Oscars @ Home

There are over 40 different films nominated for Oscars this year and less than 30 days before the actual telecast. Let's be real here. Unless you've been thoroughly preparing for this throughout the year, you will not get a chance to see all the nominated films in time. Even if you did prepare, or are a film critic like myself and have seen 30 of the nominated films already, there are some selections, like the surprise animated feature nominee, THE SECRET OF KELLS, which won't reach theatres until after the awards are handed out. And so I suppose the goal is to do the best we can with what time we have and with the resources available to us.

This is where I come in. I will help you make sure you see as many of the right films possible before the big night. To make it easier on you, I'll start with all the nominated films that you can get at the video store or on demand or delivered to your door. Believe it or not, there are 16 films available to rent before the telecast airs, five of which are nominated for Best Picture. You can start your journey comfortably in your living room and work your way up getting out of the house and into the crowds to see the rest. I will rank them in order of importance and list the awards they are nominated for so that you can see why I consider them important.

1. THE HURT LOCKER
Nominated for:

PICTURE
DIRECTOR
ORIGINAL SCREENPLAY
ACTOR
FILM EDITING
CINEMATOGRAPHY
ORIGINAL SCORE
SOUND MIXING
SOUND EDITING


Tied for the most nominations with AVATAR, THE HURT LOCKER is your first stop. Unfortunately, as it only pulled in $13 million or so in theatres, it is a lot of people's first stop so it might be hard to find. If you're a fan of the war genre and appreciate the tension that only dismantling bombs can carry, you should just buy it. It's a gorgeous film. THE HURT LOCKER has a great chance to win in all of its categories, except the acting (sorry, Jeremy Renner), so this is a must if you want to follow on the big night.

2. INGLOURIOUS BASTERDS
Nominated for:

PICTURE
DIRECTOR
ORIGINAL SCREENPLAY
SUPPORTING ACTOR
FILM EDITING
CINEMATOGRAPHY
SOUND MIXING
SOUND EDITING

INGLOURIOUS BASTERDS has only one less nod than THE HURT LOCKER but not as much buzz. I would say it would be a surprise Best Picture winner but if anyone has a shot at a directing upset, it's Quentin Tarantino. Christoph Waltz is a lock for Supporting Actor and Tarantino might take the screenplay nod instead of the directing award. This one is also a must see.

3. DISTRICT 9
Nominated for:

PICTURE
ADAPTED SCREENPLAY
FILM EDITING
VISUAL EFFECTS

DISTRICT 9 is a long shot in all of it's categories but the fact that it managed that much attention in such big categories makes me think a lot of people liked this one. It is a must see before the telecast just because of what it is nominated for but as it won't likely win, it won't be the end of everything if you miss it.

4. UP
Nominated for:

PICTURE
ORIGINAL SCREENPLAY
ANIMATED FEATURE
ORIGINAL SCORE
SOUND EDITING


UP has a very good chance to beat FANTASTIC MR. FOX for Animated Feature and an off chance at the screenplay bid so it is a contender but I don't see it as a Best Picture threat. Composer Michael Giacchino could grab another award for his score but I don't know how many people watch the Oscars for the music category. If you haven't seen UP, you should. You'll be happy to see it win whatever it does.

5. A SERIOUS MAN
Nominated for:

PICTURE
ORIGINAL SCREENPLAY

Two biggies there but no support in any other category suggests people liked A SERIOUS MAN but weren't floored by anything in particular about it. Personally, I loved everything about it and still think Michael Stuhlbarg was robbed in the Best Actor category. It comes out tomorrow and Black Sheep's full review will be up then.

6. JULIE & JULIA
Nominated for:

ACTRESS

JULIE & JULIA only has the one nomination but it happens to be a record-breaking one for Meryl Streep and people are saying that it is going to come down to her or Sandra Bullock in THE BLIND SIDE. If you want to get in on that race, you need to start here.

7. IN THE LOOP
Nominated for:

ADAPTED SCREENPLAY


Although I was sad not to see Tom Ford pick up a nod for writing A SINGLE MAN, I am thrilled to see the screenplay for IN THE LOOP up for it instead. This is definitely one of the sharpest, dirtiest, most hilarious films I've seen in years. You likely have never heard of it but if you are debating watching it because of the nomination, good for you! You will laugh very hard at this British political satire. It is brave and shocking and again, so funny!

8. STAR TREK
Nominated for:

VISUAL EFFECTS
SOUND MIXING
SOUND EDITING
MAKEUP

STAR TREK may have missed out on the bigger prizes but these four nods tie STAR TREK IV: THE VOYAGE HOME for the most Oscar nods for any Star Trek film. You don't need to see this beforehand but you should definitely see it.

9. THE COVE and FOOD INC.
Each nominated for:

DOCUMENTARY FEATURE

You don't always get to see the nominated documentary features that easily and THE COVE and FOOD INC. are two that you don't want to miss. Both will change your life and just imagine how smart you'll look at your Oscar party when you can say you've seen two of the nominated documentaries.


