When actor Vince Vaughn was introducing current Republican presidential candidate Ron Paul at the Liberty Political Action Conference last September, someone from the crowd interrupted and yelled, “brave actor!”

Vaughn, being the pro he is, finished undeterred, going on to describe his long standing relationship with Rep. Paul. Looking at the crop of actors and artists who have thrown out their support for Paul in recent months, one has to wonder if Vaughn started all this and whether he was a “brave actor” when he dared to stand for something opposing the liberal Occupy Wall Street mentality of Hollywood celebrities.

The “Swingers” star stood for capitalism and his own conservatism in front of that audience, and it seems to have sparked a sudden movement in Hollywood of celebrities supporting the capitalism loving, libertarian leaning Paul. But, does this mean a change in Hollywood from the liberal, Obama worshipping place we know it as?

Heck, if Oliver Stone can publicly state he’d vote for Paul over President Barack Obama, then Hollywood is truly in uncharted political waters.

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The 1993 smash ‘Jurassic Park’ represented a quantum leap in how dinosaurs are depicted on the big screen.

Instead of shooting actual lizards or resorting to stop-motion magic, director Steven Spielberg’s team used CGI to render the most dynamic dinosaurs ever captured on film.

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Those stunning creations are the main pleasure to be mined from ‘The Lost World: Jurassic Park,’ the 1997 sequel to Spielberg’s monster mash. The film just hit Blu-ray as part of a ‘Jurassic’ trilogy, a hefty collection including all three films (so far) as well as a copious array of extras and 7.1 surround sound.

What’s even more obvious seeing the film anew in High-Def is how little Spielberg brought to the project. It ranks as one of the weaker films in his otherwise exemplary canon, a pedestrian affair not worth the master’s attention.

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Early on in “The Dilemma,” one of the main characters asks how long it would take before a person can really know another person.  Considering that the character who asks that question is sneaking behind her husband’s back and having an affair, one would doubt if she knew the answer. However, the most important question in this film isn’t how long it takes to know someone. The biggest question is what should a person do if he finds out a secret that could destroy his best friend’s marriage.

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The man at the center of the story is Ronny Valentine (Vince Vaughn), a solid salesman who is business partners with his best friend Nick (Kevin James). Ronny and Nick are trying to develop a new type of car that would combine the sexiness of classic cars with the environmental friendliness of newer models. They are searching for a major car company that is willing to invest in their work.

Ronny is also thinking about proposing to his long-term girlfriend, Beth (Jennifer Connelly) and Nick’s wife Geneva (Winona Ryder) enthusiastically supports the idea. It’s surprising that Geneva is so pro-marriage considering that she’s having an affair, a discovery that Ronny accidentally makes while planning his proposal. (more…)

Have you ever learned a really bad secret that your best friend should know about, but you just don’t know how to tell them? What if you saw your best friend’s wife cheating on him? And what would you do if she had some dirt on you in return?

Those juicy ethical questions form the center of the new Ron Howard movie “The Dilemma,” a truly offbeat and intelligently adult comedy that stars Vince Vaughn, Kevin James, Winona Ryder, and Jennifer Connelly in a quartet of performances that rise far above the norm of most mainstream comedies. It marks a refreshing return by Howard back to the fun and human comedies he specialized in back in the ‘80s with “Splash” and “Gung Ho,” and away from the blockbuster and Oscar-baiting fare he’s been delivering in the decades since.

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“The Dilemma” appears to get off to a rocky start, as the storyline at first focuses on the efforts of longtime buddies Ronny (Vaughn) and Nick (James) to develop an electric car that macho guys won’t be ashamed to drive. Ronny is the smooth-talking fundraiser of the duo, while Nick is the engineering genius who can help them make a $400,000 deal a reality. Some of the negotiations and stress attendant to the business deal are funny, but they’re just not as compelling as what unfolds when the story gets to their personal lives.

