one indicator. One would wish Smith, or any other director for that matter, might see Islamic terrorism as the source for some horror movie mayhem. But that’s an argument for another post.

The film’s struggles may be due to Smith himself. The writer/director may have the smallest ego in Hollywood. There couldn’t be a more self-deprecating auteur around. But his films simply aren’t very good of late.

“Zack and Miri” felt like something made by a teen with a camera and some really famous – and patient – friends. “Jersey Girl” wasn’t the disaster many said, but it was hardly a gem. “Clerks II” delivered the funny but felt more like a Hail Mary career pass than true inspiration.

And the less said about the trailer for his upcoming film, “Cop Out,” the better.

So if “Red State” continues to struggle, it could mean that Smith’s much delayed project isn’t intriguing enough to draw a crowd. Heck, if a film which could poke Red State audiences in the eye can’t command a financier’s attention in Hollywood something must be wrong.

Smith is the same director who created his breakout film, “Clerks,” with a bare bones budget.

Can’t an older, wiser Smith cobble the resources together to make another passion project come to life without begging for scraps?

With most of Hollywood (including myself) expecting an opening in the mid-$20M’s for Hannah Montana The Movie (Disney), Miley has surprised “grown-ups” with her box office clout once again. The picture opened with a heavily front-loaded $17.39M on Good Friday then dropped 40% on Saturday to an estimated $10.34M, and it will reach an estimated $34M by the end of Easter weekend, making it the all-time #2 opening for the bunny holiday weekend. My Friday night early 3-day projection was for $33.6M, but then I raised my number to $39M on Saturday. As it turns out, I should have stuck with my first pass. These young skewing movies are tricky to project, and the Easter Weekend, where Saturday traditionally drops from Friday, makes it even more complicated.

Likely still the all-time Easter Weekend opening champ

ALL-TIME TOP 5 EASTER WEEKEND OPENINGS
1. Scary Movie 4 - $40.2M
2. Hannah Montana The Movie – $34M (projected)
3. Panic Room – $30M
4. The Matrix – $27.7M
5. Guess Who – $20.7M

That is also stronger than Miley Cyrus’ 3-D concert movie last year. 2008’s Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour, which was promoted as a one-week-only motion picture event and benefited from a 3-D upcharge, delivered a stunning $31.1M last February. This 16-year-old has outdone herself.

For the business overall, it appears to be a spectacular frame as Hannah and some strong holdovers will likely have scored the biggest Easter Weekend in modern box office history, surpassing 2002’s holiday 3-day. In fact, this 3-day could beat the previous record by as much as 16%.

Kristin Stewart & Jody Foster were #1 in PANIC ROOM leading Hollywood's previous best Easter Weekend

ALL-TIME BIGGEST GROSSING EASTER WEEKENDS
- totals are for the top 10 films for the holiday 3-day -
1. 4/10/09 – $126.4M [#1 - Hannah Montana The Movie - $34M] (projected)
2. 3/29/02 – $108.8M [#1 – Panic Room - $30M]
3. 4/14/06 – $107.08M [#1 – Scary Movie 4 - $40.2M]
4. 4/06/07 – $104.5M [#1 - Blades of Glory - $22.5M]
5. 3/21/08 – $94.65M [#1 - Dr. Seuss’ Horton Hears A Who! - $24.6M]
6. 4/07/04 – $87.9M [#1 – Passion of the Christ - $15.2M]
7. 3/25/05 – $86.8M [#1 – Guess Who - $20.6M]
8. 4/18/03 – $83.8M [#1 – Anger Management - $25M]
9. 4/02/99 – $72.7M [#1 – The Matrix - $27.8M]
10. 4/21/00 – $70.3M [#1 – U-571 - $19.5M]

Hollywood wouldn’t be making history were it not for the continued high octane ticket sales of Fast & Furious (Universal). The fourth in the F&F franchise is down about 59% from its rubber-burning $71M opening, but it will still likely manage a an estimated $28.78M, more than enough for second-place. The Diesel-Walker-Brewster-Rodriguez “speed machine” will have about $118M in the bank on Monday, putting it miles ahead of the other movies in the franchise.

