BOX OFFICE 2008

I'm not sure if you noticed but 2008 came to a close a few days ago. This means the box office is officially closed and we can tally up what were the biggest hits of the year. Overall, the 2008 North American box office pulled in a staggering $9.6 billion dollars, moving 1.4 billion tickets. Believe it or not, this is actually down from 2007. It is only down by 0.4% mind you. Apparently, no matter what the economic climate, we've always got money for the movies.


Let's see ... what was the biggest box office story of the year? Geez, that's a hard one. Alright, I'll knock it off. The biggest box office story of the year was easily the success of Eddie Murphy's MEET DAVE. OK, now I will seriously knock it off. So, again, the biggest box office story of 2008 was easily the colossal success of Christopher Nolan's THE DARK KNIGHT. For the first time since its release, a film came within reach of sinking TITANIC to become the number one box office hit of all time. This did not come to pass but I'm sure no one really cares. THE DARK KNIGHT, be it because of the Heath Ledger fascination factor or just because it was so darn great, crossed over every single demographic it could to score the biggest opening weekend in history. I knew it was going to be big; I couldn't even get tickets for opening night. However, I didn't think it was going to be that big. You could feel it though. There was a very strong sense of urgency to see this film and it carried over for weeks. THE DARK KNIGHT also played well on IMAX theatres as well as internationally, where it almost topped $1 billion. It is sure to do so in a couple of weeks though when it is rereleased in theatres to push its Oscar chances. The best thing about THE DARK KNIGHT is that it brought people together. It isn't often that a film connects with so many people so congratulations to the whole cast and crew for all their success.


The second and third place films finished very tightly with less than $1 million difference between them. IRON MAN ultimately won out over INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL though. Well, at least domestically. Internationally, INDIANA JONES was the second biggest hit of the year, while IRON MAN finished fifth. These two films are funny to compare as they are both huge money makers but one could describe their domestic takes as both a huge success and a disappointment. IRON MAN opened to nearly $100 million to kick off the summer season. No one expected this one. I also don't think anyone expected to enjoy it as much as they probably did. Meanwhile, INDIANA JONES opened slightly higher but I think the industry was expecting bigger things. I certainly don't think they thought the bat would best them; that's for sure.


Not surprisingly, the Top 10 contains no less than four animated features. While, MADAGASCAR: ESCAPE 2 AFRICA is still tracking, I doubt it will move much higher on the chart and surpass the two biggest kid flicks. When WALL-E opened, it too surpassed expectations. The response was extremely positive as well so prognosticators expected WALL-E to go on to become one of Pixar's biggest triumphs. The public did not follow up though and WALL-E merely went on to just pass last year's RATATOUILLE. And while WALL-E is the animated king domestically, KUNG FU PANDA whooped WALL-E's metal butt internationally, earning over $120 million more to become the third biggest international hit of the year. This may just be because KUNG FU PANDA came first and got the jump on WALL-E. Personally, I did my part as I saw WALL-E in the theatre three times. Yup, I'm that geeky.


Hollywood learned a valuable lesson this year, the value of the female dollar. For so many years, it was assumed that the box office was primarily male driven but three films in particular this year made it very clear that women should never be ignored. The most successful female driven pic was TWILIGHT but that also has a huge book following so it may not be fair to discount that. The other two films have huge built-in followings as well but SEX AND THE CITY and MAMMA MIA! made people take notice. SEX AND THE CITY opened to just under $60 million and went on to pull in $152 million, just missing the Top 10. MAMMA MIA! (which opened opposite THE DARK KNIGHT) pulled in half of the SEX AND THE CITY gals in its opening weekend but showed some very strong legs throughout the summer. Both films are also huge international hits. In fact, MAMMA MIA! did in the UK what THE DARK KNIGHT was not able to do domestically; it surpassed TITANIC as the biggest box office in UK history. I would never have expected that ... ever. Now, all they have to do is start making these female skewed pics better as I didn't care for any of these movies. And yes, I know I'm not a girl.


