(Photo by Fox. Thumbnail: WB/courtesy Everett Collection)
Thirty years on, the 1990s has solidified its stature as one of the magical decades in filmmaking, much like how we view the ’30s and the ’70s. Precisely, this Gen X-decade pulled together the Hollywood studio power of the ’30s and the groundbreaking creativity of the ’70s, crocheting commercialism and art into the movie behemoths we speak of in legend as the ’90s blockbuster — which we’ve now ranked all by Tomatometer!
First off, in putting together this list, we didn’t want no scrubs: We defined the ’90s blockbuster as any film that made over $100 million at the box office — movies that had people literally lining up around the block to spend their easy-earned cash. (The economy was booming after all.) This, of course, ushers in all those films synonymous with ’90s blockbusterism, including Jurassic Park, Speed, Twister, Independence Day, Terminator 2: Judgment Day, The Phantom Menace, Armageddon, Wild wild West, and Batmans with three different guys.
But the ’90s blockbuster was more than just fast buses, exploding White Houses, and bat nipples. Audiences opened up wallets and handbags (they’re European!) on brazen independent films (Pulp Fiction, Good Will Hunting, The Blair Witch Project), big comedies (Sister Act, The Nutty Professor, The Waterboy, Dumb & Dumber, The Birdcage), and romances both funny and dramatic (Pretty Woman, Shakespeare in Love, Jerry Maguire, Ghost).
It was the era of the Disney renaissance (Aladdin, Beauty and the Beast, The Lion King), special-effects breakthroughs (Toy Story, Total Recall, The Matrix), and where the most popular movies of the year could reasonably expect a Best Picture statue come next February (Unforgiven, Titanic, Dances With Wolves). A scintillating ’90s blockbuster can transport us to that moment before cinematic universes, before CGI overload, and before ubiquitous cell phones and Internet; today, Lloyd Christmas can just DM Mary Samsonite and say “Hey, I have your briefcase :)” if he weren’t still illiterate.
Now, relive the rush of the decade without the searing sting of slap bracelets, or shotgunning Fruitopia, with our guide to every ’90s blockbuster ranked by Tomatometer!
(Photo by Warner Bros./courtesy Everett Collection)
Unless you had tremedous recall of all the bit roles in American Grafitti or The Conversation, the first time the world at large set their eyes on Harrison Ford was in the little indie that could: Star Wars. With no previous acting reference points for most audiences, Ford WAS Han Solo, the glumly debonair and seductive space rogue who gave a dash of modern cynicism to Star Wars’ populist mysticism, singing aliens, and laser swords.
Ford returned for The Empire Strikes Back, jumpstarting the best run of movies anybody had in the ’80s. None of his films this decade were Rotten, and nine of them are Certified Fresh — utter classics and masterpieces like Blade Runner, Return of the Jedi, and all three Indiana Jones movies. 1985’s Witness, in which Ford plays a steely detective protecting an Amish boy who’s seen a murder, garnered him his only Best Actor Academy Award nomination.
Ford’s ’90s highlights include The Fugitive (another box office smash and a Best Picture nominee), taking on the CIA analyst Jack Ryan role created by Tom Clancy in Patriot Games and Clear and Present Danger, and kicking off unruly passengers as the freaking President of the United States of America in Air Force One.
After a 19-year absence from the big screen, he, Steven Spielberg, and George Lucas brought Indy back for The Kingdom of the Crystal Skull. The movie would go on to be designated Certified Fresh by critics, though it’s no secret critical and audience appreciation for the movie remains weak. A fifth Indiana Jones is currently in early pre-production.
Since them, Ford has gamely returned to the roles that made him famous: Han in Star Wars: Episode VII – The Force Awakens and Deckard in Blade Runner 2049. Both movies would also be Certified Fresh, the first time Ford would have two consecutive CF films since the ’80s. And now we’re taking a look back we rank all Harrison Ford movies by Tomatometer!
With The Office moving to NBC Universal’s new streaming service and Friends headed to HBO Max, will Netflix be able to retain its streaming dominance? We examine the newest entry into the field, HBO Max, plus gather the week’s other biggest TV news below.
NBC Universal and Comcast’s upcoming, yet-to-be-named streaming service made headlines a few weeks ago for the news that it will be the new streaming home of The Office in 2021 — meaning the comedy will be leaving Netflix, where it’s been one of the most-watched series. But another new streaming service could be even more of a threat: HBO Max, the new streaming service from WarnerMedia that is scheduled to launch in spring 2020.
