Box Office Takes Flight

Dave here rounding up the box office while Nat's away thinking about nicer things.

Parrots took over from rabbits at the top of the box office this weekend, although the fact that it still isn't Easter might give that foppish British bunny a boost this week. Or did they bounce him out too early? Rio signals the coming of summer by scooping the biggest opening weekend of the year so far, besting Rango's $38.1 million. Meanwhile, Scream 4 came in a pale second place, not even making half of Rio's total; and Nat will be delighted to learn that Academy Award Winner Helen Hunt's Soul Surfer held steady as others tumbled around it. Maybe Ghostface might be able to take a stab at her as he falls past her next week?

Jesse Eisenberg doesn't usually look so emotional at the movies...

The Box Office (Actuals)

01 RIO new $39.2

02 SCREAM 4 new $19.3

03 HOP $11.2 (cumulative $82.6)

04 SOUL SURFER $7.4 (cumulative $20.0)

05 HANNA $7.3 (cumulative $23.3)

06 ARTHUR $6.9 (cumulative $22.3)

07 INSIDIOUS $6.7 (cumulative $35.9)

08 SOURCE CODE $6.3 (cumulative $37.0)

09 THE CONSPIRATOR new $3.9

10 YOUR HIGHNESS $3.9 (cumulative $16.0)

Disastrous numbers for the $45 million-budgeted Your Highness, crashing almost 60% in only its second week; but beautiful ones for the $1.5 million budget of Insidious, a bonefide hit that even looks likely to outgross horror rival Scream 4. Sometimes the little guys win!

And how the mighty Ghostface has fallen. Here's a usefulless comparison of the opening weekends for the whole series.

Of course, the original Scream started out small and ended up breaking $100 million, whereas the unfavorably received Scream 3 couped the biggest debut but faltered before $90 million. Those numbers are now just a forgotten dream for Scream 4, of course; how much do you think it'll end up grossing?

Lower down the chart, audiences shrugged at Atlas Shrugged (thanks Glenn), Win Win won a little extra on further expansion, and the biggest winner of the week was Italian thriller Double Hour, snatching the biggest per-screen average with $15,400... on its two screens. But what did you enjoy this weekend, in theatres or at home? I had a scream myself.

Box Office Zoology: The Bunny Still Reigns

Bunnies continued to be the favored animal at the weekend box office as Hop overperformed again. The cuddly bears of Arthur and the gaping wolf maw of Hanna split ticket buyers enough that Soul Surfer's shark was able to bite off not just a pretty girl's arm but a surprising chunk of the weekend box office. It was...wait for it... a zoo out there. hahahahhhaa unghhh. I'm here all week. Re: Soul Surfer, I understand that inspirational sports movies are a familiar comfort-food movie genre and I can live with that. But please don't let this mean Helen Hunt is back in the game. I beg you universe, I beg you!

Bears, and Wolves and Sharks. Oh my

The Box Office (Actuals)

01 HOP $21.2 (cumulative $67.7)
02 HANNA new $12.3
03 ARTHUR new $12.2  [my review]
04 SOUL SURFER new $10.6
05 INSIDIOUS $9.3 (cumulative $26.7)
06 YOUR HIGHNESS new $9.3
07 SOURCE CODE $8.6 (cumulative $28.2)
08 LIMITLESS $5.4 (cumulative $64.1)
09 DIARY OF A WIMPY KID $4.7 (cumulative $45.3)
10 THE LINCOLN LAWYER $4.2 (cumulative $46.1)

What does all this mean? That's for you to decide. When I try to understand the nation's moviegoers my eyes often bleed and blood attracts carnivorous animals. Why are people so eager to see an animated bunny rock star with the voice of Russell Brand? Why am I so obsessed with hating that (unseen) movie?

What did you see over the weekend, in theater or at home? (I keep a screening log over in the "reviews" section if you're curious about me.)

Kirsten Dunst and a Lion

This doesn't purposefully follow that 'Deborah Kerr and a Kangaroo' post but these things happen, these things known as Coincidence. But we like actresses and we like animals, so there ya go. Anyway, remember when Julianne Moore was posing with exotic birds for Bulgari? Now, Kiki's gotten in on the act.