Things improve greatly when the story shifts focus to Ronny’s attempt to set up an incredibly romantic proposal for his girlfriend Beth (Connelly). He is hoping to follow in the footsteps of Nick and his wife Geneva (Ryder), whom he calls his “hero couple,” but then he catches Geneva cheating with a hunky young thug (played by Channing Tatum in one of the greatest scene-stealing supporting roles since Brad Pitt rode away with “Thelma and Louise”). (more…)

Director Ron Howard’s “The Dilemma” isn’t going to be released until January but is already generating big press. In case you haven’t heard, in an early trailer for the film one of the stars, Vince Vaughn, who plays an auto designer, says:

“Ladies and gentlemen, electric cars are gay. I mean, not ‘homosexual’ gay, but, you know, ‘my parents are chaperoning the dance’ gay.”

Even though Universal Studios withdrew the trailer after protests, Howard says he will keep the line in the film. Now more protests are threatened unless the joke is cut entirely from the actual movie. This line has sent gay activists into a tizzy and has now made any reference to “gay” in a humorous way, the moral equivalent of carrying Mein Kampf into a synagogue.

One gay activist is quoted as saying the joke promotes “hate and homophobia.” Ellen DeGeneres says it is a form of bullying. Anderson Cooper of CNN agrees, ”We’ve got to do something to make those words unacceptable ’cause those words are hurting kids!” Good for you, Andy. And I’m sure you’ll be apologizing to all the Tea Party activists you called “tea baggers” (indirectly mocking them as“gay”), now that you have seen the light.

I’m sure the people at GLAAD would have come down on Mr. Cooper had they realized what he had said, but they were probably just really busy that year and missed the “joke” that was all over TV and the Internet. Thankfully the folks from GLAAD have finally spoken up and are now trying to end “gay” jokes. I say “bravo,” it’s about time to end all of this “attack” humor.  

We must take a stand and stop letting comedy and comedians offend people.

I know! Let’s get a whole list of banned words and topics together! For the children… (more…)

Patrick Goldstein of the L.A. Times proclaims, Ignorance should be a punch line. Identity should not:

 Ignorance should be a punch line. Identity should not. Humor can be a tricky thing to analyze and can be easily (and lazily) defended against criticism by saying “it’s just a joke.” Vaughn himself, when defending this line in his film, said “Comedy and joking about our differences breaks tension and brings us together.” And while Vaughn is wrong about the joke in his movie accomplishing this end, “The Office” is a perfect example of humor getting it right.

“The Dilemma” is hardly the first movie to use the word “gay” in this way, but it has come along at a watershed moment in our culture. Hearing one’s very identity regularly used as a synonym for “inadequate” or “undesirable” on a daily basis does more than just hurt feelings. Recent events have made it abundantly and tragically clear the effect that anti-gay language and attitudes can have on young people who are gay or are perceived to be gay AND on the bullies who target them.

Would it change hearts and minds if Howard had made the decision to pull this line from the film? Would bullies suddenly realize the harm their behavior was causing and stop tormenting their victims? Would spontaneous hugging break out in the hallways of America’s schools? Of course not. But it would create a tiny space in our culture -– a window in which people could draw their own conclusions about what it means to be gay, without being told it’s something negative.

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Vince Vaughn on the ‘gay’ trailer non-controversy that so outraged Anderson Cooper and GLAAD:

“Let me add my voice of support to the people outraged by the bullying and persecution of people for their differences, whatever those differences may be. Comedy and joking about our differences breaks tension and brings us together. Drawing dividing lines over what we can and cannot joke about does exactly that; it divides us. Most importantly, where does it stop.”