Speaking of movies I didn't like all that much, two other Top 10 hits need singling out as they were also both huge hits internationally as well. HANCOCK is the fourth biggest international hit of the year, proving that Will Smith is still one of the biggest stars on the planet. He followed that one up with his weakest performer in years, mind you, SEVEN POUNDS. James Bond also returned this year with QUANTUM OF SOLACE. The sequel to CASINO ROYALE just squeaked past its predecessor domestically but still has a ways to go to beat CASINO ROYALE's $594 million international total.


In total, 24 films passed the century mark to gross over $100 million. That total will likely go up to 26 if MARLEY & ME and YES MAN stay on track. And while I hate to end on a negative note, I can't get away with not pointing out what seem to me like the three biggest box office disappointments of 2008. I believe you may know them better as flops. When you take international gross into account though, none of them seem that bad. I mean I wouldn't want to lose that kind of money but I just pay to see movies, not to make them. The first high profile flop of 2008 was the Wachowski's SPEED RACER. Audiences scoffed at this colorful explosion and this lead to an $18 million opening weekend. Given the reported $120 million price tag, the future looked grim. SPEED RACER crossed the finish line with $93 million internationally, losing just under $30 million. I never understood why rival studios decided to open THE LOVE GURU and GET SMART on the same weekend. The Steve Carrell pic easily killed Mike Myers' disaster. THE LOVE GURU opened to a mere $13 million and finished its international run at $40 million. That's $22 million less that what it reportedly cost to make. And finally, I mentioned it first so I guess it is fitting to wrap things up with it. MEET DAVE, a movie about I believe Eddie Murphy's multiple personality disorder, I can't be sure, opened to a horrific $5 million. Luckily for Murphy, his international fans were more forgiving and the film ended up pulling in $50 million total, only $10 million less than its budget.

So that is it for 2008, folks. My prediction for biggest film of 2009 ... BRIDE WARS. That's right. You read that right.

Alright, I'm kidding ... again.

WEEKEND BOX OFFICE: Leftover's Anyone?

Typically, the weekend after Thanksgiving is not a busy one at the box office. This year proved to be no exception to that rule. The only major wide release was almost completely ignored and the rest of the Top 10 dropped off on average by 56%. I guess everyone is still full after last weekend.


If they are full, it is of Christmas cheer. Sorry, cheesiness is unavoidable when it comes to the holidays. I’m sure its likely fairly avoidable in FOUR CHRISTMASES as well. The Vince Vaughan/Reese Witherspoon holiday comedy has earned over $70 million in 12 days and had one of the strongest holds in the Top 10. The film will certainly see strong holds as the happy day grows nearer. As for the rest of the holdovers, it was a matter of watching to see who would fall off the most. The biggest losers were BOLT, QUANTUM OF SOLACE and MADAGASCAR 2, all dropping off over 60%. Meanwhile, AUSTRALIA held the fourth narrowest decline overall but 52% is probably still a great deal lower than Fox had hoped for. So far, AUSTRALIA has made $30 million domestically. That’s only about $100 million off from the production cost. G’day, mate!


The Top 10 saw two debuts this week. One was a modest success and one was an embarrassment. PUNISHER: WAR ZONE pulled in one third of what its 2004 predecessor, THE PUNISHER. No other new title came close to 2500 screen count and yet, right below it on the chart, a title playing in three times less screens, made nearly as much coin. CADILLAC RECORDS, a film that is more likely to earn Golden Globe nominations rather than Oscars, stars Adrian Brody and Beyonce Knowles as the legendary Etta James. The film finished with the second highest average in the Top 10 but with the onslaught of more prestigious prestige pictures coming in the weeks ahead, the music will fade pretty quick.