For starters: It’ll be the new streaming home of Friends, removing another of Netflix’s biggest hits. But more importantly, it’ll be the streaming home for HBO programming, including Game of Thrones and the network’s entire library of past, current, and upcoming series; Warner Bros. Television, responsible for many fan-favorite TV shows, including the CW superhero series, Pretty Little Liars, The Fresh Prince of Bel Air, Riverdale, and more; DC Entertainment; CNN; TNT; TBS; truTV; Cartoon Network; Adult Swim; Crunchyroll; Rooster Teeth; and Looney Tunes. Then there are the movies from Turner Classic Movies, Warner Bros., and New Line (Wonder Woman, Shazam, A Star Is Born, and Crazy Rich Asians, among others).
The plan also includes a robust slate of HBO Max original series: a Dune series called Dune: The Sisterhood; the Ansel Elgort–starring Tokyo Vice; Kaley Cuoco thriller The Flight Attendant; romantic comedy anthology Love Life from Anna Kendrick and Paul Feig; postapocalyptic limited series Station Eleven; book adaptation Made for Love; and the Gremlins TV adaptation.
The inclusion of Game of Thrones and HBO content in addition to its presence on HBO’s existing streaming services, HBO Go (for cable subscribers) and HBO Now (streaming-only subscribers), is especially interesting. With the number of high-profile original series already in the works for HBO Max, could the new mega-service potentially serve as an exclusive home for other HBO content? In theory — and in theory alone, to be clear — HBO Max could potentially be a home for one of the other Game of Thrones prequel series still in development, much like CBS All Access is the home for exclusive Star Trek TV series.
(Photo by Jason Mendez/Everett Collection)
Jeffrey Katzenberg and Meg Whitman’s short-form streaming service Quibi continues to attract more and more big-name talent. The service will launch in 2020 with programming distributed in “quick bites” designed to be watched on mobile devices. The latest shows in development for the service include a new adaptation of The Fugitive, a comedy about suicide from Peter Farrelly called The Now, a self-help series pairing a female WWE Superstar with young women struggling with personal issues called Fight Like a Girl, and a musical satire created by and starring Darren Criss called Royalties.
That’s in addition to the already-announced drama #FreeRayshawn from Antoine Fuqua and starring Stephan James and Laurence Fishburne, an action thriller starring Liam Hemsworth, the Paula Pell comedy Mapleworth Murders, Anna Kendrick buddy comedy Dummy, Tyra Banks unscripted series Beauty, Naomi Watts thriller Wolves and Villagers, a Guillermo del Toro zombie story, a horror anthology, a sci-fi drama set 15 minutes in the future, and more.
Remember that open casting call for me and @loulielang’s upcoming @netflix series!? WELL everyone…meet Maitreyi Ramakrishnan! She was cast out of 15,000 people, you guys ??? Thank you to every single one of you that auditioned ❤️ https://t.co/9mbbhnKJNN
— Mindy Kaling (@mindykaling) July 10, 2019
After an international casting call, Mindy Kaling and Lang Fisher have chosen Canadian unknown Maitreyi Ramakrishnan to star in their new coming-of-age Netflix series. The actress was chosen out of 15,000 people to play Devi, a first-generation Indian-American girl based on Kaling’s own childhood.
“We feel so much excitement to be bringing this story to life, & a responsibility, too. Depicting what it’s like to be a young desi woman right now- a real girl with real desires, ambitions & problems. Not just Indian American culture presented to us as side characters on a show,” Kaling wrote in a Twitter post announcing the news.
Get your first look at Claes Bang in the upcoming limited series #Dracula pic.twitter.com/TIA1jrMvGX
— See What's Next (@seewhatsnext) July 4, 2019
BBC One and Netflix have revealed the first image of Danish actor Claes Bang as Count Dracula in the upcoming BBC/Netflix limited series Dracula. He’ll star in the latest adaptation of Bram Stoker’s classic novel, which comes from Doctor Who and Sherlock‘s Mark Gatiss and Steven Moffat.
Pose star Angelica Ross has joined the cast of AHS: 1984. Creator Ryan Murphy announced the news on Instagram, also confirming the actress’ fate on Pose after a pivotal episode for her character.
.@KatieHeigl will star in #FireflyLane, a new series based on the beloved book, as Tully Hart: a force of nature still bearing the scars of a traumatic childhood whose saving grace is her best friend, Kate, with whom she shares an unshakable bond over the course of four decades pic.twitter.com/snnkhFJ5q4
— See What's Next (@seewhatsnext) July 10, 2019
Katherine Heigl will star in a new Netflix series called Firefly Lane, based on the book of the same name. She’ll play Tully Hart, a woman “still bearing the scars of a traumatic childhood” whose four-decade bond with BFF Kate is her grounding force.