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Adam Lambert on the disgraceful situation in Malaysia that Anderson Cooper and GLAAD didn’t cause a similar uproar over: (more…)

GLAAD is just one of those organizations like PETA that you can’t help but feel sorry for.  Their stars are waning; their time has passed.  PETA can only grab a headline if they cough up enough money for some D-lister to disrobe for a photoshoot, and GLAAD can’t accomplish much beyond the occasional censorship potshot in Hollywood.  It’s odd that we’ve been highlighting the political divide between Clint Howard and his brother, Ron, for the past week or so, as it’s Ron, the orthodox progressive, who’s catching heat from GLAAD currently.  Howard is the director of a new Vince Vaughn picture titled The Dilemma, and GLAAD has deemed it homophobic, offensive– all that stuff– because Vaughn’s character says “Electric cars are gay.”

The full-fledged ire of GLAAD, straight from the top of the organization, is laughable.  President Jarrett Barrios says, “There has been a rash of bullying, some leading to suicides, much of it because of the widespread belief that it’s somehow OK to say things about gay people that it is not OK to say about other groups. Comments like those in the movie make it seem OK to beat up gay people.”  So, electric cars are gay = it’s okay to commit violence against gay people.  Check.

Make no mistake:  it is an awful tragedy that Tyler Clementi killed himself because of the malicious, despicable humiliation he was subjected to.  To equivocate that with a goofy putdown of electric cars (and GLAAD does not know the context of this line; sounds like something to establish early on in Vaughn’s character arc that he’s insensitive) is not only moronic but as hypocritical as Fred Phelps asking for some peace and quiet at a funeral.  Why, you may say? One word:  teabaggers. (more…)

This Thursday, October 14, 2010, glam rocker Adam Lambert has a concert scheduled in Malaysia. However, there’s a catch: Homosexuality is a crime in Malaysia, where Muslims are in an uproar because Lambert is a poster-child for gay flamboyance. (The penalty for engaging in homosexual acts in Malaysia can be as much as twenty years in prison.)

Thus, although Malaysian authorities have given Lambert the green light for his coming performance, “Malaysia’s Islamist opposition party…[has] demanded that” it be canceled. And where is the outcry over this? In particular, where is the Gay & Lesbian Alliance Against Defamation (GLAAD) when it appears homosexuals traveling to Malaysia need them most?

They are silent, and because of this they appear to be cowering to a group of anti-gay protestors who live in a country that many Americans couldn’t even find on a map.

And while GLAAD turns a blind eye to criticisms of Lambert that would certainly be labeled “homophobic” if they emanated from a Baptist Church in Alabama or a Presbyterian Church in Arkansas, they are giddy as school kids on the Friday before Spring Break when it comes to attacking Vince Vaughn for saying “electric cars are gay” in the upcoming Universal film, “The Dilemma.”

That’s right: Although Lambert could face two decades of prison in Malaysia if, while there, he lives out the freedoms he enjoys in the U.S.A., GLAAD has their panties in an uproar over the fact that a beloved American comic said something they find distasteful. (more…)

On August 14, 2010, actor Vince Vaughn jumped from an airplane at an altitude of 12,500 feet above Chicago for that city’s 52nd annual Air and Water Show. And while a jump for such a famous event would be memorable in and of itself, it was made even better by the fact that Vaughn did it with one of the U.S. Army’s elite parachute teams.

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During the footage before and after the jump, Vaughn didn’t talk about his politics, didn’t offer a clue as to who he is or isn’t voting for this November, and gave no indication as to his opinion of government bailouts. Rather, he made sure he praised the soldiers who fight to keep this nation free.  And talking about putting your money where your mouth is: Vaughn not only spoke highly of the troops, he actually did a tandem jump with an Army Specialist which entailed nothing less than putting his life in that soldier’s hands.