As per usual, all the art house love happened below the Top 10. With awards season now in full swing, limited runs will be the hottest tickets around as they test the waters in different markets in hopes of a healthy expansion. Two titles with no such worries thus far are National Board of Review winner for Best Picture, SLUMDOG MILLIONAIRE and six-time Satellite Award nominee, MILK. The two have certainly started strong and each earned on average around $18K per screen. These numbers are incredibly high for holdover art titles. They aren’t the only game in town though. Opening on just three screens in New York, L.A. and Toronto this weekend was Ron Howard’s FROST/NIXON. The film took in the second highest per screen average of the year with $60K. It too has received some very promising early award nods and Frank Langella’s performance is sure to drive more audiences to see the successful stage translation in the weeks to come.

NEXT WEEK: The art house gets crowded with Stephen Daldry’s THE READER, WENDY AND LUCY, starring Michelle Williams in a much buzzed about performance, Clint Eastwood’s grumpy old man movie, GRAN TURINO and another stage translation, DOUBT. On the heavier side of the scale, Keanu Reeves and Jennifer Connelly attempt to toy with sci-fi gold with the remake of THE DAY THE EARTH STOOD STILL.

WEEKEND BOX OFFICE: Four American Christmases and an Australian Turkey

Ah, Thanksgiving. You can always count on this special holiday, even in times of crushing economic woe, to reinvigorate the marketplace and get people spending again. It just makes me feel so warm inside. After all, there are now less than 30 days until the mother of all holidays. You can avoid putting up the lights or block out the holiday tunes at the mall but Christmas has hit the theatres. In fact, four Christmases have hit.


FOUR CHRISTMASES opened behind last week’s champ, TWILIGHT, on Wednesday, when it and a number of other releases entered the marketplace to capitalize on the holiday. It quickly took over on Thursday and led through the weekend for a $31 million debut and a $46 million five-day take. The critically-panned feature is Witherspoon’s return to comedy and a blatant attempt to recapture America’s hearts and it is Vince Vaughan’s second holiday feature in a row in his apparent course to be America’s family man. As obvious the choice is, FOUR CHRISTMASES has opened better than anything either has put out in ages so I’m sure the eggnog is flowing freely by the fire for these two this weekend – that is if they didn’t hate each other. I’m just telling you what I heard.


The next three positions in the Top 5 went to holdovers, which meant that the week’s two other wide releases had to settle for much less prestigious debuts. Baz Luhrmann returned to theatres for the first time since his 2001 Best Picture nominee, MOULIN ROUGE! with AUSTRALIA, a $120 million epic love story. Expensive epic disaster sounds more appropriate right now. This was considered to be a major box-office and award season contender and now it looks like it could end up being neither. Earning a modest but respectable $5,600 per screen average would ordinarily be a solid start but this costly mess needed a grand slam debut to recoup its costs. The fact that critics are split on it certainly didn’t help matters much and without award season kudos, Luhrmann won’t be getting any second helpings. Meanwhile, the TRANSPORTER series starring Jason Statham went back for thirds. The third and likely last installment brought in about $8 million less than its predecessor did in its opening frame. Even TRANSPORTER 3’s five-day take didn’t match the $20 million debut of TRANSPORTER 3. Still, the franchise is relatively cheap to produce so Jason Statham is still sitting pretty at the head of the B-list celebrity action stars table.


There was much to be thankful for if you almost any other movie in the Top 10. As expected (and desperately wished for by the Disney people), BOLT improved upon last week’s take and inched up a notch to the number two spot. Bond’s QUANTUM OF SOLACE saw a slight decline of just 27% as good working folk who had not had a chance to catch their favorite international spy finally made their way out to catch him. The cuddly if not irritating animals of MADAGASCAR: ESCAPE 2 AFRICA caught another wave of kids out of school for the break and only slipped off a scant 7%. And ROLE MODELS continued to make good on its strong word of mouth, dropping off just 28%. The most troubling stumble was also somewhat expected as the front heavy TWILIGHT plummeted over 62% in its second week. Still, $120 million is 10 days is a bloody mouthful.