The secret to getting the F&F franchise back on track? - Just add Diesel

10-DAY GROSSES FOR FAST & FURIOUS FRANCHISE
1. Fast & Furious (2009) – $118M opening (projected)
2. 2 Fast 2 Furious (2003) – $83.6M opening
3. The Fast & The Furious (2001) – $77.9M opening
4. The Fast & The Furious: Tokyo Drift (2006) – $43.2M opening

Monsters Vs. Aliens from Dreamworks Animation continues to perform in monstrous proportions. The cutting edge 3-D spectacle added another $9.07M on its third Friday (no school for lots of kids), and it has reached $22.6M thanks to big family matinees on Saturday and Sunday. MVA is the fifth-best performer for Dreamworks Animation after 17 days, trailing only the Shrek franchise and Kung Fu Panda.

TOP 10 GROSSES FOR DREAMWORKS ANIMATION AFTER 17 DAYS
1. Shrek 2 – $287M
2. Shrek the Third – $255.9M
3. Shrek – $148.3M
4. Kung Fu Panda – $155.8M
5. Monsters vs. Aliens – $141M (projected)
6. Madagascar 2 – $137.1M
7. Madagascar – $128.4M
8. Shark Tale – $118.7M
9. Over the Hedge – $112.3M
10. Bee Movie – $93.6M

But Monsters Vs. Aliens looks even better when compared to other animated films released during non-peak times. Jeffrey Katzenberg’s latest is almost keeping pace with Fox’s Ice Age: The Meltdown.

TOP GROSSES FOR NON-SUMMMER, NON-HOLIDAY ANIMATED MOVIES AFTER 17 DAYS
- excludes movies released May-August and November-December –
1. Ice Age: The Meltdown – $147.2M
2. Monsters vs. Aliens – $141M (projected)
3. Shark Tale – $118.7M
4. Dr. Suess’ Horton Hears A Who! - $177.5M
5. Ice Age – $116.8M

Seth Rogen apparently has less MALL COP appeal than Paul Blart

Not all good news for the studios. Observe & Report, the new Seth Rogen, R-rated comedy from Warner Bros, got off to a sluggish start with about $4.76M and dipped below $4M on Saturday. Reviews are very good, and this one could benefit from positive word-of-mouth over the long haul, but the Warner Bros estimate is for just $11.1M or so for the weekend.

Meanwhile, Fox’s Dragonball: Evolution is a bomb with estimated sales of just $2M on opening day and a $4.65M 3-day start (8th place). Summit’s strong-holding Knowing rounds out the top five with a possible $6.67M for a new cume of almost $68M.

FRIDAY STUDIO ESTIMATES
1. NEW – Hannah Montana The Movie (Disney) – $17.39M, $5,577 PTA, $17.39M cume
2. Fast & Furious (Universal) – $10.6M, $3,053PTA, $99.85M cume
3. Monsters vs. Aliens (Dreamworks/Paramount) – $9.07M, $2,193 PTA, $127.46M cume
4. NEW – Observe & Report (Warner Bros) – $4.76M, $1,746 PTA, $4.76M cume
5. Knowing (Summit) – $2.4M, $821 PTA, $63.73M cume
6. The Haunting in Connecticut (Lionsgate) – $2.35, $864 PTA, $42.93M cume
7. I Love You Man (Dreamworks/Paramount) – $2.3M, $870 PTA, $54.88M cume
8. NEW – Dragonball: Evolution (Fox) – $2M, $917 PTA, $2M cume
9. Adventureland (Miramax) – $1.25M, $666 PTA, $9.26M cume
10. Duplicity (Universal) – $1M, $509 PTA, $34.85M cume