Just before Vaughn boarded the plane that would take him to his jump, he was asked for his thoughts and calmly said “I feel like we’re in great hands.” Thereafter, the plane took off, Vaughn did his tandem jump, and after he had parachuted to the ground a reporter approached him and said: “You just jumped out of an airplane with the United States Army parachute team The Golden Knights.” Vaughn looked at the reporter and said:  “And it was the best. It was incredible.” (more…)

Here it is 2010 and I still don’t have a jet-pack or flying car. Those were the kind of things that I was led to believe would be here by now when I was a little kid. The real problem is that there isn’t one on the horizon either. You know what is in the near future for us? A remake of the Yugo or some other Euro-crap car that doesn’t burn up much dinosaur remains and tops out at a heart stopping 50 or 60 miles per hour.

It is that time of year for me to let my psychic self loose and gaze into the future. Yeah, I know I’m a little late but I promise not to predict anything that has already happened like a lot of your mainstream psychics tend to do. Last year Kevin Costner didn’t even have the decency to make a bad film, so I was o-fer-09. The only way for my psychic score to go is up! (more…)

America is an inherently racist country.

Oh, sure, we elected a black President (or is this our second black President?  That whole Clinton-as-first-black-President thing always confuses me).  And yes, our biggest sports, TV, music and film stars tend to be black.  And sure our past Secretaries of State, National Security Advisers and the current Chairman of the Republican Party are all black.  But this proves nothing, NOTHING!

If you ever wanted more proof that America is, at its heart a racist society, Universal has provided us with the perfect smoking gun:  They re-designed a film poster for overseas distribution and in re-designing it, they removed two black actors.  I will let the horror of what they did soak in for a moment while you read the report from London’s Daily Mail: (more…)

You’ve met couples like this before: longtime marrieds approaching 40 and facing stress from fertility problems, work-aholism, lack of communication or just flat-out losing the spark and giving up hope. In fact, you might have lived through these problems yourself. 

But in the new movie “Couples Retreat,” which not only co-stars but is co-written by real-life best friends Vince Vaughn (“Wedding Crashers”) and Jon Favreau (a popular character actor who has also directed “Iron Man”), these average middle-class American problems are given hilarious voice through vivid performances and rapid-fire dialogue. Or, more accurately, the movie shines when it focuses on those aspects of life in the first half of the film, while disappointingly falling off a cliff for much of the unfocused second half. Yet, just like a real-life marriage that lasts, the ups outnumber the downs enough to make this a satisfying if not spectacular night at the movies. 

“Couples Retreat” kicks off with uptight couple Jason (Jason Bateman) and Cynthia (Kristin Bell of “Forgetting Sarah Marshall”) begging their other friends – workaholic Dave (Vaughn) and his neglected wife Ronnie (Malin Akerman of the underrated remake of “The Heartbreak Kid”), and high school sweethearts-turned-bored middle-agers Joey (Favreau) and Lucy (Kristin Davis of “Sex and the City”), and just-separated Shane (Faizon Love) and his ridiculously young new girlfriend Trudy (scene-stealing Kali Hawk) – to join them on a retreat to the Club Med-style resort of Eden. If they can get a group of four couples together, they can all go half-price – which sounds great to the three seemingly healthy couples, as long as they’re assured they won’t have to go through couples counseling.  (more…)

Steve Mason is on Facebook and now also on Twitter.

SUNDAY MORNING: Dog lovers everywhere united to make Fox’s Marley & Me the #1 Christmas weekend movie with an expected $51.18M in the Thursday-thru-Sunday period for a Per Theatre Average of $14,888. Pre-opening industry tracking pointed to a clear win for Bedtime Stories (Disney), but it was the lovable lab who finished on top.

As an aside, all of us who read John Grogan’s extraordinarily well-written novel should have seen this coming. The book is a joy, and anyone who has a dog, or has ever had a dog, could easily identify with the struggles and pleasures of having a 4-legged member of the family.