Elizabeth Hurley will play Morgan le Fay in the upcoming third season of Marvel’s Runaways. The iconic Marvel villain is a sorceress and student of Merlin with the ability to enchant objects and astral project.
Jessica Jones star Carrie-Anne Moss and Danielle Campbell have joined the second season of CBS All Access anthology Tell Me a Story, which will combine the fairy tale stories of Beauty and the Beast, Sleeping Beauty, and Cinderella. Campbell returns to the fold alongside fellow season 1 star Paul Wesley and the previously announced Odette Annable and Natalie Alyn Lind.
Scandal’s Tony Goldwyn is returning to TV in HBO’s drama Lovecraft Country, alongside Courtney B. Vance, Jurnee Smollett-Bell, and Jonathan Majors.
(Photo by Priscilla Grant/Everett Collection)
Disney Channel star Cameron Boyce died on July 6 at 20 years old after suffering an epileptic seizure, his family confirmed in a statement. The actor got his start in the Disney sitcom Jessie, and has starred in the popular Descendants TV movie musical series. Descendants 3 is scheduled to premiere Aug. 2 on the network. His Jessie and Descendants costars posted social media tributes to their friend, as did former First Lady Michelle Obama.
— Adam Sandler (@AdamSandler) July 7, 2019
My family and I are devastated today, by the loss of our young and amazing friend, Cameron Boyce. Years before I was blessed to play his father on JESSIE, we were blessed to know him and his wonderful family at the elementary school our kids all attended together./1
— Charles Esten (@CharlesEsten) July 7, 2019
They take them from us so soon ? I love u little bro u cute little weirdo. So weird ur gone…now there’s just emptiness ??????
— BITCHIMBELLATHORNE (@bellathorne) July 7, 2019
Over the last 40 years or so, Harrison Ford has amassed a lifetime gross in the billions – and he’s done it while kicking bad-guy tail as some of the most memorable cinematic heroes in history, including Han Solo, Indiana Jones, and Jack Ryan. He’s made a whole bunch of great movies along the way, too – and now that one of the best in the bunch is getting a long-awaited sequel with Blade Runner 2049, we thought this would be the perfect time to take a look back at some of the critical highlights from his illustrious filmography. It’s time for Total Recall!
The Rotten Tomatoes staff, we could’ve been contenders. Could’ve gone to the Olympics. But instead of becoming world-class athletes, we trained and followed our other true calling: aggregating things on the internet.
But with the 2016 Summer Olympics here, we can’t help but think, “What if…?” Let’s say Rotten Tomatoes were a sovereign nation. Here would be the 24 movies and shows we’d send to Brazil to show who’s boss, while the staff sits in office chairs adding mean reviews of Suicide Squad.
In defense of the blockbuster, Rotten Tomatoes offers you Best Summer Movies, a countdown of the highest-rated wide releases to hit theaters during the hot season since the release of Jaws in 1975. We’re using a weighted formula that takes the Tomatometer, the number of reviews, and the year of release into account. In order to qualify, each movie needs at least 20 reviews, and to have been released wide in the months between May and August. Enough talk: grab an extra large soda and a bucket of popcorn and dive into RT’s Best Summer Movies!
It’s the third-oldest American movie studio: the company that brought us Rin Tin Tin, convinced the world that the talkies were here to stay, and eventually grew into one of the largest conglomerates in the world. Yes, we’re talking about Warner Bros. — and for good reason: the WB is turning 85 this year, and they’re
celebrating by giving away gifts. Eighty-five, to be precise — they’re opening their vaults and making a great big stack of their finest films available via iTunes.
Naturally, RT took this as a perfect opportunity to revisit some of our favorite moments in Warner Bros. history,
looking closer at some movies that present a solid cross-section of the studio’s best titles — and that are Certified Fresh, to boot. It would take a much longer list to truly do
any studio justice, of course — but then again, to really do it right, you’ve got to watch the movies.
So sit down with our list, open up your iTunes account, and get ready to be entertained all over again. Happy Birthday, Warner Bros.!