3-DAY STUDIO ESTIMATES
1. NEW – Hannah Montana The Movie (Disney) – $34M, $10,904 PTA, $34M cume
2. Fast & Furious (Universal) – $28.78M, $8,290 PTA, $118M cume
3. Monsters vs. Aliens (Dreamworks/Paramount) – $22.61M, $5,468 PTA, $141M cume
4. NEW – Observe & Report (Warner Bros) – $11.14M, $4,085 PTA, $11.14M cume
5. Knowing (Summit) – $6.67M, $2,280 PTA, $68M cume
6. I Love You Man (Dreamworks/Paramount) – $6.41M, $2,426 PTA, $59M cume
7. The Haunting in Connecticut (Lionsgate) – $5.71M, $2,098 PTA, $46.29M cume
8. NEW – Dragonball: Evolution (Fox) – $4.65M, $2,132 PTA, $4.65M cume
9. Adventureland (Miramax) – $3.43M, $1,830 PTA, $11.45M cume
10. Duplicity (Universal) – $2.99M, $1,525 PTA, $36.84M cume

Steve Mason is on Facebook and now also on Twitter@LAMase.

Universal’s Fast & Furious is likely to cross the finish line first for a second consecutive weekend, following up last weekend’s almost $71M with about $30M, which would mark a 58% drop. Still, it must be considered a triumph that the re-teaming of Vin Diesel, Paul Walker, Jordana Brewster and Michelle Rodriguez may have $120M in US sales after just 10 days. That will mean that Fast & Furious will have almost doubled the domestic gross of The Fast & The Furious: Tokyo Drift (the last film in the franchise), and this souped-up thrill ride could be headed for $160M US.

The likely second-place finisher this weekend will be Hannah Montana The Movie, which has far less sizzle than Miley Cyrus’ 3-D concert movie last year. 2008’s Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour was promoted as a one-week-only motion picture event and benefited from a 3-D upcharge, delivering a stunning $31.1M last February 1-3. This Miley movie will perform well, but it doesn’t appear to be a sensation-in-the-making.

Make no mistake. Miley Cyrus is an industry, and business is booming. Only four years ago, she was known merely as the 12-year-old daughter of the guy who sang Achy Breaky Heart. She auditioned for the role of “the best friend” in a new series being developed by The Disney Channel about an ordinary teenager who is secretly a pop star. Instead, she won the lead. Within a year of the debut of Hannah Montana, she had two albums that debuted at #1 on Billboard’s album charts. Then came the Best of Both World’s Concert Tour and 69 sold-out arena dates across North America.

Her new movie directed by Peter Chelsom, who has directed actresses like Diane Keaton in Town and Country ($6.7M cume) and Jennifer Lopez in Shall We Dance? ($57.9M cume), seems headed to an Easter weekend opening in the mid-$20M’s. I’m calling for $24.6M and a second-place finish.

Monsters Vs. Aliens 3-D should continue to play strongly with family audiences, possibly dipping by as little as 36% to a possible $21M and a #3 finish. MVA will likely be just shy of $140M in the US by Monday.

Seth Rogen's "mall cop" in OBSERVE & REPORT is far less mass appeal than PAUL BLART

The new Seth Rogen comedy and and the second “mall cop” movie of 2009 – could finish fourth. Observe and Report is written and directed by Eastbound & Down writer/creator Jody Hill (who appeared as an actor in Superbad). This movie is apparently just as edgy as Hill’s over-the-top raunchy series, but it has a 61% Fresh score on Rotten Tomatoes.

Still, it sounds like it’s not for everybody, based on this review from Rick Mele from AskMen.com. “Unlikable characters, gratuitous male nudity, a dry and sometimes nihilistic sense of humor — there are moments when you can’t believe they got away with this, at a major studio no less.” I’ve learned not to underestimate these male-skewing, Apatow-style comedies, and this one seems to have a $20M target or maybe just shy of that mark ($19.5M).

A third new release Dragonball: Evolution (Fox), based on Akira Toriyama’s wildly popular manga, could reach the low teens, skewing to Males Under 25, particularly tween boys. Several animated versions of the show have appeared on The Cartoon Network, so there is an audience, although the new live action film’s 23% Fresh score on Rotten Tomatoes would seem to limit the upside to a possible $10.7M by Monday.

My predicted numbers for the weekend top ten are for $126.4M. If Hollywood hits that number, it will be the biggest-grossing top ten Easter movies ever (by a lot), surpassing the 2002 Easter weekend, which was led by David Fincher’s Panic Room starring Jodie Foster.

