Box Office: Smart Dogs, Ab'ed Warriors, and Speed Racers

Because animated films have good legs at the box office, Mr Peabody continued to walk up right and traded places with the muscle-bound warriors of the 300 sequel for first place.  

BOX OFFICE
01 MR PEABODY & SHERMAN $21.2 (cum. $63.1) Tim's thoughts
02 300: RISE OF AN EMPIRE $19.1 (cum. $78.3)
03 NEED FOR SPEED $17.8 *NEW*
04 NON-STOP  $10.6 (cum. $68.8) Amir's Review 
05 TYLER PERRY'S SINGLE MOM'S CLUB $8.3 *new* 
06 THE LEGO MOVIE $7.7 (cum. $236.9) Nathaniel's Review
07 SON OF GOD $5.4 (cum. $50.8)
08 THE GRAND BUDAPEST HOTEL $3.6 (cum. $4.7)
09 FROZEN $2.1 (cum. $396.3) Review | Let it Go | Jonathan Groff Interview
10 VERONICA MARS $2.0 *NEW* 

The LEGO Movie is way way out front for biggest hit of 2014 thus far but I have to admit that I'm surprised that Frozen which is now 2013's third biggest hit, far exceeding anyone's expectations, is folding up and moving out of theaters for DVD already. If they had kept milking it a bit, it probably could have passed Iron Man 3's gross. You can only make that theatrical money once, really (unless they invent 4D and retrofit) But I guess they're eager for the DVD/BluRay cash. Most of the Best Picture nominees are still in theaters but like Frozen are on DVD very very soon. They're now losing a ton of screens but you can see their final totals here (Nebraska and Her ended the season as the lowest grossers and Gravity and American Hustle as the bonafide sensations).

The big story of the weekend is surely Wes Anderson's success. The Grand Budapest Hotel was welcoming aton of new guests with the week's best per screen average. It vaulted into the top ten despite showing on roughly 3,000 less screens than the other movies. The smaller story is that Denis Villeneuve's mind trip Enemy (reviewed) starring Jake Gyllenhaal² only opened on one screen? One screen? What were they thinking? It's so hard to get attention when you're only on one screen

What did you see this weekend, my people? I hope you were watching Eternal Sunshine and are joining us for Tuesday night's "Hit Me With Your Best Shot"?

 I'll admit that I fell into a weird Netflix hole of Scandal Season 2 because I could barely get out of bed. I guess my body finally collapsed from Oscar season adrenaline withdrawal? (I'll be fine tomorrow I hope). I don't respect Scandal exactly but now I see why people tune in each week. I had tuned in for a few Season 1 episodes and thought it was very poorly written trash. At the end of each Season 2 episode we turned to each other and said "Scandal!" in our best loud whisper faux shock voices on account of the, uh, scandalousness. So I guess in Season 2 it transformed into good trash tv. Either that or I lowered my standards. Which is possible with Tony Goldwyn and Kerry Washington steaming up my TV screen. The supporting cast though I find surprisingly  weak for such a successful show.

Review: "Enemy" Pits Gyllenhaal Against Gyllenhaal

This review originally appeared in my column at Towleroad

Have you ever read Jose Saramago's "Blindness"? That genius novel, about a sudden epidemic that renders the whole world blind, is hugely unsettling in content. It's also experimental in form. No character is named, the two protagonists are only referred to as "The Doctor" and "The Doctor's Wife", and punctuation is so scarce that there's nothing to guide you; you have to feel your own way through the blocks of words. The film version in 2008, which starred Mark Ruffalo and Julianne Moore, was too traditional in execution and couldn't capture the mad confusion and haunting power of the book. I haven't read Saramago's novel "The Double" upon which the new film Enemy is based but no one is playing it safe in the transfer this time. This is the kind of movie that feels like a true transfer of surreal text to visuals.

When I attended the Toronto Film Festival last fall, I didn't know what to make of Denis Villeneuve's hallucinatory thriller, which is as far removed from his other recent mainstream thriller (Prisoners, reviewed) as it could be. As far as I can tell the new movie is about a university teacher (Jake Gyllenhaal) who, while absentmindedly watching a video at home, sees a movie actor (Jake Gyllenhaal) who looks exactly like him. His initial shock gives way to curiousity and then to obsession. Things only get weirder from there... 

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Podcast: All About TIFF, Our Festival Takeaways

For this week's podcast, a special Toronto International Film Festival edition. Your regular players Nathaniel, Katey and Nick welcome Tim Robey from the Daily Telegraph and Angelo Muredda from Film Freak Central to discuss our experiences at this year's TIFF. We cover festival favorites like the joyful experiment Strange Little Cat, super-lengthy documentary At Berkeley and Clio Barnard's follow up to The Arbor, The Selfish Giant and spend time with 12 Years a Slave which blew (most of) our minds. (It also blew the TIFF audience's mind and took home the coveted People's Choice prize, that Oscar bellwether, with Philomena in second place) 

We also hit mainstream titles like the Daniel Brühl pictures Rush and The Fifth Estate. No one really liked Labor Day which Angelo calls "my summer of erotic pies" and which reminds us uncomfortably of previous Kate Winslet projects. Some slightly more divisive experiences include the sci-fi wow of Gravity, Jafar Panahi's Closed Curtain, the erotic thrillers Stranger by the Lake and Eastern Boys, animation giant Sylvain Chomet's first live action feature Attila Marcel, as well as two doppelganger movies The Double &. Enemy starring Jesse Eisenberg & Jake Gyllenhaal respectively.