THE REST ...

The following films are nominated here and there and also available to watch before the telecast, in case you wanted to be thorough. Once you're done with the first half of this list though, you should probably get to the theatre before the rest of these. Priorities, people!



BRIGHT STAR
(Nominated for Costume Design)

COCO AVANT CHANEL
(Costume Design)

CORALINE
(Animated Feature)

HARRY POTTER AND THE HALF-BLOOD PRINCE
(Cinematography)

IL DIVO
(Makeup)

TRANSFORMERS: REVENGE OF THE FALLEN
(Sound Mixing)

Shearing the Oscars: Best Picture

The nominations for the 82nd annual Academy Awards were announced this past week and, if you care about the Oscars at all, you likely knew already that they were to be expanding their Best Picture category from five to ten slots. It may have been a thinly veiled attempt to ensure the telecast audience grows this year by embracing a wider array of films but did it work? My guess, based on the support the films reached in other categories and the feelings I'm getting in my stomach, I would venture that had the Academy stuck with five nominees, they would look a little something like this:

AVATAR
THE HURT LOCKER
INGLOURIOUS BASTERDS
PRECIOUS
UP IN THE AIR

I would have been satisfied with that, even with AVATAR being included. Thanks to the new rules though, the following films get to bask in Oscar glory as well:

THE BLIND SIDE
DISTRICT 9
AN EDUCATION
A SERIOUS MAN
UP

All, save for one, which I will allow you to figure out all by yourself, are well deserving. So, it would appear, that Oscar did good so far and their future bodes well. I'm still back and forth on the move though. On the one hand, I feel that honouring ten films better encompasses all genres and audiences. On the other, I feel it cheapens the recognition itself. While I am torn on this point, I am decisively upset with the media for how they've handled the whole thing. The Academy goes out of its way to reach a wider audience and honour more films and what do you do? You whittle the list down to a mere two entries, suggesting this biblical David vs. Goliath cage match between THE HURT LOCKER and AVATAR, as though none of the other films stand any chance. I understand that frontrunners exist but to be fair, INGLOURIOUS BASTERDS has eight nominations in total, only one less than the big two. UP IN THE AIR has already won plenty of top prizes during awards season too. Even PRECIOUS, whose buzz died off long ago, still has Oprah behind it. If she can get a president elected, she can get a measly, little Oscar.

And so, in the interest of actually considering all ten nominated films instead of writing them off immediately after they were announced, Black Sheep will break down the nominations for Best Picture, one by one, beginning with ...

AVATAR

Do I believe AVATAR has an excellent chance of winning Best Picture? Yes, it does. Do I believe it should win? Of course not. The entire world has been swept up in the incredible spell AVATAR has cast on filmgoing audiences. Do I believe it warrants its nomination? Yes, I do. Any film that wows and inspires as many people as this one has, deserves to honoured as one of the best pictures of the year. An exciting adventure doesn't always make for an incredible film though. Director James Cameron's screenplay is unoriginal and obvious and the acting is uneven at best. Sure, I had a good time watching AVATAR but nothing other than that has stayed with me. A Best Picture winner should be timeless.

THE BLIND SIDE

I swore I would never see this movie when I first saw the preview and I finally had to cave last weekend because it was becoming pretty clear that Sandra Bullock was going to score a Best Actress nomination for her work in it. She did just that and, in another beguiling sign that she has a very good shot at winning that award, she also inspired enough love to elevate the film itself into the Best Picture race. Clearly, I had very low expectations for THE BLIND SIDE but I was pleasantly surprised. By that, I mean, it was alright. Alright should not be nominated for Best Picture, let alone win, and, in this case, it won't.

DISTRICT 9

I don't think DISTRICT 9 has any genuine chance of winning this award but the fact that it's here speaks to how much unexpected impact it had on those who saw it, including myself. (DISTRICT 9 is nominated for Best Picture at Black Sheep's Mouton d'Or Awards this year as well.) The Academy also showered the film with love for its elaborate and imaginative screenplay as well as its very real visual effects and intense editing style. Stealing an editing slot from bigger fish, UP IN THE AIR, suggests that its chances are stronger than I think they are but if a piece of science-fiction is going to win this year, it will be for bluer aliens than these.

AN EDUCATION

As AN EDUCATION too earned a Mouton d'Or nomination for Best Picture this year, it is clearly a favorite of mine and I am thrilled to see it make the final cut, alongside the brilliant Nick Hornby screenplay and the breathtaking performance by Carey Mulligan. This film has a much better chance of winning overseas at the BAFTA's though than in Hollywood. It is one of the nominated films that stands a good chance to see its box office receipts increase now but that is only because it has not been seen by many at all. (It has earned less than all of the other nominated films in this category.) It's lack of exposure will ultimately cripple it.