ALL-TIME BIGGEST GROSSING EASTER WEEKENDS
- totals are for the top 10 films for the holiday 3-day -
1. 3/29/02 – $108.8M [#1 – Panic Room - $30M]
2. 4/14/06 – $107.08M [#1 – Scary Movie 4 - $40.2M]
3. 4/06/07 – $104.5M [#1 - Blades of Glory - $22.5M]
4. 3/21/08 – $94.65M [#1 - Dr. Seuss’ Horton Hears A Who! - $24.6M]
5. 4/07/04 – $87.9M [#1 – Passion of the Christ - $15.2M]
6. 3/25/05 – $86.8M [#1 – Guess Who - $20.6M]
7. 4/18/03 – $83.8M [#1 – Anger Management - $25M]
8. 4/02/99 – $72.7M [#1 – The Matrix - $27.8M]
9. 4/21/00 – $70.3M [#1 – U-571 - $19.5M]
10. 3/28/97 – $69.9M [#1 – Liar, Liar - $25.4M]

FINAL PREDICTED BOX OFFICE FOR APRIL 10-12
1. Fast & Furious (Universal) – $30M
2. NEW – Hannah Montana The Movie (Disney) – $24.6M
3. Monsters vs. Aliens (Dreamworks/Paramount) – $21M
4. NEW – Observe & Report (Warner Bros) – $19.5M
5. NEW – Dragonball: Evolution (Fox) – $10.7M
6. The Haunting in Connecticut (Lionsgate) – $5.1M
7. I Love You, Man (Dreamworks/Paramount) – $4.9M
8. Knowing (Summit) – $4.8M
9. Adventureland (Miramax) -$3.4M
10. Duplicity (Universal) – $2.4M

Jordana Brewster is reunited with Vin, Paul and Michelle in FAST & FURIOUS

Universal seems to have answered that question by getting its successful street racing franchise back into the fast lane this weekend with Fast & Furious. The movie, which reunites Vin Diesel, Paul Walker, Jordana Brewster and Michelle Rodriguez for the first time since 2001’s original surprise blockbuster, has exploded to a high octane $30.11M or so on Friday and that could mean a $70M opening weekend. That would make it the all-time #1 opening for a car racing movie.

Pixar's beloved CARS will likely have only the second-best opening for an auto racing movie by Monday

ALL-TIME TOP 10 OPENINGS FOR AUTO RACING MOVIES
1. Fast & Furious (2009) – $70M opening (projected)
2. Cars – $60.1M opening
3. 2 Fast 2 Furious (2003) – $50.4M opening
4. Talladega Nights – $47M opening
5. The Fast & The Furious (2001) – $40M opening
6. The Fast & The Furious: Tokyo Drift (2006) – $24M opening
7. Speed Racer – $18.5M opening
8. Days of Thunder – $15.5M opening
9. Herbie: Fully Loaded – $12.7M opening
10. Death Race – $12.6M opening

How big is that $30.11M opening day? It is the all-time biggest debut gross for any movie not released in the summer peak (May – July) and the November-December holiday period.

ALL-TIME BIGGEST OPENING DAYS FOR NON-PEAK RELEASES
- non-peak is defined as May thru July & November-December -
1. Fast & Furious (2009) – $30.11M opening day (estimated)
2. 300 – $28.1M opening day
3. Passion of the Christ – $26.5M opening day
4. Watchmen – $24.5M opening day
5. Ice Age: The Meltdown – $21.7M opening day

The Fast franchise has an odd history. 2001’s The Fast & The Furious scored a blistering $40M opening weekend and reached $144.5M domestic and over $200M worldwide. Then the enigmatic Diesel decided that he didn’t like the script for the proposed sequel. Boyz n the Hood’s John Singleton took the reigns from Rob Cohen and Walker returned for 2 Fast 2 Furious, which still scorted an impressive $127M in the US sans Diesel. Then in 2006, Universal rebooted without Diesel or Walker with The Fast & The Furious: Tokyo Drift, and the fan base eroded considerably as the poorly-received movie generated only $62.5M after a sluggish $23.9M 3-day start.