Mixed in with these pre-release screening buzz-discussions there's plenty to chew on in terms of Oscar's Best Foreign Film category including possible entries from Singapore (Ilo Ilo), Romania (Child's Pose), Chile (Gloria) and Cambodia (The Missing Picture). And, last but not least our panel loves Jonathan Glazer's long awaited Birth follow up Under the Skin (starring Scarlett Johansson) and offers up advice for any readers who'd like to go to TIFF next year.

Clockwise from top left: Strange Little Cat, Gloria, Gravity, Eastern Boys, and 12 Years a Slave

You can listen to the podcast here at the bottom of the post or download it on iTunes. 
(I tried something new in the processing / uploading so let me know if the sound is okay and how it compares to other weeks) 

TIFF 13 Takeaways

TIFF: Paranoid Mano-a-Mano Hallucinating With "Pioneer" and "Enemy"

TIFF is still raging but most journalists are now running on fumes, including me! And NYFF press screenings start next week. Give me strength! I know I know... you're waiting on writeups for Oscar hopefuls like The Railway Man, Gravity, and Twelve Years a Slave which is A LOT to get through still in the next few days but here are two films from Norway and Canada which I wanted to discuss. They both pit wounded unraveling men against themselves and each other for our viewing pleasure.

Wes Bentley vs. Aksel Hennie in "Pioneer"

PIONEER
Paranoia thrillers aren't really my cuppa as movie genres go but this not so distant history expose drama from Norway is just gripping. It deals in part with the American and Norwegian battle over oil drilling contracts and pipeline off Norway's massive jagged coast. Not So Spoiler Alert: Norway won making it one of the wealthiest nations in the world. But the political history is the setting rather than the focus, as we follow one diver Petter (Askel Hennie) who gets caught up in the unethical goings on which happen to have a body count. Not-So-Spoiler Alert 2: Big Oil is corrupt business no matter what flag it's flying under.

It helps quite a lot that Pioneer's opening sequence is just superb, with tensions and character detail already in media res as we meet an American diver (Wes Bentley) squaring off with the Norwegian brothers (Hennie & André Erikson) he's competing with for a trial diving mission. The men are being tested for the ability to withstand the unwithstandable oceanic pressure situations and scientists look on and experiment with the air they're breathing to see what keeps them functioning and alive. Soon they're hallucinating. When their first mission begins, the movie gets even more tense with some of the alien beauty of the James Cameron filmography elevating its underwater sequences. Once we've come up for air, shaken and much worse for the wear, the movie levels off into more familiar paranoia thriller tropes but it's so moodily lit, engagingly scored (by Air!), and slippery with the shady 'who can he possibly trust?' twists, that I didn't care and by then I was already well-hooked. The American actors (Stephen Lang, already totally typecast as the "this is a dangerous mission and I am secretly evil!" guy -- I've seen him do it like 3 times recently, and Wes Bentley) aren't half as subtle as the Norwegian stars which makes for some weird cartoon vs. human tonal shifting within scenes but it's good and very accessible filmmaking. It's still in the running towards becoming Norway's next top Oscar nominee. B+ 

P.S. Speaking of Oscar submissions, Mexican actress Stephanie Sigman, Miss Bala herself, plays one of the divers wives and speaks Norwegian in the film. Who knew?

Jake Gyllenhaal Versus Jake Gyllenhaal in "Enemy"

ENEMY
Take Jake Gyllenhaal's lonely OCD decoder in Zodiac and bring along his evocative cinematography and color palette. Split him in two with one version schlumpy and Adam Goldberg like (out of date reference?) and the other cockier like Gosling on a motorbike. Mix in Eyes Wide Shut's plinking/cagey 'sex party'. Plop it down to in Talent Agency and University settings as nondescript/sterile as the stockbroker firm in American Psycho and throw a curveball with inexplicable Video-Store detours from ye olden times. Stir it all together for a Franz Kafka stew. Add a little sprinkling of Isabella Rossellini, and a final glaze of blonde love interests (Melanie Laurent & Sarah Gadon) who are both confusingly disappointed; You're sleeping with Gyllenhall, ladies. Cheer the fuck up!

Do all that and you might get this eery, compelling, off putting, possibly slight but mercifully tight (90 minutes. Huzzah!) cinematic adaptation of Jose Saramago's "The Double". I kinda dug it but I have no idea if it's any good or what happened or where I am anymore and what aiiiiiiiieeeeeeee that last sound/shot. WTF 

Podcast a group discussion of TIFF 13: Oscar buzz, our favorite films, and more
Ambition & Self Sabotage on Gravity and Eleanor Rigby: Him & Her
Quickies Honeymoon, Young & Beautiful, Belle
Labor Day in a freeze-frame nutshell
Jessica Chastain at the Eleanor Rigby Premiere
August Osage County reactions Plus Best Picture Nonsense
Rush Ron Howard's crowd pleaser
The Past from Oscar winner Asghar Farhadi & Cannes Best Actress Berenice Bejo
Queer Double Feature: Tom at the Farm and Stranger by the Lake
Boogie Nights Live Read with Jason Reitman and Friends
First 3 Screenings: Child's Pose, Unbeatable and Isabelle Huppert in Abuse of Weakness 
TIFF Arrival: Touchdown in Toronto. Two unsightly Oscars