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We love to bellyache about the constant stream of remakes coming out of Hollywood, but the fact is, some pretty great movies have been remakes — including this one, which followed the 1931 adaptation of Dashiell Hammett‘s novel onto the big screen with Humphrey Bogart taking over for the first Sam Spade, Ricardo Cortez. (See? Sometimes things are better the second time around.) Everything you know about the way hard-boiled gumshoes are supposed to act comes from this story; matter of fact, even if you’ve never seen it, you’ve most likely seen every essential plot device pop up in countless other films. As eFilmCritic‘s Scott Weinberg succinctly put it, “Best in noir, best in Bogie, one of the best ever.” |
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Call it the Natural Born Killers of its day: Arthur Penn‘s take on the story of the Depression’s hottest bank robber couple broke taboos, set new standards for graphic onscreen violence, and helped kickstart the New Hollywood era. It also made Warren Beatty a pretty penny: the future Dick Tracy passed up his standard producer’s fee for a 40 percent take of the gross. Once the box-office receipts started piling up, Warner Bros. wasn’t alone in wishing it had a bigger piece of the action — more than one lawsuit alleging defamation of character was filed by the heirs of Bonnie and Clyde’s compatriots and victims, and the real-life Blanche Barrow publicly complained that the movie made her look like “a screaming horse’s ass.” The critical response was far more favorable: Emanuel Levy echoed many of his peers’ sentiments when he said Bonnie and Clyde “forever changed the course of American cinema.” |
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By 1974, the Hollywood western — and American race relations — had seen better days. Leave it to Mel Brooks to take them both, knock their heads together, Three Stooges-style, and come up with Blazing Saddles, the one and only film to put Cleavon Little, Gene Wilder, and Count Basie on the same screen. Saddles is best remembered for its filthy bits, particularly the iconic campfire scene, but like South Park 25 years later, a fairly sharp social satire lurks beneath the shockingly offensive exterior. As Mark Bourne of DVDJournal noted, “Its humor is the palliative that lets Brooks mock prejudices and, with gloves off, prejudiced people.” |
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Most TV-to-film adaptations are either played for laughs or acquire them through unintentional means, but Andrew Davis‘ 1993 take on the hit 1960s serial drama was a powerful, exhilarating exception — and it made a pile of money to boot. Forget all about the regrettable spinoff and just revel in the taut, pulse-pounding glory of Harrison Ford and Tommy Lee Jones playing against each other in a good old-fashioned game of cat and mouse. And we do mean old-fashioned: The Fugitive was perhaps the last man-on-the-run blockbuster that didn’t rely on high-tech gizmos and the Web to get from point A to point B. Time‘s Richard Schickel wasted no words in calling it “a first-rate thriller.” |
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Just a few years earlier, if you had told someone that one of 1999’s best-reviewed films would star George Clooney, Mark Wahlberg, and Ice Cube, you’d have had to forgive the guffaws that would have greeted your prediction. But David O. Russell‘s Persian Gulf War saga helped restore some of the box-office luster Clooney lost with Batman & Robin, proved that Wahlberg’s revelatory starring turn in Boogie Nights was no fluke, and provided Cube with a temporary detour on the way to starring in cuddly family films. Oh, and it’s also really good, blending harrowing war action with bursts of comedy, an on-the-ground soldiers’ perspective, and a nifty heist storyline. Russell famously made few friends on the set, but whatever his methods were, they worked; the Toronto Globe and Mail‘s Rick Groen called it “perhaps the first feature of merit to come out of the Gulf War.” |
Han Solo. Indiana Jones. Rick Deckard. Jack Ryan. Harrison Ford has carved himself a niche by excelling in roles as the handsome rascal, the man on the run, the humble protector of American ideals. Few other Hollywood stars have launched as many franchises as Ford and soon, at the sprightly age of 65, he’ll return to one of the most iconic roles of his career: the fedora-wearing, bullwhip-cracking, dashing archaeologist Dr. Henry “Indiana” Jones.
Here, we count down Harrison Ford’s best-reviewed films outside of the Indiana Jones franchise and the memorable characters that he played in each celebrated film. And while he had small roles in such lauded films as American Graffiti (97%), The Conversation (98%), and Apocalypse Now (98%), we’re focusing here on his starring roles – the characters that helped make Ford one of Hollywood’s most enduring leading men. And don’t forget to check out Harrison Ford’s full celebrity profile.