Now, the original cast returns with Tokyo Drift director Justin Lin at the helm, and those Under 25 Males are showing up (dragging their girlfriends no doubt), and the reaction across the social networking platform Twitter is very telling. The first thing I noticed. Lots of sellouts and long lines.

• damn fast and furious full till 11
• Standing in line for Fast and Furious earlier show was sold out. I so hope it is worth this.
• Didn’t realize fast and furious would do so much business.
• Just saw Fast & Furious. It was crazazy. The theater was packed and every show was sold out. I loved it!
• Waiting in line to see Fast and Furious. Really long line!
• too many people watching fast and furious tonight!
• is watching monsters vs. aliens, only because Fast and Furious was sold out. :/

As far as instant reaction from the Twitteratti, it seems roughly split 60% positive and 40% negative. Here are some “thumbs up” Tweets.

• Just hopped outta Fast and Furious. Forget 2 and 3, this was the real sequel. Better than you hope it’ll be, I promise.
• new fast and furious = AMAZING
• Fast and Furious 4… wow, what a movie! For boys, that is.
• Fast and Furious 4, great action movie. It’s as good as the first one. SpitBaby gives it 4 of 5 stars.
• Saw Fast and Furious tonight. It was pretty darn good! Lots of American Muscle.

Not everyone agrees however. Some are Twittering their disapproval.

• The ‘Fast and the Furious’ perfectly describes how I would leave that movie.
• just saw the new fast and furious.bad as expected.
• just got home from seeing FAST AND FURIOUS! IT SUCKED!!!
• Fast and Furious: Not bad, but I wouldn’t tell you to pay theatre $ to see it unless you’re a fan of the first movie. Too many jump cuts.
• Fast and Furious: worst movie ever.
• fast and furious was awful. whats the appeal? minus hot guys, crappy cars and chicks making out? no thanks

For Vin Diesel, this weekend’s opening is an all-time best, and you’ve got to wonder who gives him career advice. He walked away from the both 2 Fast 2 Furious and the sequel to the highly lucrative XXX (XXX:State of the Union was ultimately made with Ice Cube as the lead grossing just $26.8M domestic, but it would have certainly performed much better as a Diesel project).

ALL-TIME TOP 5 VIN DIESEL OPENINGS
1. Fast & Furious (2009) – $70M opening (projected)
2. XXX – $44.5M opening
3. The Fast & The Furious (2001) – $40M
4. The Pacifier – $30.5M opening
5. The Chronicles of Riddick – $24.3M opening

Meanwhile, thanks to the F&F hot wheels, Paul Walker has three $40M+ openings on his resume.

ALL-TIME TOP 5 PAUL WALKER OPENINGS
1. Fast & Furious (2009) – $70M opening (projected)
2. 2 Fast 2 Furious (2003) – $50.4M opening
3. The Fast & The Furious (2001) – $40M opening
4. Eight Below – $20.1M opening
5. She’s All That – $16M opening

MVA still a MONSTER at the box office - especially in 3-D

Monsters Vs. Aliens (Dreamworks/Paramount) continues to be a box office juggernaut as it begins its second weekend. The animated send-up of B-movie sci-fi from the 1950’s continues to be fueled by its 2,075 or so standard Digital 3-D engagements and the added 143 Digital IMAX runs scoring an exceedingly strong $8.9M on Friday, which will likely translate to an estimated $35.6M for the frame and a 10-day cume of almost $108M. That will represent an approximate weekend drop of just 40%, which is impressive given that the opening 3-day was $59.3M.

Possibly the creepiest movie poster ever

The Lionsgate genre pic The Haunting in Connecticut sold another $3.67M in tickets on its second Friday, and it should reach about $10.65M by Monday for a new cume of $38.47M. That would mean a drop of only 54%, very good for a horror flick.