THE HURT LOCKER

This Kathryn Bigelow picture has only made a few million dollars more than AN EDUCATION but has been lauded as the Best Picture of the year by critics almost universally. And now that it is available to rent, interest in the film has, uh, exploded, if you will. Critical darlings don't always take the big prize and God knows war-themed pictures have struggled hard for years now but THE HURT LOCKER has the potential to transcend that. It will reach an audience now that it may never have without this recognition and that audience will be shaken by its overpowering tension. They won't know what hit them and if the HURT LOCKER Oscar campaign doesn't trip any major wires before the big night, the rest of the nominees won't know what hit them either.

Black Sheep's breakdown of the Best Picture nominees continues tomorrow with INGLOURIOUS BASTERDS, PRECIOUS, A SERIOUS MAN, UP and UP IN THE AIR.

In the meantime, what do you think? Is it really just a race between AVATAR and THE HURT LOCKER? If it is, was it worth expanding the list to begin with? Black Sheep wants to know what you think!

THE 2009 MOUTON D'OR AWARD NOMINATIONS

UP IN THE AIR leads Black Sheep Reviews' 2009 Mouton d'Or Award nominations with a total of seven, including one for Best Picture. Fellow Best Picture nominee, DISTRICT 9 follows with five nods. UP! also earns five nods but misses out on a Best Picture shot. PRECIOUS, AN EDUCATION and (500) DAYS OF SUMMER round out this year's list of contenders for the top prize, each scoring four nods. The Best Picture race this year is one that is particularly meaningful to me. Together, the five films define the year in film for me, as they should. Each one left a distinct mark on me and each one would go on to be more than just a movie but also a memory of my life.

There is one change to the Mouton d'Or Awards this year ... The technical awards have been dumbed down simply because I don't feel technical enough to make any judgment. So instead of having specific awards for editing, cinematography or art direction, there is just one award now called, Best Looking Movie.

This is also the second year for the Black Sheep Reader's Choice Award. Another six films have been culminated from your submissions for Best Film of 2009 and over the course of the next few weeks, you can vote for your favorite of the favorites by completing the Black Sheep poll near the top right of the page.

The winners of the Mouton d'Or Awards will be announced on Saturday, March 6. Without any further delay, I am proud to present to you the Black Sheep Reviews' 2009 Mouton d'Or Award nominations ...

(Click any highlighted title to read the original Black Sheep review)


BEST BIG MOVIE

AVATAR
DISTRICT 9
STAR TREK
UP!
WHERE THE WILD THINGS ARE


BEST LITTLE MOVIE

(500) DAYS OF SUMMER
THE GIRLFRIEND EXPERIENCE
THE HURT LOCKER
J'AI TUE MA MERE
SIN NOMBRE


THE WORST MOVIE I SAW ALL YEAR

THE FINAL DESTINATION
THE LAST HOUSE ON THE LEFT
THE LOVELY BONES
OBSERVE AND REPORT
THE TWILIGHT SAGA: NEW MOON


BLACK SHEEP READER'S CHOICE AWARD

(500) DAYS OF SUMMER
AVATAR
DISTRICT 9
INGLORIOUS BASTERDS
UP!
UP IN THE AIR


THE TREVOR ADAMS ANIMATED FEATURE AWARD

CLOUDY WITH A CHANCE OF MEATBALLS
CORALINE
FANTASTIC MR. FOX
PONYO
UP!


BEST LOOKING MOVIE

AVATAR
DISTRICT 9
THE HURT LOCKER
INGLORIOUS BASTERDS
WHERE THE WILD THINGS ARE


BEST MUSIC IN A MOVIE

FANTASTIC MR. FOX
NINE
A SINGLE MAN
UP!
WHERE THE WILD THINGS ARE


BEST SUPPORTING ACTOR

MATT DAMON in INVICTUS
ALFRED MOLINA in AN EDUCATION
CHRISTOPHER PLUMMER in THE LAST STATION
STANLEY TUCCI in THE LOVELY BONES
CHRISTOPH WALTZ in INGLORIOUS BASTERDS


BEST SUPPORTING ACTRESS

MARION COTILLARD in NINE
VERA FARMIGA in UP IN THE AIR
ANNA KENDRICK in UP IN THE AIR
MO'NIQUE in PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
JULIANNE MOORE in A SINGLE MAN


BEST ORIGINAL SCREENPLAY

(500) DAYS OF SUMMER written by SCOTT NEUSTADTER and MICHAEL H. WEBER
THE HURT LOCKER written by MARK BOAL
INGLORIOUS BASTERDS written by QUENTIN TARANTINO
A SERIOUS MAN written by JOEL COEN and ETHAN COEN
UP! written by BOB PETERSON and PETE DOCTER


BEST ADAPTED SCREENPLAY

DISTRICT 9 written by NEILL BLOMKAMP and TERRI TATCHELL
AN EDUCATION written by NICK HORNBY
FANTASTIC MR. FOX written by WES ANDERSON and NOAH BAUMBACH
A SINGLE MAN written by TOM FORD and DAVID SCEARCE
UP IN THE AIR written by JASON REITMAN and SHELDON TURNER