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10. Jack Ryan in Patriot Games Tomatometer: 78% Although he took over the role of Jack Ryan from Alec Baldwin, who portrayed the history professor-turned-CIA agent in 1990’s The Hunt for Red October, Ford assumed the character for two sequels — and arguably stole the character from Baldwin in the process. In Patriot Games, the newly retired Ryan thwarts an IRA attack while in London, unwittingly provoking the…ire of an Irish terrorist. Best quote: Jack Ryan to IRA member Paddy O’Neil (Richard Harris), after his family has been attacked: “I don’t give a s— whether you did it or not, and neither will anyone else. But I will put such a stranglehold on your gun money that you’ll be out on the street throwing rocks. I will f—ing destroy you. I will make it my mission in life.” Video (NSFW) |
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9. President James Marshall in Air Force One Tomatometer: 78% Introducing Hollywood to Kazahkstan long before Borat was unleashed on the world, Wolfgang Petersen’s airborne thriller pitted hijackers from the former Soviet republic against the President of the United States. Unfortunately for those hijackers (and for one turncoat Cabinet member), that President is Harrison Ford, and he’s got an Executive Order or two to deliver — with his fists! Best quote: Pushing Egor Korshunov (Gary Oldman) to his death from Air Force One: “Get off my plane!” Video |
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8. Jack Ryan in Clear and Present Danger Tomatometer: 80% Ford reunited with director Philip Noyce two years after Patriot Games to resume the character of Jack Ryan, who is now moving up in the CIA. However, moving up means becoming embroiled in shady dealings between the U.S. government, Cuban drug cartels, and some of his fellow agents; when blood is shed on both sides of an unsanctioned black ops mission, Ryan puts ambition aside to blow the whistle on the President’s dirty deeds. Best quote: Jack Ryan to President Bennett (Donald Moffat), who’s just proposed he take part in a government cover-up and sully his dead mentor’s name — the “Potomac two-step”: “I’m sorry, Mr. President. I don’t dance.” Video |
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7. Jack Trainer in Working Girl Tomatometer: 81% Even in his lighter films, Ford played it straight. As Jack Trainer, the male object of desire in Mike Nichols’ corporate climbing romantic comedy, Ford is a man stuck between two women: Sigourney Weaver’s power broker, and Melanie Griffiths’ working class beauty. With a roguish charm, he fends off Katharine’s advances and succumbs to Tess as every leading man should: by deferring to her brilliance. Best quote:
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6. Rusty Sabich in Presumed Innocent Tomatometer: 91% Prosecutor Rusty Sabich has gotten beyond a recent affair with a co-worker (Greta Scacchi) — until she winds up dead. Investigating her murder leads to a whole mess of city-level politics and scandal… but the real shock is waiting at home in a final act twist, courtesy of novelist Scott Turow and conspiracy flick director Alan J. Pakula. Best quote: “I’m going to need a lawyer, a very, very good lawyer, an expensive lawyer.” |
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5. Dr. Richard Kimble in The Fugitive Tomatometer: 93% In the thick of his most prolific and successful period, Ford took on the role of Dr. Richard Kimble, a surgeon wrongfully accused of killing his wife. On the lam from a U.S. Marshall (the Oscar-winning Tommy Lee Jones), he follows the trail of a mysterious one-armed man in order to prove his innocence — and makes us believe the good doctor is as resourceful, canny, and elusive as MacGyver himself. Best quote: “It wasn’t me. It was the one-armed man.” Video |
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4. Han Solo in Star Wars Tomatometer: 95% How do you describe the innate coolness of Han Solo? The loner space cowboy with a Wookie for a BFF epitomized an unruffled, rascally spirit that came to define Ford”s most memorable youthful roles. Sparring with Jabba the Hutt (and with his own conscience), Han ditches the smuggler’s life to join Luke and Leia in the rebel cause in Episode IV — and becomes one of the most-worshipped heroes in pop culture history. Best quote: “Traveling through hyperspace ain’t like dusting crops, boy!” Video |
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3. Captain John Book in Witness Tomatometer: 96% Ford’s lone Oscar nomination came thanks to this 1985 undercover cop-in-Amish-land thriller. Go figure. As police Captain John Book — who’s not above laying into a few punk kids on the behalf of the Pennsylvania Dutch — Ford is many things: brutish, protective, handy with a hammer. Plus, his romance with Kelly McGillis is the right kind of wrong. Best quote: Eli Lapp, on Book’s impending smackdown of local toughs: “It’s not our way.” Video |
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2. Han Solo in The Empire Strikes Back Tomatometer: 97% Han Solo, one of Ford’s major career-defining roles, had plenty of his own character-defining moments in Episode V. Three years after helping the Alliance destroy the Death Star, Han is getting antsy — and plans to take off on his own again. But there’s that pesky problem of his… increasing loyalty to the cause and to his friend, Luke Skywalker, who he saves from freezing to death only to get trapped in a double-cross by Lando Calrissian. All of which leads to two of Han Solo’s most memorable achievements: heating things up with Princess Leia, then getting frozen in a chunk of carbonite. Best quote: Princess Leia: “I love you.” Han Solo: “I know.” Video |
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1. Rick Deckard in Blade Runner: The Final Cut Tomatometer: 97% In the year 2019, ex-cop Rick Deckard (Ford) is summoned out of retirement to hunt and kill a group of rogue “replicants” — bioengineered androids who’ve proven unstable and deadly — and so begins one of Harrison Ford’s most celebrated, if decidedly darker, roles. He filmed Blade Runner directly after playing Han Solo in The Empire Strikes Back and Indiana Jones in Raiders of the Lost Ark, and resumed those characters immediately after, in Return of the Jedi and Temple of Doom. But it was a smart departure for Ford — and, decades later, earned him enduring cult status. Best quote: “All he’d wanted were the same answers the rest of us want. Where did I come from? Where am I going? How long have I got? All I could do was sit there and watch him die.” Video |
Ashton Kutcher fans get two chances to see (or hear) their favorite star this weekend as the Hollywood prankster takes on reigning box office champ "Jackass: Number Two" by voicing a mule deer in the animated comedy "Open Season" and going up against Kevin Costner in the action drama "The Guardian."