Jason Segal unleashes the crazies on passerby on the Venice Boardwalk in I LOVE YOU, MAN

Meanwhile Knowing (Summit) and I Love You, Man (Dreamworks/Paramount) will both spend another week in the top five. The Alex Proyas-directed Nicolas Cage vehicle managed $2.67M to start the 3-day, and Knowing may reach $8.69M by Monday. With a new cume of $58.76M, the gang at Summit has a shot to push this one just past $70M in the US. John Hamburg’s Apatow-style comedy with the inspired pairing of Paul Rudd and Jason Segal is also holding strong with an estimated $2.73M in tickets sold on Friday and a weekend target of $8.69M. I Love You, Man could reach $65M domestic before it wraps its theatrical engagements.

The news is not good for the well-reviewed Miramax release Adventureland. Despite a score of 89% Fresh on Rotten Tomatoes, Greg Mottola’s much-anticipated follow-up to Superbad has stumbled out of the gates with just $2.17M from 1,862 playdates. The weekend gross will likely be in the $6.05M range for a Per Theatre Average of just $3,249.

EXCLUSIVE STEVE MASON EARLY FRIDAY ESTIMATES
1. NEW – Fast & Furious (Universal) – $30.11M, $8,088 PTA, $28M cume
2. Monsters vs. Aliens (Dreamworks/Paramount) – $8.9M, $2,169 PTA, $81.09M cume
3. The Haunting in Connecticut (Lionsgate) – $3.67M, $1,345 PTA, $31.36M cume
4. I Love You Man (Dreamworks/Paramount) – $2.73M, $1,052 PTA, $44.17M cume
5. Knowing (Summit) – $2.67M, $805 PTA, $52.74M cume
6. NEW – Adventureland (Miramax) – $2.17M, $1,168 PTA, $2.17M cume
7. Duplicity (Universal) – $1.43M, $571 PTA, $29.5M cume
8. Race to Witch Mountain (Disney) – $970,000, $343 PTA, $56M cume
9. 12 Rounds (Fox) – $850,000, $365 PTA, $7.57M cume
10. Sunshine Cleaning (Overture) – $580,000, $1,211 PTA, $4.05M cume

EXCLUSIVE STEVE MASON EARLY 3-DAY ESTIMATES
1. NEW – Fast & Furious (Universal) – $70M, $20,220 PTA, $70M cume
2. Monsters vs. Aliens (Dreamworks/Paramount) – $35.6M, $8,674 PTA, $107.79M cume
3. The Haunting in Connecticut (Lionsgate) – $10.65M, $3,901 PTA, $38.34M cume
4. Knowing (Summit) – $8.69M, $2,616 PTA, $58.76M cume
5. I Love You Man (Dreamworks/Paramount) – $8.69M, $3,342 PTA, $50.12M cume
6. NEW – Adventureland (Miramax) – $6.05M, $3,249 PTA, $6.05M cume
7. Duplicity (Universal) – $4.56M, $1,810 PTA, $32.63M cume
8. Race to Witch Mountain (Disney) – $3.49M, $1,235 PTA, $58.52M cume
9. 12 Rounds (Fox) – $2.7M, $1,158 PTA, $9.42M cume
10. Sunshine Cleaning (Fox) – $2.03M, $4,238 PTA, $5.5M cume

Steve Mason is on Facebook and now also on Twitter@LAMase.

The original The Fast & The Furious hit theatres in 2001 under the direction of Rob Cohen who had shown a knack for action with Dragon: The Bruce Lee Story ($35M US cume) and Sly Stallone’s Daylight ($33M US cume) and a savvy feel for bigger-than-life characters in his Golden Globe winning biopic The Rat Pack (which, if you’ve never seen you should put in your Netflix cue and prepare to be amazed by Don Cheadle’s turn as Sammy Davis, Jr.). In tow, he had a 34-year-old Vin Diesel in only his second starring role following the surprise low budget hit Pitch Black ($39M cume) and 28-year-old Paul Walker, who had just starred in Cohen’s forgettable The Skulls. Also in the cast was Jordana Brewster (As the World Turns) and a pre-Lost Michelle Rodriguez, whose most notable credit was a gritty little indie called Girlfight.