The success of Marley slightly mitigates a disastrous year for Fox. Its year started out well enough riding the huge success of 2007 release Alvin & the Chipmunks into January ($70M of Alvin’s gross landed in this calendar year). The January 18 release of chick-flick 27 Dresses scored for Katherine Heigl ($76.8M in the US), then Jumper was a good solid February hit, topping $80M, followed by the wildly successful Horton Hears a Who ($154.5M domestic). Little did Fox know that when the Ashton Kutcher-Cameron Diaz comedy What Happens in Vegas played solidly to the tune of $80.2M domestic starting in May, it would be its last legit hit until Christmas’ Marley & Me. This is a huge, redemptive win for Fox, and its sentimental tear-jerker of a dog movie could near $100M domestic by Sunday.

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Steve Mason is on Facebook and now also on Twitter.

Jim Carrey and his high-concept comedy Yes Man (Warner Bros) will win the pre-Christmas weekend out-performing Will Smith’s more challenging Seven Pounds (Sony), although both films seem to be under-performing industry expectations.. Audiences are saying “Yes” to a breezy, cheerful, undemanding movie experience, although it is not a particularly emphatic “Yes.” In my Final Weekend Tracking column, I predicted $26.35M for Yes Man, and industry tracking certainly supported an opening in the mid-$20M’s. Instead, moviegoers have agreed to the tune of only $6.7M on opening day, and that could translate to a less-than-expected $18.76 or so by Monday morning.

Meanwhile, Will Smith has landed in unfamiliar territory. This strange new land for the World’s Biggest Movie Star is called “Second Place.” Seven Pounds managed to churn up only $5.3M to start the 3-day, and I am projecting a $15.63M opening. This movie, a re-teaming of Smith with his Pursuit of Happyness director Gabriele Muccino, has endured scathing early reviews and some definite “Will Smith is a little full of himself” backlash. The movie has been described as pretentious and downright dumb by some critics, and heart wrenchingly-optimistic and emotionally cathartic by others. The end result is Smith’s weakest opening since 2000’s Ali ($14.7M).

Yes Man is the latest in a year-long winning streak for Warner Bros Not only have they locked up the studio market share race for 2008, this decent-not-great opening may lift Warner Bros to finish the year with more domestic ticket sales than any studio in history. If my opening weekend number for Yes Man holds, I am projecting that the film could bank a possible $48M (conservatively) before the end of the year. Add to that a projected cume of $120M for Four Christmases by the close of business on December 31, and an anticipated $5.4M or so from the limited engagements of Clint Eastwood’s Gran Torino (70 playdates starting Christmas Day), and Warner Bros would reach an annual domestic sales figure of $1.75 billion, surpassing Sony’s $1.71 billion take in 2006.

The Dark Knight ($530.7M domestic so far) is the lynchpin of Warner Bros’ soon-to-be record-breaking year, but there are 4 other $100M+ grossing films that have helped to push the studio over-the-top. Along with Four Christmases, which will blow by $100M on Sunday, WB has also scored with Sex and the City ($152.6M cume), Get Smart ($130.3M cume) and Journey to the Center of the Earth ($101.7M cume). Sony set the previous record with one $200M+ performer (Da Vinci Code), 3 $100M+ hits (Casino Royale, Talladega Nights and Click) and about $96M of the ultimate $163.5M gross for Pursuit of Happyness, which landed in December 2006.

As for Will Smith, Seven Pounds is likely to break his historic streak of consecutive $100M+ grossing movies, which stands at 8.

2002 – Men in Black II – $52.1M opening – $190.4M cume
2003 – Bad Boys II – $46.5M opening – $138.6M cume
2004 – I, Robot – $52.1M opening – $144.8M cume
2004 – Shark Tale – $47.6M opening – $160.8M cume
2005 – Hitch – $43.1M opening – $179.4M cume
2006 – The Pursuit of Happyness – $26.5M opening – $163.5M cume
2007 – I Am Legend – $77.2M opening – $256.4M cume
2008 – Hancock – $62.6M opening – $227.9M cume

Critical pans be damned, people love Will Smith, but I am betting that the word-of-mouth on Seven Pounds will not be enough to net the 6.4 multiple that would be required to push it past $100M.