Also opening nationally is the Billy Bob Thornton–Jon Heder comedy "School For Scoundrels" while some potential Oscar contenders debut in the arthouses.
Hollywood’s umpteenth computer-animated feature film of the year hits multiplexes on Friday in the form of "Open Season." The PG-rated pic features the voices of Martin Lawrence and Kutcher and finds a domesticated grizzly bear being dropped into the wilderness right before the start of hunting season. Young kids usually eat up these fish-out-of-water comedy toons and this Sony release should play to the same family audience. The target demographic has had an endless line of movies this year featuring talking animals getting into wacky situations, but since the current marketplace is lacking any major offering for children, "Open Season" should score as the first animated hit of the new school year. The studio is saturating the market with screens giving the film the fourth widest bow ever for a non-DreamWorks toon, and the second widest in Sony history for any film after 2004’s webslinger sequel. With no competition and solid funnyman starpower behind the mics, a strong number one bow could result. "Open Season" makes its way into 3,833 theaters and may debut with around $24M this weekend.
Ashton Kutcher, in his other film, "Open Season."
For those who would rather see the "Punk’d" star’s face, Buena Vista sets sail with its Coast Guard thriller "The Guardian" which finds Kutcher playing a young and cocky swimming champ who butts heads with his unorthodox teacher played by Kevin Costner. Directed by Andrew Davis ("The Fugitive," "Collateral Damage"), the PG-13 film has broad appeal with each star pulling in his respective generation. Cross-gender appeal is also present with the military-like storyline doing the job for males and the hunky actors attracting the ladies. Disney offered successful sneak previews two weeks ago to get some word-of-mouth spreading before the official debut. The studio will try to lure in the same audience that spent a solid $22.1M on the John Travolta–Joaquin Phoenix firefighter drama "Ladder 49" two autumns ago. Launching in over 3,000 theaters, "The Guardian" might debut with about $18M.
Kevin Costner to the rescue in "The Guardian."
Following his commercial success with the male-driven comedy hits "Road Trip," "Old School," and "Starsky & Hutch," Todd Phillips returns to theaters with "School for Scoundrels" which finds Billy Bob Thornton squaring off against "Napoleon Dynamite"’s Jon Heder for the affection of a young gal. MGM’s PG-13 film about an awkward young misfit who enlists the help of an expert on getting the ladies should aim for an audience of teens and young adults, plus fans of the "Bad Santa" star’s rogue ways. Starpower is not very high here. Films anchored by the former Mr. Jolie usually don’t explode on opening weekend as evidenced by the recent debuts of "The Bad News Bears" ($11.4M), "The Ice Harvest" ($3.7M), and "The Alamo" ($9.1M). Competition for young males will be tough, but if "School" can connect with teen girls as a funny romantic comedy, then it has a chance of doing some respectable numbers. Opening in over 3,000 theaters, "School for Scoundrels" might debut with about $12M.
Thornton, Heder, and that Real World chick again in "School For Scoundrels."
Some high profile indies pop into limited release this weekend. Fox Searchlight launched its Idi Amin pic "The Last King of Scotland" in four theaters on Wednesday in New York and Los Angeles and has already been receiving early Oscar buzz for Forest Whitaker‘s portrayal of the Ugandan dictator. Coincidentally, a year ago this same weekend, "Capote" debuted and fueled its own Best Actor buzz which sustained itself throughout awards season leading to a trophy for Philip Seymour Hoffman. Reviews for "Scotland" have been good and for Whitaker, have been electric.
Forest Whitaker as Idi Amin in "The Last King of Scotland."