Vin Diesel returns for FAST & FURIOUS

The result was box office jet fuel. Seemingly out of nowhere, The Fast & The Furious scored a scalding $40M opening weekend and reached $144.5M domestic and over $200M worldwide. But Diesel, whose signature line in the original movie is “I live my life one quarter of a mile at a time,” didn’t like the script for the sequel (or they wouldn’t pay his asking price depending on who you ask). That led to the 2003 sequel 2 Fast 2 Furious directed by Academy Award nominee John Singleton (Boyz n the Hood) starring Walker along with rapper Tyrese Gibson and Eva Mendes. Despite Diesel’s conspicuous absence, 2 Fast still delivered $127M in the US.

Two years later came the disastrous re-imagining of the franchise with The Fast & The Furious: Tokyo Drift. No Diesel. No Walker. The movie featured Zachery Ty Bryan from TV’s Home Improvement and the very solid Lucas Black, who had just played quarterback Mike Winchell in the film version of Friday Night Lights and as a kid co-starred with Billy Bob Thornton in Sling Blade. The third movie in the franchise “drifted” toward irrelevancy with a very soft $23.9M opening and only $62.5M domestic.

Now, as The Blues Brothers once famously said, “We’re getting the band back together!” Diesel. Walker. The still beautiful Brewster. And, the edgy Rodriguez, who, ironically, has one of the worst driving records in history (a hit-and-run, 2 DUIs and at least 3 speeding tickets including one for 90mph in a 35mph zone). This time, they are under the direction of Tokyo Drift director Justin Lin, and the reviews are less than sparkling (18% Fresh on Rotten Tomatoes), but there are some credible positive notices, including Kirk Honeycutt from the Hollywood Reporter who says, “All four films feature terrific stunts. But Fast & Furious is the first film since the original to be smart about how far to stretch logic without sacrificing the desired macho swagger and revved-up emotions.”

Diesel and Paul Walker - 8 years older

The average street racing fan is unlikely to be a Hollywood Reporter reader, and the PG-13 rating will allow for a flood of teen boys, who have grown up playing video games like Grand Theft Auto, to pour into theatres for some high octane fun. The tracking, especially Males Under 25, looks very strong, and my prediction is for $48M, but I won’t be surprised to see it speed past $50M.

Monsters vs. Aliens (Dreamworks/Paramount) has been performing very well during the week, especially in those communities where kids are off for spring break. I’ll be surprised if MVA dips much more than 40% from its $59.3M opening frame. I’m predicting a $35.4M second weekend, which would mean a spectacular 10-day cume of about $106.7M.

With only two new, wide releases, The Haunting in Connecticut (Lionsgate) should hold up better-than-the-average horror movie. I am anticipating about $11.7M, which would mark only a 49% drop. With a new cume of about $40M by Monday, this low budget special will have made back its budget twice over before its done (not to mention ancillary rights).

Nicolas Cage in KNOWING

The latest from Nicolas Cage and directed by Alex Proyas (Dark City, I Robot), is nearing profitability as well. Knowing (Summit), with a reported budget of $50M, is likely to bank another $8.7M over the weekend for a new cume of almost $59M. It is opening decently in foreign markets including $5M+ in Russia.

Director Greg Mottola’s long-awaited follow-up to mega-hit Superbad ($121M US) is the much lower profile Adventureland from Miramax. The reviews are through the roof with an 85% Fresh rating from Rotten Tomatoes, and especially noteworthy is Kenneth Turan of the LA Times who writes, “With a cast that believed in one another and a writer-director who believed he didn’t have to follow up Superbad with SuperEvenBadder, Adventureland is the kind of adventure we could all use more of.”

This is the kind of movie that could surprise because of positive buzz, but with only 1,862 screens, it’s hard to generate an eye-popping number. I’m penciling Adventureland in for $8.1M, which would still be an impressive $4,350 Per Theatre Average.

Also continuing to perform well will be I Love You, Man (Dreamworks/Paramount), adding another $7.9M or so (a small drop in the 35%-40% range). It is possible that the John Hamburg buddy comedy could top $50M by Monday.