I feel like I should be the artistic director of this campaign. May I suggest...

• Mila Kunis with a racoon
• Amanda Seyfried and a deer
• Reese Witherspoon with elephants or Amy Adams with meercats (synergy!)
• Jodie Foster with a sloth
• Shelley Duvall with a platypus

Any other suggestions?

Deborah Kerr and a Kangaroo

This randomness is brought to you by a screening of The Sundowners (1960) last night. This footage is not from the movie but the "on location" footage. Ish't it hilarious (and totally creepy?) that the monster tries to use Kerr's jacket as a pouch?

I'm trying to combat my fear of kangaroos in the hopes that one day someone will buy me an all expenses vacation to Australia. In the movie the evil-propelled marsupials with the tyranossaurus-rex arms just hop through the scene on occassion FOR NO REASON WHATSOEVER and the actors don't even flinch! For that alone you'd think they would have finally given Kerr the gold? (The Sundowners was her last of six Oscar nominations -- see previous post). I would have ruined every take by shrieking.

Review: Uncle Boonmee Who Can Recall His Past Lives

Editor's Note: This review was originally published last year. Uncle Boonmee is now in theaters, ready to capitalize on its big win at Cannes... uh...10 months ago; way to strike while the iron is hot, distributors! If you're just getting a chance to see it for the first time, The Film Experience would love to hear any reactions.

Uncle Boonmee can recall his past lives. My memory is hardly as uncanny. Recalling or describing Uncle Boonmee Who Can Recall His Past Lives, the Cannes Palme D'Or winner and Thailand's 2010 Oscar submission, even a few days after the screening is mysteriously challenging. Even your notes won't help you.

This is not to say that the movie isn't memorable, rather that its most memorable images and stories refuse direct interpretation or cloud the edges of your vision, making it as hazy as the lovely cinematography. You can recall the skeletal story these images drift towards like moths and you can try to get to know the opaque characters that see them with you but these efforts have a low return on investment. What's important is the seeing.

What's wrong with my eyes? They are open but I can't see a thing.

Most synopses of the movie will only embellish on the film's title. And while Uncle Boonmee does reflect on past lives, he only does so directly in the pre-title sequence as we follow him in ox form through an attempted escape from his farmer master, who will eventually rope him back in. The bulk of the film is not a recollection -- at least not from Boonmee himself, but a slow march towards his death while he meditates on life and the film meditates on animal and human relations. His nephew and sister in law, who objects to his immigrant nurse, visit him. So too does his dead wife and another ghostly visitor on the same night, in a bravura early sequence that as incongruously relaxed as it is eery and startling.

The film peaks well before its wrap with the story of a scarred princess and a lustful talking catfish and then we begin the march towards Boonmee's death, perhaps the most literal moment in the movie. And then curiously, the movie continues on once he's gone. If it loses much of its potency after Boonmee has departed, there are still a few fascinating images to scratch your head over when he's gone.

The bifurcated structure that Weerathesakul has employed in the past is less prevalent this time.  Uncle Boonmee plays out not so much like two mysteriously reflective halves (see the haunting Tropical Malady which I find less accessible but actually stronger), but rather like a series of short films that all belong to the same continuous chronological movie, give or take that gifted horny catfish.

Surely a google search, press notes, academic analysis or listening to the celebrated director Apichatpong "Joe" Weerathesakul speak (as I did after the screening) would and can provide direct meaning to indirect cinema. But what's important is the seeing.

Vision is frequently mentioned and referenced in Uncle Boonmee, whether it's mechanical as in a preoccupation with photography or organic. But like the ghost monkey with glowing red eyes (the film's signature image) says to Uncle Boonmee early in the film, "I can't see well in the bright light." It's the one exchange in the film that I wholly related to and understood. I'm not sure I need or even want to understand, to attach specific meaning to these confounding stories and images. That's too limiting. I only want to see them. Weerasethakul's movie is best experienced in the dark, with the images as spiritual guides. They fall around you like mosquito netting as you walk slowly through the Thai jungle. B+