Sure it’s great that a little film like THE BOY IN THE STRIPED PAJAMAS can spend two consecutive weeks in the Top 10, even improving in its second week. But it’s hard to take too much notice when two other even smaller releases are producing mind boggling numbers. Danny Boyle’s SLUMDOG MILLIONAIRE is becoming a surprise Best Picture contender and is stuck just outside the Top 10 for a second week at number eleven. On just 49 screens, SLUMDOG pulled in an average of almost $28K for a grand total of $3.6 million. All this before it has even gone wide. One other film though shut it out from the Top 10 it is gunning for so badly and that film is MILK. The buzz on this one is almost deafening and considering the controversial vote on Proposition 8 earlier this month in California, MILK, a biography of the first openly gay American politician, Harvey Milk, could not be more topical. Gus Van Sant and Sean Penn will likely see many reasons to celebrate as the weeks ahead unravel but whether they can reach BROKEBACK MOUNTAIN numbers remains to be seen.

NEXT WEEK: One needs at least one week to recover from this much consumption. This would explain why next week is pretty quiet. The widest release is the new PUNISHER movie (huh?). Aside from that, there are a couple of mid-size releases, CADILLAC RECORDS and NOBEL SON. At least the art house crowd can get excited over FROST / NIXON but it seems pickings will be slim so eat up now.

WEEKEND BOX OFFICE: Twilight's Big Bite

Every now and then I am reminded that I am not a teenager anymore. I don’t have a favorite Jonas Brother; I couldn’t get through the first 20 minutes of the first HIGH SCHOOL MUSICAL; and up until this past spring when I first saw posters appearing in the city, I had never heard of Stephanie Meyer or TWILIGHT. Little did I know, it was a phenomenon amongst the younger folks. Even going in to this weekend, I thought it was going to be that big. It was a crowded weekend and the trailers looked pretty flat. When I read that 2,000 advance screenings had already sold out though, I knew I was bloody wrong about the whole thing.


And so TWILIGHT flew out of the cave with midnight Thursday screenings tallying $7 million and rode that wave to a total of $35 million on Friday alone. That’s $8 million more than Bond brought in last Friday. TWILIGHT finished the weekend surpassing everyone’s expectations (and essentially annihilating mine) with a grand total of over $70 million, becoming the fourth biggest November opening of all time, behind three separate Harry Potter installments. I wonder if the Potter people regret the move out of this weekend now.


Meanwhile, Bond got banged by bad word of mouth and tumbled nearly 60% in its second week to just $27 million. This kind of fall means QUANTUM OF SOLACE will struggle to surpass CASINO ROYALE’s $165 million domestic total. Overseas, Bond has nothing to cry about as the film is seriously outpacing the last installment but this is definitely a different story on the home front. QUANTUM OF SOLACE barely came in second place, and may very likely end up in third after the final numbers come in tomorrow. Considering Sony over inflated last weekend’s gross to look as though QUANTUM OF SOLACE had done better numbers than THE BOURNE ULTIMATUM, it would not shock me if they did to save face for losing to an animated dog.


The dog in question is BOLT, Disney’s 3D animated film featuring the voices of John Travolta and Miley Cyrus. I’m sure the Disney peeps were hoping for a bigger haul this weekend than $27 million but BOLT’s bite was no match for that of TWILIGHT. With very little strict family fare coming in the weeks to follow though, BOLT could surprise with strong legs. The Thanksgiving holiday is certainly going to give BOLT a big boost.

Two particular arthouse films have much to celebrate this weekend. The first is THE BOY IN THE STRIPED PAJAMAS. The WWII drama debuted last week to strong numbers and expanded this week into 368 screens to see its haul increase by 252%. The even bigger success is hiding just below the Top 10 at number 11. One of this year’s biggest crowd pleasers, SLUMDOG MILLIONAIRE, added 22 screens this weekend and saw another week averaging over $31K per screen. The Danny Boyle Oscar hopeful shot up over 176% and looks poised for the Top 10 next week.