FINAL PREDICTED BOX OFFICE FOR APRIL 3-5
1. NEW – Fast & Furious (Universal) – $48M
2. Monsters vs. Aliens (Dreamworks/Paramount) – $35.4M
3. The Haunting in Connecticut (Lionsgate) – $11.7M
4. Knowing (Summit) – $8.6M
5. NEW – Adventureland (Miramax) -$8.1M
6. I Love You, Man (Dreamworks/Paramount) – $7.9M
7. Duplicity (Universal) – $4.9M
8. Race To Witch Mountain (Disney) – $3.25M
9. 12 Rounds (Fox) – $2.3M
10. Taken (Fox) – $1.4M

Steve Mason is on Facebook and now also on Twitter@LAMase.

Based on the children’s novel of the same name by John Boyne, it tells the story of eight-year-old Bruno, whose father is a high-ranking Nazi. Dad is transferred from his post in Berlin to head a work (read: final solution) camp, and the family is uprooted to the countryside. Bored out of his skull after a few weeks of little to do and no one to play with but his older sister, Bruno defies his mother’s orders to stay in the front yard and sneaks out back to explore. He comes upon the camp, which he thinks is a farm (Bruno is sheltered from the realities of his father’s work) and meets Shmuel, a boy his age on the other side of the fence, wearing what Bruno thinks are “striped pajamas.” Despite being separated by electrified barbed wire, the two boys strike up a friendship that holds fast despite the obvious adversity and future problems that arise.

I hesitate to tell too much for those who have not seen the film or read the book, but suffice it to say it is very moving and a poignant reminder that children do not automatically inherit the prejudices of their parents – those prejudices must be taught. All I’ll say here is that if you do watch it, have a box of tissues handy.

Amazingly, Harvey Weinstein of Miramax Films felt compelled to defend the “glut” of Holocaust movies that were released at the end of 2008. Critics complained that the topic was too “gloomy” for the festive season. (What season is this, I wonder? It couldn’t be the Christmas season, because we don’t talk about that. Must be the Holiday season I hear so much about.) Why on earth should he have to defend these films? No one feels the need to defend the glut of slasher and teen smut films on the market, which have little or no cultural value.

In light of the increase of anti-Semitism around the world, combined with a lack of knowledge about what really happened during World War II, I think it’s important that films like this are made – yes, even films targeted at children. Our president has suggested that kindergartners be taught about sex in an “age appropriate” manner. If children that young are old enough to learn about sex, surely those who are a little older can learn about a human catastrophe that, heaven forbid, could happen again if Mahmoud Ahmadinejad and his ilk have their way?

A recent survey in Britain of more than 1,000 schoolchildren aged 11-16 about the death camp Auschwitz revealed that: a quarter still did not know its purpose.

Of those, about 10% were not sure what it was, 8% thought it was a country bordering Germany, 2% thought it was a beer, the same proportion said it was a religious festival and a further 1% said it was a type of bread.

Perhaps this isn’t surprising, considering some schools in that nation are dropping Holocaust studies because they’re afraid of “offending” Muslim students. Yes, the same nation that wouldn’t allow Geert Wilders in because his film Fitna, according to Foreign Secretary David Miliband, contains ”extreme anti-Muslim hate and we have very clear laws in this country.”

Meanwhile, anti-Semitism and attacks on Jews in the UK are on the rise. Wonder what Miliband thinks about that?

Another question I have is why The Boy in the Striped Pajamas didn’t get any attention here during the Golden Globe and Academy Awards blitz? Great acting, fabulous costumes, great screenplay. I don’t claim to know anything about the nomination process, but I’m guessing that a film about the horrors of Jewish genocide might make too many people uncomfortable.

No, better to keep releasing films that make our troops look bad - although that might stop now that Obama the Magnificent has “inherited” Iraq and Afghanistan. Big Hollywood’s John Scott Lewinski notes that “since a Democrat is president and it’s safe for Hollywood to support America’s wars again, there’s reason to hope for such a comeback” of heroes in American films.

In the meantime, I suggest you watch The Boy in the Striped Pajamas, and if you have children, have them watch it with you.  It contains a lesson that none of us can afford to forget.