Universal’s Tale of Despereaux coaxed an estimated $3.8M in ticket sales to start the weekend and, with huge matinee business on Saturday and Sunday, the all-time umpteenth animated mouse movie should reach an estimated $15.27M good for third place, setting up for some solid holiday week business.

As expected, The Day the Earth Stood Still (Fox) has fallen apart, down about 67% for the weekend. Keanu Reeves’ spin on Klaatu could only muster $3.1M on its second Friday, and it will finish the frame with about $10.07M for a 10-day cume of $48.55M.

Rounding out the Top 5 is the aforementioned and surprisingly durable Four Christmases. Vince Vaughn and Reese Witherspoon enjoyed another $3.06M in Friday sales, and it will deliver $9.49M or so more of “holiday cheer” for Warner Bros by Monday morning.

Details of the weekend’s specialty releases and lots of analysis is on tap for Saturday morning.

EXCLUSIVE STEVE MASON EARLY FRIDAY ESTIMATES
1. NEW – Yes Man (Warner Bros) – $6.7M, $1,951 PTA, $6.7M cume
2. NEW – Seven Pounds (Sony) – $5.3M, $1,922 PTA, $5.3M cume
3. NEW – Tale of Despereaux (Universal) – $3.8M, $1,224 PTA, $3.8M cume
4. The Day the Earth Stood Still (Fox) – $3.1M, $871 PTA, $41.57M cume
5. Four Christmases (Warner Bros) – $3.06M, $871 PTA, $95.47M cume
6. Twilight (Summit) – $1.55M, $521 PTA, $154.79M cume
7. Bolt (Disney) – $1.31M, $443 PTA, $92.06M cume
8. Slumdog Millionaire (Fox Searchlight) – $1.24M, $2,120 PTA, $10.23M cume
9. Milk (Focus) – $804,000, $2,257 PTA, $9.48M cume
10. Australia (Fox) – $763,000, $345 PTA, $40.38M cume

EXCLUSIVE STEVE MASON EARLY 3-DAY ESTIMATES
1. NEW – Yes Man (Warner Bros) – $18.76M, $5,463 PTA, $18.76M cume
2. NEW – Seven Pounds (Sony) – $15.63M, $5,669 PTA, $15.63M cume
3. NEW – Tale of Despereaux (Universal) – $15.27M, $4,921 PTA, $15.27M cume
4. The Day the Earth Stood Still (Fox) – $10.07M, $2,830 PTA, $48.55M cume
5. Four Christmases (Warner Bros) – $9.49M, $2,701 PTA, $101.9M cume
6. Bolt (Disney) -$5.66M, $1,908 PTA, $96.41M cume
7. Slumdog Millionaire (Fox Searchlight) – $4.86M, $8,268 PTA, $13.85M cume
8. Twilight (Summit) – $4.83M, $1,616 PTA, $158.06M cume
9. Milk (Focus) – $2.93M, $8,237 PTA, $11.61M cume
10. Australia (Fox) – $2.59M, $1,172 PTA, $42.21M cume

Steve Mason is on Facebook and now also on Twitter.

The weekend box office battle boils down to Jim Carrey vs. Will Smith. This is a match-up between the former “World’s Biggest Box Office Star” and the reigning champ, and I am giving a slight advantage to the challenger. Either Yes Man (Warner Bros) or Seven Pounds (Sony) could score the weekend-before-Christmas win, but I am predicting a victory for Carrey.

These are two of the most successful movie stars in history. Only Tom Hanks, Tom Cruise and Eddie Murphy have more $100M hits on their resume than Will Smith with 12, and Carrey is only one behind at 11 blockbusters to clear the magical threshold.