Speaking of … NEXT WEEK: It wouldn’t be Thanksgiving without holiday film fare. Enter Vince Vaughan and Reese Witherspoon in FOUR CHRISTMASES. Baz Luhrmann returns to cinemas after a seven-year absence with AUSTRALIA, starring Nicole Kidman and Hugh Jackman. And for those who think holidays are for guns and explosions, Jason Statham returns with TRANSPORTER 3. Mmmm, pass the turkey, please.

WEEKEND BOX OFFICE: Bands of Bond

After performing to sold out crowds and record-breaking grosses in Europe for the last two weeks, it is no surprise to see Bond debut atop the charts with QUANTUM OF SOLACE, the 22nd film in the franchise. After the success of CASINO ROYALE and overwhelmingly positive response to Daniel Craig’s new Bond for the new age, it is also no surprise that QUANTUM OF SOLACE commanded the biggest opening weekend for any Bond film in history. But Bond’s $70 million haul still managed to surpass most industry expectations and actually beat out Jason Bourne’s last opening weekend haul. That, people definitely did not see coming.


THE BOURNE ULTIMATUM debuted last August to $69 million and while QUANTUM OF SOLACE only narrowly surpassed that number, no one expected it to come close. With its $20K per screen average, Bond collected more than the rest of the Top 5 combined. Reviews have been mixed but audiences were craving two things that Bond delivered fully, action and franchise. Each Bond film has done better than its predecessor with rare exception and QUANTUM OF SOLACE is certainly going to have no difficulties accomplishing this same feat. Craig and the entire Bond crew have proven beyond a doubt that you can reinvigorate a long running franchise without alienating the people who kept you going for so long. Martinis shaken and not stirred for everyone!

Dreamworks’ MADAGASCAR sequel easily crossed the $100 million mark in its second weekend. Last time Bond premiered, he had to settle for second place to a bunch of dancing penguins (HAPPY FEET) but no toon could keep him down this time. MADAGASCAR’s drop was somewhat steep but the sequel is outpacing the first hit by $18 million, ensuring that many more entirely implausible scenarios for these zoo animals will inevitably arrive and that David Schwimmer will continue to get work and not got hungry.


This week’s Top 10 saw no other major debut, as any studio head stupid enough to open a major release opposite James Bond would likely be fired shortly after his announcement. The most significant release past Bond is the audience favorite, SLUMDOG MILLIONAIRE. Danny Boyle picked up the people’s choice award at the Toronto International Film Festival this year and is riding a wave of amazing reviews toward what could be the most successful film of his career. The advance Oscar buzz certainly doesn’t hurt either. On just 10 screens, SLUMDOG MILLIONAIRE pulled in $350K for a per screen average that outpaced Bond’s by $15K. Who knows? Maybe Danny Boyle could end up directing the next Bond. Go ahead, get that rumour out there.

NEXT WEEK: Originally, next weekend belonged to the next Harry Potter chapter but with that safely moved to some time next summer, the doors have been left wide open for two drastically different wide releases. Disney has high hopes for BOLT, featuring the voices of John Travolta and Hannah Montana, I mean, Miley Cyrus. And Stephanie Meyer fans will finally be able to see how Hollywood has handled their precious TWILIGHT. Vampires, talking dogs and tons of people under the age of 17 … should be good times.

QUANTUM OF SOLACE

Written by Paul Haggis, Neal Purvis, Robert Wade
Directed by Marc Forster
Starring Daniel Craig, Olga Kurylenko, Mathieu Amalric, Jeffrey Wright and Judi Dench


M: Bond, if you could avoid killing every possible lead, it would be deeply appreciated.”