BEST ACTOR

JEFF BRIDGES in CRAZY HEART
GEORGE CLOONEY in UP IN THE AIR
COLIN FIRTH in A SINGLE MAN
MORGAN FREEMAN in INVICTUS
MICHAEL STUHLBARG in A SERIOUS MAN


BEST ACTRESS

HELEN MIRREN in THE LAST STATION
CAREY MULLIGAN in AN EDUCATION
MAYA RUDOLPH in AWAY WE GO
GABOUREY SIDIBE in PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
MERYL STREEP in JULIE & JULIA


BEST DIRECTOR

KATHRYN BIGELOW for THE HURT LOCKER
JAMES CAMERON for AVATAR
JOEL COEN and ETHAN COEN for A SERIOUS MAN
LEE DANIELS for PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
JASON REITMAN for UP IN THE AIR


BEST PICTURE

(500) DAYS OF SUMMER
DISTRICT 9
AN EDUCATION
PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
UP IN THE AIR

It's been a good year!

Black Sheep's Top 10 of 2009

I sit before my computer on the last day of 2009. In a matter of hours, there will be so much going on that I will not be able find two minutes together to accomplish anything really so it's best that I get this done now, when I can give it the attention it truly deserves. 2009 was a great year for me and the movies. Early on in the year, I began publishing a regular monthly column on The Movie Network's "Movie Entertainment" magazine's website and it has since been picked up by The Movie Network itself. In April, I attended the Tribeca Film Festival for the first time and ended up meeting and interviewing one of my favorite director's, Steven Soderbergh. My interview with him about THE GIRLFRIEND EXPERIENCE would go on to be published on CBC's website. In May, I left my day job and prepared to move to Toronto, which I did in July. The summer was a great time to be unemployed and I managed to sustain myself on zero incoming cash until just after the Toronto International Film Festival. This year, I saw nearly 20 films at the festival, compared to a scant five the year before. I also had the chance to sit and interview the star and director of this year's indie success, PRECIOUS. I have had to return to working my day job now but 2010 awaits and I'm closer now than ever before.

Alright, so that's me. Now what about the movies? I knew all year that I was going to be leaving my day job at some point so I was able to get excited about a lot of the movies that were coming out this year. And a lot of them did not disappoint. As per usual, my full list of best performances and films will be coming soon with the announcement of the Mouton d'Or awards in January but the following is my Top 10 films of 2009, in alphabetical order. Even as I write these very words to you, I have a short list of eleven titles and I'm still not sure what will make it and what won't. The suspense is killing me! Anyway, here goes ... (click on any title for the full Black Sheep review)


(500) DAYS OF SUMMER
Directed by Marc Webb


I've seen this film three times and it makes me smile and feel good about everything every time. This anti-love story is so infectious and so enchanting that it somehow ignites my personal quest for love while simultaneously breaking down all the myths about love I've subscribed to all these years. The adorable Joseph Gordon-Levitt and Zooey Deschanel are the cutest couple of the year!


DISTRICT 9
Directed by Neil Blomkamp


When I first saw this film, I was floored. It was original; it was exciting; I was completely convinced that South Africa had been overrun with alien life. It isn't every day that you catch a film that is visually remarkable, action packed and socially conscious at the same time with absolutely no trace of compromise. I was also pretty floored because the moment it ended, I knew it was going to find its way on this list.


AN EDUCATION
Directed by Lone Scherfig


This film was the toast of TIFF and I could not get in no matter how hard I tried. It was well worth the wait. Its classic style and subtle screenplay brought new perspective to the feminist plight. Star, Carey Mulligan carries the ecstasy of a first love with the jubilance of a little girl and the weight of the consequences to dating an older man with grace and restraint. I for one definitely felt like I learnt something.


FANTASTIC MR. FOX
Directed by Wes Anderson


Wes Anderson is a particular taste and I was thrilled to see that taste make a successful transition into the realm of animation. Watching this adaptation of the Roald Dahl classic is a constant delight. It truly digs its own path, striking the perfect balance between adult insight and childlike excitement throughout. In a world where Pixar owns the monopoly on satisfying adult animation (and rightfully so), it is refreshing to see that others out there can not only pull it off too but bring something new as well.


THE HURT LOCKER
Directed by Kathryn Bigelow


By now, you've no doubt seen this film on every Top 10 list in the world. It is an obvious choice but it is also the right choice. Bigelow managed to craft a highly explosive film about trying to make sure bombs don't go off. The film is naturally tense but all the more so because Bigelow sneaks us into this military bomb squad in Iraq by shooting from as many different perspectives as possible. Perhaps this is why it is the least judgmental Iraq war film to date.


PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
Directed by Lee Daniels


From a filmmaking perspective, this one is certainly uneven at times but its boldness is so striking that it certainly earns its place amongst the best of the year. This story of a young woman, overweight, pregnant, illiterate and abused, is the most unlikely of success stories. It is fueled by some of the most brave performances of the year from one of the most eclectic casts of the year. It is Daniels though who deserves the biggest applause here for getting people to stop ignoring this girl and see her for who she is inside.


A SERIOUS MAN
Directed by Joel and Ethan Coen


Who knew that the Coen Brothers could get so personal and still feel completely disassociated? Michael Stuhlbarg's incredible performance as Larry Gopnick allows this tale of misfortune to transcend its Jewish roots and become a tale for unlucky folks everywhere. Watching his life is like watching a train wreck just get worse and worse but somehow all the while, thanks to that special Coen touch, deep, genuine sympathy is inspired aplenty.


SIN NOMBRE
Directed by Cory Fukunaga


I cannot say enough good things about this first feature from Cory Fukunaga. Two complete strangers end up on the same journey to cross the Mexican border into the United States and neither their lives nor ours are the same for having the experience. Each of their characters is going through their own individual struggles but the solace they find in each other makes every hardship they suffer worth it. Fukunaga is a bold new voice.


A SINGLE MAN
Directed by Tom Ford


Fashion designer, Tom Ford's directorial debut, is just plain stunning. It's 1960's design is authentic and exquisite and the performances from Colin Firth and Julianne Moore are fresh and exciting for each of them. By adapting Christopher Isherwood's novel of the same name about a man coping with the death of his longtime lover in a world that doesn't acknowledge that love, Ford has made more than a film; he has also made a very compelling argument for gay marriage and the rights that should be afforded gay men and women everywhere. And naturally, he did it in style.


UP IN THE AIR
Directed by Jason Reitman


Films that are decidedly adult in theme and tone have struggled recently to connect with audiences but this one is so perfectly executed that it is not only reaching its audience but going far beyond it. The zeitgeist factors in this film, from the crumbling economic backdrop to the increasingly guarded approach towards love and human interaction, make it easy for most to identify with it. The entire cast (George Clooney, Vera Farmiga and Anna Kendrick) is lovely; the tone is respectful; and thanks to Reitman, the whole thing soars.


HONOURABLE MENTION: HUNGER
Directed by Steve McQueen


OK, so I found a way to cheat the Top 10. Don't hate on me. I did not include this film in the actual Top 10 as it is considered a 2008 entry but as it did not play in Canada until this year, it warrants mentioning. This 2008 festival favorite went unnoticed in North American cinemas this past spring but that doesn't shock me. Hunger strikes and graphic prison violence are not exactly crowd pleasers. If you are up for it, you must see this film. It will turn your stomach but it will furiously turn the wheels of your mind as well.

There you have it folks. These were my favorite films from 2009. Here is to an excellent 2010!

Black Sheep @ The Box Office: Summer 2009!

It is Labour Day today - a day in which no one actually labours too hard, likely because they already went too hard doing something else last night. And as we sit here and recover from our evenings, we are really recovering from the summer as a whole. It all starts back tomorrow, school and sweater weather, that is. The summer blockbusters will make way for pensive Academy fare and before we all put on out glasses and thinking caps, let us raise a glass one last time to the summer of 2009.

(Click on any of the highlighted titles to read the Black Sheep review.)


I wouldn't go so far as to say there is a clear winner at the box office for the summer of 2009 but it can be definitely narrowed down to three. To look at the Top 10 worldwide grosses above, the Top 3 easily outrank the rest of the Top 10 and for different reasons. TRANSFORMERS: REVENGE OF THE FALLEN, was the clear North American winner, pulling in just under $400 million during its summer run, from both regular and more expensive IMAX screens. The surprising international winner was the third installment of the ICE AGE series, pulling in over $640 million outside of North America. Despite these individual successes, one film did better combined and that was the sixth film in the HARRY POTTER series, proving that the franchise is nowhere near losing its magical touch and will likely ride it out through the remaining two installments. Fans were desperate for some Potter love as it had been over two years since the last film and the final book were released. Harry was due and he got his dues in return.


ANGELS AND DEMONS, the sequel to the infinitely more successful DA VINCI CODE, managed a surprise fourth place finish overall. This is the perfect example of how one film's disappointing domestic bow can be easily salvaged by international interest. International interest also saved TERMINATOR SALVATION and the second NIGHT AT THE MUSEUM even pulled in about $50 million overseas more than its domestic total. Contrarily, there are some films that perform significantly better domestically than elsewhere. The most notable example is STAR TREK. J.J. Abrams managed to successfully reboot the ancient franchise for North American audiences but did not drum nearly as much interest around the globe. It was still one of my favorite flicks this summer.