MOST $100M+ HITS IN A CAREER
-including animated films & excluding cameos -
1. Tom Hanks – 15
2. Tom Cruise – 14
3. Eddie Murphy – 13
4. Will Smith – 12
4. Harrison Ford – 12
6. Jim Carrey – 11
6. Robin Williams – 11
8. Mel Gibson – 10
9. Matt Damon – 9
10. Bruce Willis – 8
10. Jack Nicholson – 8

Will Smith, however, has done something unprecedented – a feat never done by the Toms – Hanks and Cruise. Hancock was his 8th consecutive $100M+ grossing blockbuster. Hanks and Cruise both had career-best streaks of 7 films topping $100M.

2002 – Men in Black II – $52.1M opening – $190.4M cume
2003 – Bad Boys II – $46.5M opening – $138.6M cume
2004 – I, Robot – $52.1M opening – $144.8M cume
2004 – Shark Tale – $47.6M opening – $160.8M cume
2005 – Hitch – $43.1M opening – $179.4M cume
2006 – The Pursuit of Happyness – $26.5M opening – $163.5M cume
2007 – I Am Legend – $77.2M opening – $256.4M cume
2008 – Hancock – $62.6M opening – $227.9M cume

For comparison, 5 of Carrey’s past 8 films have scored at least $100M domestic, including this year’s animated Dr. Suess’ Horton Hears a Who! ($154.5M cume), but he has veered away from the purely commercial with 2001’s poorly-reviewed drama The Majestic ($27.8M cume), the Academy Award winning Eternal Sunshine of the Spotless Mind ($24.4M cume) in 2004 and 2007’s misguided horror release The Number 23 ($35.1M cume).

Neither picture is getting help from critics with Yes Man at 35% Fresh on Rotten Tomatoes and Seven Pounds registering a meager 30% Fresh as of Thursday night. Given the generally poor notices, I say Yes Man wins for 3 reasons:

1. More playdates 3,434 to 2,758
2. Tone – People are more interested in a couple of laughs than they are in a “heavy” spiritual message, even if it is generally optimistic
3. Warner Bros can do no wrong in 2008
4. Will Smith backlash

Lou Lumenick from the New York Post points out on his blog that on November 4, Will was informed by his 16-year old son that the Presidential race was over. The first-ever election of an African American to be the Leader of the Free World hadn’t reached the rarified air of the World’s Biggest Movie Star. Lumenick says he can’t imagine Paul Newman, a great movie star and philanthropist, ever being that out-of-touch with what’s important in the life of everyday people.

And there’s the brutally scathing Todd McCarthy review in Variety who rips Seven Pounds for its pretentiousness and self-importance. He reports that Smith doesn’t shy away from, “the saintlike status conferred upon his character. Indeed, he embraces it in a way so convincing that it proves disturbing as an indication of how highly this or any momentarily anointed superstar may regard himself.”

Just because media types think Will is a little “full of himself,” does not mean that the rank-and-file moviegoer will agree. In Australia, there is something called “Tall Poppy Syndrome.” As my always-credible friends at Wikipedia say, “Someone is said to be a target of ‘Tall Poppy Syndrome’ when his or her assumption of a higher economic, social or political position is criticized as being presumptuous, attention seeking, or without merit.”

Then again, it may all be a case of sour grapes. When a star of Smith’s caliber takes a risk – and make no mistake, this is a risky, challenging film – he should be accorded some respect for his effort. Let’s face it. If Will Smith wanted to crank out generic action movies for the rest of his life, Hollywood would give him big bags of money.

I believe that, even though Seven Pounds may not win its opening weekend, its heart wrenching-yet-hopeful story will connect with enough moviegoers to make it Will’s 9th consecutive $100M-grossing movie, which would be the 13th of his career. My final prediction is for a $24.78M opening. Meanwhile, the cheerful, if-not-hilarious high-concept comedy of Yes Man could win the weekend with a possible $26.35M.