When we last left James Bond (Daniel Craig), he had just found out that the first woman he ever gave his heart to had betrayed him. You do not get James Bond to feel something and then walk all over that newfound vulnerability. You just don’t do that and, if you knew how hard it was for this particular brand of man to get there to begin with, you couldn’t do it with any good conscious. When we last left James Bond, he also reinvigorated a franchise that wasn’t in any actual serious danger of disappearing. Impressive, yes, but that is what James Bond does after all; he impresses with every fiber of his perfectly sculpted being. The trouble is there is only so high you can get and Craig’s first outing as Bond, CASINO ROYALE, was not just impressive, it made me a believer in a character that has meant very little to me over the decades. So where does the first Bond sequel, QUANTUM OF SOLACE, go from there? Not very much further it seems. Apparently, the best hands were played in the last game.


I don’t mean to make it sound horrible; it’s just disappointing. QUANTUM OF SOLACE lacks the boundless, unexpected energy of CASINO ROYALE. This isn’t for lack of trying. The action starts to move before you even have a chance to get comfortable with a high-speed car chase through the scenic Italian seaside. Then the action continues through underground tunnels, massive crowds, across rooftops, down scaffolding and through panes of glass while fighting in mid air and hanging from ropes. I didn’t say it lacked in actual action. It’s just that this particular action isn’t as exciting or original as what we’ve already seen. Sure a boat chase that plays out like bumper cars in the water – with guns! – is exhilarating but it isn’t as bracing as a two-man chase through a construction site, leading up to a fist fight 200 feet in the air on a narrow crane. Instead, every scenario Bond finds himself in seems facile and there is never any real question as to how it will play out. The caliber of stunt is much more Jason Bourne than James Bond. At one point, I half expected Matt Damon to show up running alongside him on the rooftops of Port au Prince.

While the action is still gripping, if somewhat less original, it is the story that is most thin in QUANTUM OF SOLACE. Oscar winner, Paul Haggis, had to turn his script in before the writer’s strike began last year to make sure that production would not be delayed. The result is rushed, expectedly. Themes like trust, truth and vengeance are tossed around as concepts but never solidified as concrete dilemmas in the characters’ lives. And while one doesn’t necessarily go to a James Bond film for depth, one does expect a certain complexity to the plot. In what is the shortest Bond film ever made, Bond’s motivation is restricted to tracking down a mysterious terrorist group called Quantum. He must find out who and where they are and their eco-terrorist plot seems secondary to that. Bond must also contend with another vengeful force, Camille (a gorgeous and commanding, Olga Kurylenko), who is out to avenge her family. Could it be that she has come in to Bond’s life to show him the reality of holding on to a need for revenge for so many years? Probably but it doesn’t seem to have any effect on him at the end of the day.


I have a love/hate relationship with director, Marc Forster (love FINDING NEVERLAND and STRANGER THAN FICTION, hate STAY and THE KITE RUNNER) and was certainly skeptical when I heard he was coming on to direct this 22nd Bond film. He had never done any film this size and this explosive in his career but there are teams of people around on big budget pics like this to make sure that all the action comes off as it should. Forster was brought on for his storytelling abilities. This is fine logic but there is barely any story to tell here and he can’t be faulted for having little to work with any more than the screenwriters can be faulted for having to get something in before going on strike. QUANTUM OF SOLACE certainly falls closer to the love side of my relationship with Forster than the hate side but more time needs to be taken with the next Bond – give Craig the time to do what he did first time out and show us the man behind the wheel of the Aston Martin. You can’t just grab whatever you have behind the bar and slap a martini together in no time, expecting Bond to drink it. He would simply send it back and demand you make it again.

Fall Foliage: November

BLACK SHEEP'S FALL FILM PREVIEW


I am not American but the majority of films I review are. For Americans, and I say that in a very broad sense, November is a month for thanks. It is also a month for spending and one of the last chances for Hollywood to unleash its big guns before the jolliest of holidays the following month. This doesn’t just mean big blockbusters like the new James Bond or that vampire movie all the kids are talking about. November is also the perfect occasion to platform potential award contenders, otherwise known as Oscar bait. And so, there is something for everyone at this Thanksgiving feast. So let us be thankful for all that we will receive.