Miramax gets its Oscar campaign going, but for the Best Actress prize, with its Helen Mirren film "The Queen" which opens in New York City on Saturday after it officially opens the New York Film Festival on Friday evening. Mirren has already taken home the top actress prize at the Venice Film Festival for her role as Queen Elizabeth II in the dark days after the death of Princess Diana. The PG-13 film is directed by Stephen Frears ("Mrs. Henderson Presents," "Dangerous Liaisons") and has ranked number two at the U.K. box office for the last two weeks.
First Look Studios takes audiences back to Queens in 1986 with its coming-of-age drama "A Guide to Recognizing Your Saints" which stars Robert Downey Jr., Chazz Palminteri, Shia LaBeouf, Dianne Wiest, Channing Tatum, and Rosario Dawson. The R-rated film won awards for Best Director and Best Ensemble at this year’s Sundance Film Festival and bows in New York and Los Angeles on Friday.
Last weekend, "Jackass: Number Two" flexed its muscles at the box office with a better-than-expected $29M launch. The Paramount film’s predecessor dropped 44% in its second weekend in the fall of 2002, but the sequel may drop harder. A 50% decline would still give the Johnny Knoxville flick about $15M for the weekend and a strong ten-day cume of $51M.
Jet Li‘s "Fearless" also drew upon a built-in audience of young men last weekend setting itself up for a sizable sophomore drop. The Focus title might also lose half of its business and take in roughly $5M. That would give the martial arts saga $18M after ten days. Sony’s "Gridiron Gang" held up well last weekend despite tough competition. Another 35% fall could be in order giving The Rock a $6M frame and a $34M total after 17 days.
LAST YEAR: For the second straight weekend, Jodie Foster‘s airline thriller "Flightplan" topped the box office with $14.8M dropping only 40% from its bow. Opening in second place was the sci-fi actioner "Serenity" which grossed $10.1M on its way to $25.4M for Universal. Warner Bros. followed close behind with $10M for its animated comedy "Corpse Bride." The revenge thriller "A History of Violence" expanded nationally and placed fourth with $8.1M and a solid $6,047 average which was the best in the whole Top 20. Opening in fifth was the Jessica-Alba-in-a-bikini pic "Into the Blue" with only $7.1M leading to a weak $18.5M final for Sony. Disney debuted its historical golf drama "The Greatest Game Ever Played" to the tune of $3.7M. A $15.3M final gross resulted.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
It’s not too often I find myself looking forward to a Tim Allen comedy, but this one’s about superheroes and also stars Courteney Cox, Rip Torn, and … Chevy Chase (!), so consider me mildly curious. You can start creating your own opinion by checking out the just-released poster for the flick.
ComingSoon.net has the exclusive peek at the "Zoom" one-sheet, so go give it a look. "Tim Allen plays Jack, formerly Captain Zoom, an out-of-shape former superhero who has lost his powers. Jack is reluctantly called back into action to turn a ragtag group of kids into a new generation of superheroes and save the world from certain destruction."
OK, after looking more closely at the poster, I get a distinct vibe of "Fantastic Four" meets "Thunderbirds." Hm. Based on the comic book series by Jason Lethcoe, "Zoom" was adapted for the screen by Adam Rifkin ("The Chase") and David Berenbaum ("Elf"). The director is Peter Hewitt ("Garfield"). The release date is August 11th.
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Another poster exclusive is going on over at Bloody-Disgusting.com, and this time the flick being promoted is William Friedkin‘s "Bug," which isn’t exactly what it sounds like. "A paranoid, unhinged, war veteran who sees insects everywhere holes up with a lonely woman, who is hiding from her abusive ex-husband in a spooky Oklahoma motel room."
Starring Harry Connick Jr., Lynn Collins, and Ashley Judd, "Bug" is scheduled for a December 1 release date.
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Lastly we have Movieweb’s exclusive poster-peekage for "The Guardian," a military drama starring Kevin Costner and Ashton Kutcher. "After losing his crew in a fatal crash, legendary Rescue Swimmer, Ben Randall is sent to teach at A School, an elite training program for Coast Guard Rescue Swimmers. While there, he encounters a young, cocky swim champ, Jake Fischer, who is driven to be the best."
"The Guardian," from director Andrew Davis ("The Fugitive"), is scheduled to hit theaters on September 22nd.
Not a week can go by without Marvel Man Avi Arad doling out some new scoops regarding his upcoming projects, and this time he’s got some tidbits on movies called "Spider-Man 3," "Fantastic Four 2," and "The Incredible Hulk."
On Spidey’s third adventure: "This is definitely a ‘3’ in terms of scale. Movie one was origin, movie two was, ‘I cannot do it anymore,’ and movie three is, ‘I’m powerful, what does that do to me?"
On the kooky quartet’s return: "It’s a couple of years later and we get to see what their life is like. What else is there for them to accomplish, what issues are in their lives, where’s Doom?"