Men behaving badly left its usual mark on the summer box office, most notably with, the runaway success, THE HANGOVER, which performed well both domestically and internationally and the sequel is already in development. I'm not sure how many times we can watch these dopes get plastered and recreate their evenings but I wasn't sure anyone would care this time either so what do I know? Testosterone also fueled hits like Michael Mann's PUBLIC ENEMIES ($97 million in N.A.) and the summer kick starter, X-MEN ORIGINS: WOLVERINE. Meanwhile, the women continued to prove that summer time is just as much their time as it is the boys'. The Sandra Bullock/Ryan Reynolds romantic comedy, THE PROPOSAL did exceptionally well, with a grand domestic total of $161 million, making the it the 9th biggest domestic summer title out there. And the ladies also enjoyed THE UGLY TRUTH ($87.6 million) JULIE & JULIA ($80.6 Million) and THE TIME TRAVELER'S WIFE ($55.8 million). Granted those three films combined still come nowhere near what THE HANGOVER made, it is a strong showing nonetheless.


3D added a new dimension to the box office this summer. With a higher ticket price, late summer entry THE FINAL DESTINATION was able to open bigger than any of the previous films in the franchise and G-FORCE was able to cross the $100 million mark for Disney. There was no bigger 3D success this summer though than Pixar's first 3D effort, UP!. UP! pulled in over $290 million domestically, making it the third biggest film of the year so far and the second biggest Pixar film in their history, behind FINDING NEMO, the highest grossing animated film of all time. Pixar will be re-releasing their first hits TOY STORY and TOY STORY 2 in 3D as a double bill for a limited run in October to whet our appetite for their next 3D entry, 2010's TOY STORY 3.


There were no major bombs this summer but there were a number of disappointments. The biggest was certainly BRUNO, which grossed more than $60 million less than Sasha Baron Cohen's breakout, BORAT did and it fell fast, proving that Twitter and texting can kill you dead and it can kill you quick. Other disappointments include Judd Apatow's return to directing, FUNNY PEOPLE ($51 million), the Apatow produced, YEAR ONE ($43 million) and the Sam Raimi directed, DRAG ME TO HELL ($42 million). Incidentally, that last one was actually really good so don't let it slip past you when it is released to rent and own this October.


The summer is also a time for little art movies to rise past the big explosions and make miniature waves of their own. Sam Mendes's AWAY WE GO charmed adult audiences at the beginning of the summer, finishing with a total gross of $9.5 million. Oscar contender, THE HURT LOCKER beat the war movie curse by taking in $11.7 million in limited release. No film crossed over better though that the modern romantic comedy, (500) DAYS OF SUMMER, which allowed the whole world to fall in love with Zooey Deschanel right alongside Joseph Gordon-Levitt, to the tune of $28.4 million.


The final days of summer wound down with the reasonable launch of a new franchise based on a toy, G.I. JOE: THE RISE OF COBRA. The film pulled in about $141 million domestically and just about the same internationally. They aren't TRANSFORMERS size numbers but they will do for at least one sequel. Quentin Tarantino released what will go on to be the most successful film of his career with INGLORIOUS BASTERDS. The domestic total currently stands at $95 million and it will surely surpass the $107 million domestic gross of the Oscar winning, PULP FICTION. And then there was that phenomenal film about alien occupation on earth that many critics and moviegoers considered to be the best release of the summer, DISTRICT 9. The Neill Bloomkamp directed film has already taken in $103 million and Sony has greenlit not one but two sequels.


Overall, the 2009 worldwide summer box office took in over $10 billion, allowing it to surpass the records established two years ago. Apparently, the summer box office dollar is alive, well and in three dimensions.

Black Sheep's regular box office report will return next week.

Sources: Variety
Box Office Mojo

Black Sheep @ The Box Office: Glorious Box Office Basterds

There wasn't much question as to whether Quentin Tarantino's INGLORIOUS BASTERDS would debut atop the box office this weekend. It's stiffest competition going in was DISTRICT 9, leftover from last weekend. No, the question was how well it would do and it has done very well. With a well-deserved R-rating, INGLORIOUS BASTERDS nailed down a per screen average of nearly $12K for a grand total of over $37 million. This is Tarantino's highest opening weekend ever, easily besting the former record holder, KILL BILL VOLUME 2, with $25 million. Depending on how it performs in the weeks to come, INGLORIOUS BASTERDS could easily surpass PULP FICTION ($107.9 million) as Tarantino most success film of his career. It was definite redemption for the filmmaker, whose last film, the DEATHPROOF portion of the GRINDHOUSE double bill opened to a miserable $11.6 million. The second film in the GRINDHOUSE set was directed by Robert Rodriguez, whose SHORTS, posted disappointing results this week, landing in 6th place. I thought the kid friendly pic would do well with little competition in sight but it must be time for kids to think about going back to school instead of crazy wishing stones. The only other Top 10 debut went to the Alexis Bliedl vehicle, POST GRAD, which, coming in tenth place, barely passed the final exam. Female driven pics continue to hold well, from THE TIME TRAVELER'S WIFE, THE UGLY TRUTH and JULIE & JULIA, all posting declines under 30%. The near 60% decline is probably a little disappointing to the DISTRICT 9 people considering the phenomenal word of mouth it has generated. It won't stop the two greenlit sequels though. Outside the Top 10, ADAM saw a 22% jump after adding 29 screens but the big success story belongs to Renee Zellwegger whose period comedy, MY ONE AND ONLY, opened to the best per screen average of any film this week, with a $15K average.