In 2006, we gave thanks to director, Martin Campbell (GOLDENEYE), when he gave the world the new face (and body!) of Bond, Daniel Craig, and they both made it look so easy. CASINO ROYALE was smooth and satisfying to both Bond fans and neophytes alike. For the first time, Bond is back in a sequel instead of an entirely separate story. Now we give thanks for the next chapter, QUANTUM OF SOLACE, and while Craig is back for his second at bat, Campbell has bowed out to make room for Marc Forster (FINDING NEVERLAND). From the trailer, it would seem as though Bond is on his own to fight injustice and that his character is increasingly in question. I needn’t divulge any information on the plot (not that I have any really) because with stunts and shots as exciting and dynamic as the ones featured in the teaser, what does it even matter?

In 2005, we gave thanks to Ang Lee for giving the world a benchmark for not just gay themed cinema but all cinema, with his masterpiece, BROKEBACK MOUNTAIN. It was expected that Hollywood, as it always does, would jump on the film’s success and begin pumping out the gay stories for the masses. Only the complete opposite happened; what happened up on Brokeback, stayed up on Brokeback. Now, we can thank openly gay director, Gus Van Sant, for breaking the silence with his biographical account of Harvey Milk, the first openly gay man elected to political office. MILK is set is the late 70’s and features potential powerhouse performances by the young Emile Hirsch and James Franco as well as the Milk man himself, Sean Penn. Van Sant is not often overtly gay, thematically that is, in his films (the most notable and breathtaking exception would be his 1991 classic, MY OWN PRIVATE IDAHO) but if he can pull MILK off, than I can perhaps think of forgiving him for PARANOID PARK. (No trailer available yet.)


It has been seven years since director, Baz Luhrmann, gave those that enjoy a good musical a great reason to be thankful with MOULIN ROUGE! While that film was a delightful overdose of colour and love, his latest, AUSTRALIA, is simply epic, if that can even be possible. To describe it, it sounds quite plain. Nicole Kidman plays a British aristocrat who has inherited an enormous cattle drive. When her land is threatened, she travels across 2,000 miles of terrifying terrain, only to end up in the middle of the second world war. The good news, she has handsome Hugh Jackman at her side for protection. To watch it though, is nothing plain at all (except in YouTube quality, of course). Luhrmann seems ready to stake his own claim as a serious director with a drastic departure and masterful turn of style (much like Paul Thomas Anderson did last year with THERE WILL BE BLOOD). The best part I’m sure is that he’s doing it all on his home turf.

I am personally thankful that I have not had to sit through a Jamie Foxx film of late. I marveled like the rest of the world at his compelling turn in RAY and enjoyed the understated counterpart performance in COLLATERAL. Then it all changed. He was everywhere and he was downright cocky about it. Now though, thanks to director, Joe Wright (ATONEMENT and PRIDE & PREJUDICE), I am ready to let him back in. In THE SOLOIST, Foxx plays a musical genius who ends us schizophrenic and homeless. While busking for change, he meets a journalist that will change his fate, played by 2008’s comeback kid, Robert Downey Jr. While it all sounds like it has no edge at all, I have total faith in Wright as he has yet to do any wrong and had the gall to cast actual homeless and mentally ill people as extras to ensure he had both authenticity and the most humble of performances from his cast. (No trailer available yet.)


And lastly, I am thankful that I grew up in the time of Anne Rice’s vampires and not those of the iPod generation’s, Stephanie Meyer’s vampires. After Harry Potter abandoned the Thanksgiving weekend spot for a tentpole position next July, TWILIGHT swooped in for the kill. The books are international successes and the film is highly anticipated but if it truly is a teen sensation, I suspect it will retreat back into the dark of night before the light of the following box office weekend. Can it play outside the teen market? Watch the trailer and judge for yourself.