Meanwhile, the other new wide release is Universal’s animated Tale of Despereaux, receiving fair-to-middling reviews as of Thursday night (43% Fresh on Rotten Tomatoes). With Madagascar: Escape 2 Africa nearing the end of its run and Bolt tailing off, industry tracking points to an opening in the mid-teens for Despereaux. My final call is for about $15.19M, which could set it up for a decent little Christmas week run.

Fox’s holdover The Day the Earth Stood Still will crash-and-burn this weekend, possibly dropping by as much as 67% for a disastrous $10.11M and a 10-day cume of only $48.6M. Close-behind at #5 will be Four Christmases (Warner Bros), which may drop as little as 25% to a possible $9.75M. By Monday morning, the Vince Vaughn-Reese Witherspoon holiday comedy will pass the $100M mark.

Among the specialty releases, Slumdog Millionaire (Fox Searchlight) adds 420 locations and may deliver as much as $4.64M. Danny Boyle’s modern masterpiece is riding a huge wave of acclaim including Golden Globe nominations for Best Picture – Drama and Best Director and SAG Awards nominations for Best Ensemble and Best Supporting Actor: Dev Patel. No company is better at the “science” of a platform release than Searchlight, and I am forecasting a PTA of $7,891 for this gutty little Best Picture contender.

Other award favorites expand to varying degrees. Milk (Focus) adds 28 locations and could reach $2.8M for a $7,876 PTA. Miramax’s excellent Doubt, with Golden Globe and SAG Award nominations for Meryl Streep, Phillip Seymour Hoffman, Amy Adams and Viola Davis, expands to 39 playdates, and I am anticipating just over $1M for a Per Theatre Average of $27,341. Clint Eastwood’s Gran Torino (Warner Bros), which won him the National Board of Review’s Best Actor notice, but has been completely shut out of major categories at the Golden Globes and SAG Awards, adds 13 carefully chosen screens. I am calling for about $687,000 by Monday with a PTA of just over $36,000.

Oscar contenders Frost/Nixon (Universal) and The Reader (Weinstein) are holding off on expansion until Christmas Day. Powered by Frank Langella’s remarkable performance, Frost/Nixon seems headed for a $14,600 or so weekend PTA while Stephen Daldry’s meditation on Germany’s sense of guilt over the Holocaust should deliver just over $16,000 per location.

The new limited release this week is the critically-hailed Darren Aronofsky-directed Mickey Rourke vehicle The Wrestler (Fox Searchlight). The movie opened on 4 screens Wednesday churning up an $11,732 PTA on opening day alone. There is clearly more-than-a-little anticipation for this unexpected awards contender, and it may achieve just over $310,000 in just 5 days. That would mean a 3-day Per Theatre Average of almost $58,000, just shy of the year’s best weekend PTA mark set by Frost/Nixon 2 weeks ago.

FINAL WEEKEND PREDICTIONS FOR THE WEEKEND OF 12/19
1. NEW – Yes Man (Warner Bros) – $26.35M
2. NEW – Seven Pounds (Sony) – $24.78M
3. NEW – Tale of Despereaux (Universal) – $15.19M
4. The Day the Earth Stood Still (Fox) – $10.11M
5. Four Christmases (Warner Bros) – $9.75M
6. Bolt (Disney) – $5.49M
7. Twilight (Summit) – $4.78M
8. Slumdog Millionaire (Fox Searchlight) – $4.64M
9. Milk (Focus) – $2.8M
10. Australia (Fox) – $2.57M
11. Quantum of Solace (Sony) – $2.24M
12. Madagascar: Escape 2 Africa (Dreamworks/Paramount) – $1.84M
13. Nothing Like the Holidays (Overture) – $1.69M
*Doubt (Miramax) – $1.06M
*Gran Torino (Warner Bros) – $687,000
*Frost/Nixon (Universal) – $602,000
*NEW – The Wrestler (Fox Searchlight) – $232,000
*The Reader (Weinstein) – $131,000