On The Hulk’s next rampage: "It has the feel of The Fugitive, and Bruce is on a mission to get rid of the Hulk. When you see the Abomination, you’ll see something really special."
(From Empire Magazine by way of Dark Horizons. Click here for more!)
While films by American directors came up empty-handed, three European entries took top honors at the end of festival awards ceremony, led by UK director Ken Loach with "The Wind That Shakes The Barley."
It was a surprising set of winners this year, as the high profile, widely lauded films in competition ("Babel," "Volver") got overlooked in favor of two smaller, intense, character-driven war dramas and a Dogme 95 thriller. With a jury of international stars — Samuel L. Jackson, Monica Bellucci, Helena Bonham Carter, Tim Roth, Zhang Ziyi, and the President, Wong Kar-Wai among them — the critical buzz was by no means an accurate predictor of winners.
First-place winner "Wind" follows a young doctor (Cillian Murphy) who joins a growing rebellion in 1920s Ireland to fight British rule in a bloody civil war. Loach, an eight-time Cannes participant, has won five previous prizes at Cannes; the Palme d’Or is the festival’s (and his) highest placing thus far.
Palme d’Or winner "The Wind That Shakes The Barley," by Ken Loach
Jury president Wong Kar-Wai confirmed that his jury awarded Loach the first-place honor in a unanimous decision. Few early betters had their money on "Wind," however, which enjoyed a lukewarm and certainly not overwhelming response from festival viewers and critics (click here to see a sampling of critics’ reviews).
Taking second place with the Grand Prix award was Bruno Dumont with "Flandres," another war-themed film that only enjoyed a moderate reception at Cannes. "Flandres" tells the story of young enlisted men sent off to fight an unidentified war, and the changes they undergo from the effects of military life.
Andrea Arnold’s "Red Road" took home the Jury Prize at Cannes
The third-place Jury Prize award went to another UK production, "Red Road." Andrea Arnold‘s first feature-length directorial effort, "Red Road" unravels a mystery as a television surveillance operator catches a glimpse of a man from her past — perhaps most interesting, the project is the first of a three-part Dogme 95 experiment to use the same characters and actors in three different films. Surprisingly, critics at Cannes seemed to take to this one a bit more than the top two winners, with The Hollywood Reporter’s Kirk Honeycutt calling "Red Road" "tense and provocative…"Rear Window" Times 100."
Other awards of the festival included the Best Director honor, bestowed upon Mexican DJ-turned-directorial darling Alejandro Gonzalez Inarritu, whose "Babel" was screened to great acclaim in competition. "Babel," a three-story drama about the tragic repercussions of a single gunshot, and the disconnectedness of humanity, had generated a lot of Palme d’Or buzz following its debut at Cannes; film critic Emanuel Levy calls it "more compelling than "21 Grams"" and "more involving than "Syriana.""
Pedro Almodovar’s "Volver" won Best Screenplay, as well as honors for its six main female performers
Also receiving a consolation prize was perennial director célèbre Pedro Almodovar, whose "Volver" was a widespread favorite throughout the festival, and seemed the popular favorite for top honors. Almodovar, who throughout his illustrious career has won just about every cinematic award there is (Oscar, Palme d’Or, Cesar, you name it), was awarded the Best Screenplay honor for his darkly comic multigenerational tale of women, tragedy, life, and death.
Adding more emphasis to the merits of "Volver," the jury awarded the Best Performance of an Actress honor to pretty much the entire female cast of the film: Penelope Cruz, Carmen Maura, Lola Duenas, Blanca Portillo, Yohana Cobo, and Chus Lampreave.
Similar honors were bestowed on the male stars of Algerian war tale "Indigenes," whose actors Jamel Debbouze, Samy Naceri, Roschdy Zem, Sami Bouajila, and Bernard Blancan collectively accepted Best Performance by an Actor.
The cast of "Indigenes" earned collective honors for their portrayals of WWII French-Algerian soldiers
The Un Certain Regard category also awarded its honors:
Prix Un Certain Regard — "Luxury Car," director Wang Chao
Prix Special Du Jury Un Certain Regard — "Ten Canoes," director Rolf De Heer
Acting Award — Dorothea Petre, "The Way I Spent The End Of The World"
Acting Award — Don Angel Tavira, "El Violin"
Prix du President du Jury — "Meurtrieres," director Patrick Grandperret
And lastly, the Camera d’Or (Golden Camera) awarded in the Director’s Fortnight sidebar, went to Romanian director Corneliu Porumboiu for "A Fost Sau N-A Fost?"