Also in November … Ooh, Jason Statham in TRANSPORTER 3! What could possibly be more useless and uninteresting … Oh, right. How about Ben Stiller, Chris Rock and David Schwimmer all coming back to lend their voices to MADAGASCAR: ESCAPE 2 AFRICA … Paul Rudd and Seann William Scott search for deeper meanings to life in the testosterone driven comedy, ROLE MODELS … Both Bernie Mac and Isaac Hayes recently passed away on the same weekend and eerily enough will be appearing in the same film, SOUL MEN … It’s a family Christmas in Chicago for John Leguizamo, Freddy Rodriguez and Debra Messing in NOTHING LIKE THE HOLIDAYS … John Travolta and Miley Cyrus lend their voices to Disney’s BOLT, in which a TV dog believes he’s the real deal … THE ROAD features Viggo Mortensen and Charlize Theron in a film based on a Cormac McCarthy novel? Stop, you got me … And finally, there is FOUR CHRISTMASES, where Reese Witherspoon and Vince Vaughan (who apparently struggled to get along on set) have to trek a trek I’m all too familiar with to visit four separate families on one joyous day.

I thought of one more thing to be thankful for … You, for reading.

BLACK SHEEP'S WEEKLY NEWS WRANGLE

FESTIVAL SEASON ANYONE?
The 65th Annual Venice Film Festival opens on August 27 with the world premiere of the Coen Brothers' follow-up to NO COUNTRY FOR OLD MEN, last year's Oscar winner for Best Picture, BURN AFTER READING. The pic stars Coen regulars George Clooney and Frances McDormand as well as Coen newbiews, Brad Pitt and Tilda Swinton. Like the Cannes festival, the line-up is short on American fare due to the wrtier's strike that halted productions that would have ordinarily been ready for festival season. Other high profile Hollywood pics include Darren Aronofsky's THE WRESTLER (starring Mickey Rourke), Kathryn Bigelow's HURT LOCKER (an Iraq war film with Ralph Fiennes) and Jonathan Demme's RACHEL GETTING MARRIED, starring Anne Hathaway as a struggling addict who goes home after ten years. The latter two will go on to screen at the Toronto Film Festival days later and all four titles find themselves in competition for the Lion d'Or.
Source: Variety

WHITE KEYS BOND
It has already been reported that Alicia Keys had been tapped to sing the theme from the upcoming Bond feature, QUANTUM OF SOLACE. This week, more information about the song itself has surfaced. The song, entitled, "Another Way to Die", was written and produced by White Stripes frontman, Jack White. White also plays drums on the tune which happens to be the first Bond theme duet in the franchise history. The soundtrack will be available October 28 and the film itself hits theatres November 7.
Source: Billboard

THE MARTIAN IS LANDING
Warner Brothers has given the green light to a movie based on the popular Looney Tunes character, Marvin the Martian. The project, which will be specifically aimed at the prepubescent crowd, will be a mix of CGI and live action. Marvin will make his way to earth with the intention of destroying Christmas, only to find his plans foiled when he gets trapped in a wrapped present. There is no word yet on who will helm the project nor whether Bugs Bunny will be making a cameo.
Source: Variety

TIM AND JOHNNY DOWN THE RABBIT HOLE?
Last week, Tim Burton confirmed that he has cast his Alice in his upcoming mixed CGI/live action remake of ALICE IN WONDERLAND. The actress is young, Australian, Mia Wasikowska. She might now have her Madhatter. In what would be a seventh pairing between director and star, Johnny Depp is reumoured to be in talks to take on this iconoclastic character. Burton and Depp first worked together on EDWARD SCISSORHANDS in 1990.
Source: Internet Movie Database

WHATEVER, WOODY
Woody Allen's 40th feature, VICKI CHRISTINA BARCELONA, is about to hit theatres but news regarding his 41st feature, currently in post-production, is already starting to surface. As per usual, details are scarce but Allen has revealed the title to be WHATEVER WORKS. The story itself supposedly centers around a relationship between Larry David (61) and Evan Rachel Wood (21). Gotta hand it to Woody .. he never shies away from exploring his own demons.
Source: JoBlo