NEXT WEEK: Ang Lee gets the jump on everyone else, opening his lovefest, TAKING WOODSTOCK on two screens on Wednesday before bumping to over 1000 screens on Friday. Outside of that I hope you like horror because your only new options are Rob Zombie's HALLOWEEN 2 (3000 screens) and THE FINAL DESTINATION (3000 screens), the supposed last in the series and the first in 3D.

Source: BOX OFFICE MOJO

District 9 Does NOT Disappoint

[Tonight, a very special reader-submitted review of the incredible new flick District 9, first published a few days ago on Day of the Woman. Loyal Vault Dweller Wendy Winant Bodine sent this in to me--enjoy, and check out the movie at your earliest convenience...]

As a witness to the viral video campaign for this film for the past 6 months (it’s been going on for at least over a year now), I had some idea of what District 9 was going to be about probably a bit more so than those who hadn’t noticed the campaign. But that still didn’t prepare me for much of what was witnessed at the midnight showing I attended last weekend. I also knew that producer Peter Jackson wouldn’t let me down, having been a fan of not only the Lord of the Rings trilogy, but his earlier horror work with Braindead (1992) and Bad Taste (1987). And the short film by fledgling director Neill Blomkamp upon which the film was crafted (“Alive in Joburg” (2005)) left enough of a pleasant aftertaste to make one look forward to the cinematic buffet that is District 9.

The film tells of a race of aliens whose mothership comes to rest directly over Johannesburg, South Africa, sometime in the early '80s. After several days with no action on the aliens’ part, humans make their way to the ship and literally drag the occupants out under the pretense of helping them. They set them up in what was supposed to be a temporary facility that quickly grew into the slum known as “District 9”. Heavily regulated and living in squalor, the aliens just want to be left alone, or better yet, to be allowed to return to their ship, although the humans keep insisting that them leaving is not an option. While the humans in charge of District 9 talk continually of their desire to help the aliens, the real motive is to gain access to their highly-advanced weaponry. The aliens are so hard pressed, they willingly trade their technology for food. All their technology is useless to humans, however, as it is all biologically based on the alien’s DNA—only they can use it.

Enter Wikus van der Merwe, an executive at Multi-National United (MNU), the mega-corporation hired by the government to take charge of the upcoming relocation of the aliens to “District 10”, a supposedly better living area. Wikus and his team, assisted by MNU mercenaries lead by the malicious Obesandjo 7, attempt to serve the aliens with eviction notices to make the move as uncomplicated as possible. While inspecting one shack, Wikus runs across a vial of black fluid, which he unwittingly sprays into his face. This is the turning point for the future of aliens and humans alike, as the chemical spreads into Wikus’ system, altering his DNA and slowly morphing him into an alien. When MNU becomes aware of this, they seize him and, rather than trying to save him, force him to test alien weaponry, which he does reluctantly but successfully. MNU plans to dissect him for further study, to see how alien DNA can be merged with human so that humans can use alien technology. Wikus escapes and finds sanctuary in the only place he can—District 9.

This movie is a breath of fresh air in a long-stale movie atmosphere of too many remakes and sequels, of brain-dead bathroom humor and teen-oriented romances. My main pleasure was finding out how intelligent this movie is—it doesn’t insult the audience by relying solely on high-tech special effects and an over-abundance of violence. To be sure, such elements exist, but in the proper ratio to an actual PLOT, something that’s been lacking in mainstream sci-fi for too long. ALL the characters are 3-dimensional—the aliens have their own language (although how they communicate with humans verbally, understanding each other’s language, is never quite explained, but doesn’t hinder the storyline) and speak it at all times (with English subtitles), giving us insight into their culture and history by observation, not just by some human explaining it to us.

Some might be put off by the overtly-obvious and oft-used theme of “evil humans”, but if you’re familiar with the history of South Africa at all, you realize that in this case, it cannot be ignored. Most of the humans depicted in the film, whether they’ve interacted with the aliens or not, view them as inferior (the slang term for them is “prawns”). The hapless Wikus especially maintains his negative view of the aliens; as his change progresses, all that matters is reversing the process, to the detriment of those around him, human and alien alike.

There is much more to be said about District 9, but I will end here for fear of giving away much more of the excellent plot and of repeating the comments of other reviewers. I can say definitively though, that District 9 was worth the hype, and if the ending is to be believed (and I certainly hope so), I look forward to more from Blomkamp and Jackson in the future. Rated R for bloody violence and pervasive language. 5/5

Black Sheep @ The Box Office: Alien Invasion

My apologies, Black Sheep readers. I am under the weather and therefore, will not be doing a full box office report this week. In fact, I have an eye infection and it won't go away. I've been taking drops all week for it and yet I still look like the dude from DISTRICT 9. When people ask me in public what's wrong with my eye, I simply tell them I'm a really big fan of the movie. Anyway, my support seems to have paid off as DISTRICT 9 has surpassed expectations and debuted atop the top of the box office, taking G.I. JOE down to second place with a somewhat reasonable 58% drop. JULIE AND JULIA held up well in its second week, which is even more impressive when you think about all the ladies who rushed off to see Eric Bana romance Rachel McAdams in THE TIME TRAVELER'S WIFE. The film, which will get the Black Sheep treatment later this week, pulled in a respectable start but will now depend on word of mouth. (500) DAYS OF SUMMER squeaked out another week it the Top 10 while Summit hopeful, BANDSLAM couldn't cut it, pulling $2.25 million for a 13th place finish. I guess those NEW MOON teasers before the screenings were not enough to lure in the kids. THE GOODS did not deliver in sixth place and PONYO, from Academy Award winning Japanese director, Hayao Miyazaki, which I saw and loved this afternoon, debuted to mediocre numbers in ninth place despite rave reviews. Look for reviews this week for, as mentioned previously, THE TIME TRAVELER'S WIFE, ADAM and later in the week, INGLORIOUS BASTERDS. Oh, and happy birthday to James Cameron and Madonna!

Source: Box Office Mojo

DISTRICT 9

Written by Neill Blomkamp and Terri Tatchell
Directed by Neill Blomkamp
Starring Sharlto Copley


28 years ago, an alien space craft resembling a floating, metal land mass appeared in Africa, just over Johannesburg. The world held its breath, not sure what to expect next – a beginning or an end. The ship’s passengers were not as alien as one would expect. They stood upright, had offspring and, as it would come to be discovered with time, harboured as much fear inside of them as man likes to pretend he doesn’t. Whatever brought them to our planet left their energy supplies depleted and their systems inoperable. Stranded here and at the mercy of man, the aliens struck what they believed to be a peaceful arrangement with the world’s governments and were housed in shacks in a segregated space designated as District 9. To imagine this description as our actual world is almost ludicrous when the words are just being read on a page. The beauty of Neill Blomkamp’s first feature, DISTRICT 9, though, is that he creates and fosters this scenario as a reality that does not only seem plausible but more so as one that actually happened. I almost expected a whole other world to be waiting for me outside the theatre when the film was done.


In 2005, Blomkamp’s short film, ALIVE IN JOBURG, caught the attention of the Internet and one key man in particular, Peter Jackson. Seeing just how stunning the visuals could be and how rich the subject was, Jackson put $30 million down to allow Blomkamp to make whatever he wanted. He wanted to make his short into a feature. Blomkamp has been passionate about this project ever since he was a boy, growing up in South Africa during apartheid. Although not widespread to all racial groups as in Africa between 1948 and 1994, Blomkamp’s version keeps the aliens and the humans separated and, as with any class system, there is hatred, animosity and mixing between the groups. DISTRICT 9 is a pastiche of different film captures, from news footage to security cameras in stairwells to helicopter shots. All blend seamlessly together to not only form a stunning aesthetic but the documentary style, including talking head inserts from authorities on the alien plight, cements Blomkamp’s world in our own. The believability factor is what makes the injustices against the alien race so repugnant.


DISTRICT 9 directly implicates the viewer as a passive observer and forces you to take sides. Realistically, we aren’t there; we cannot say what we would do but we still cannot help feel the same fears. To be alien is to be foreign and, as a species, we certainly struggle with accepting that which is different than ourselves, even within our own species. To make matters worse, these aliens, while fascinating to watch from a CGI perspective, are not exactly pleasant to look at. They are lanky creatures with numerous tentacles and limbs that are so vividly constructed that one can almost imagine they smell as rotten as they look. As one could presume, an alien ship hovering over the earth for nearly three decades and 1.8 million aliens, though contained, living on this planet, would make even the open-minded uncomfortable to some degree. There are many alien interest groups established to protect the aliens’ rights but it almost seems naïve to think they do not pose some level of threat against humanity. And as it becomes more and more clear as the film goes on that humanity poses a bigger threat against them, you become torn between sympathy and preservation.


At the center of DISTRICT 9 is a nobody turned into the greatest somebody on the planet overnight, Wikus Van De Merwe (played poignantly by non-professional actor, Sharlto Copley, who appeared briefly in ALIVE IN JOBURG). Wikus, a government employee in charge of serving all the aliens of District 9 with eviction papers before they are moved to a much more deplorable camp, is a bit of a goof who thinks he’s got it all figured out until he is forced to walk in an alien’s shoes (if aliens actually wore shoes, that is). It is only then that he can see humanity for the recklessly greedy creatures that they are. And as Blomkamp puts us directly in Wikus’s shoes, we too get the mirror turned on our own faces. It sounds bleak but it is by far the most fun I’ve had at the movies all summer, if not all year.