(Photo by DreamWorks/courtesy Everett Collection)

All Jamie Foxx Movies Ranked by Tomatometer

A recording career and starring roles on In Living Color and his very own sitcom sound like they would have been enough to keep Jamie Foxx out of the movie game during the ’90s. But indeed, Foxx the multi-hyphenate found time to debut as a comedy movie lead for The Truth About Cats & Dogs in 1996 and then delivered his first dramatic performance in Oliver Stone’s Any Given Sunday three years later. But that was all a prelude to his big 2004, when Foxx was nominated for the Best Supporting Actor Academy Award with the Michael Mann/Tom Cruise thriller Collateral and took home Oscar gold that night for Best Actor, thanks to the musical biopic Ray.

He teamed up with Mann again for Miami Vice in 2006, the same year of musical sensation Dreamgirls‘ arrival. Due Date, Valentine’s Day, Rio, and Horrible Bosses were four $100 million-grossing box office hits in a row, so with his reputation as a guy who can get awards and put butts in seats cemented, there was only one place to go left: Casa de QT. Working with Quentin Tarantino produced the brassy Western Django Unchained, which would go on to become the director’s biggest B.O. draw.

Django would be Foxx’s last Certified Fresh movie for a while, through a stretch of years that has included The Amazing Spider-Man 2, Robin Hood, and White House Down. 2017’s Baby Driver brought back some of that critical acclaim, and so has his latest: Just Mercy, a true story legal drama featuring Foxx as Walter McMillian, who was imprisoned for a murder in 1986 he did not commit. Co-starring Michael B. Jordan and Brie Larson, see where the critics place Just Mercy as we rank all Jamie Foxx movies by Tomatometer!

#33

Stealth (2005)
12%

#33
Adjusted Score: 17299%
Critics Consensus: Loud, preposterous, and predictable, Stealth borrows heavily and unsucessfully from Top Gun and 2001.
Synopsis: Navy fighter pilots Ben Gannon (Josh Lucas), Henry Purcell (Jamie Foxx) and Kara Wade (Jessica Biel) are tasked with training... [More]
Directed By: Rob Cohen

#32

Held Up (2000)
17%

#32
Adjusted Score: 16543%
Critics Consensus: Lackluster performances and fluff humor can't keep this wreck from sinking.
Synopsis: Foxx portrays Michael Dawson, a successful Chicago businessman whose life falls apart while he's driving to the Grand Canyon with... [More]
Directed By: Steve Rash

#31

Valentine's Day (2010)
18%

#31
Adjusted Score: 24076%
Critics Consensus: Eager to please and stuffed with stars, Valentine's Day squanders its promise with a frantic, episodic plot and an abundance of rom-com cliches.
Synopsis: In a series of interconnected stories, various Los Angeles residents (Jessica Alba, Jessica Biel, Bradley Cooper) wend their way through... [More]
Directed By: Garry Marshall

#30

Booty Call (1997)
25%

#30
Adjusted Score: 22431%
Critics Consensus: No consensus yet.
Synopsis: Rushon (Tommy Davidson) is sexually pent-up and ready to take thing things to the next level with his girlfriend, Nikki... [More]
Directed By: Jeff Pollack

#29

Sleepless (2017)
25%

#29
Adjusted Score: 27790%
Critics Consensus: Sleepless wastes a talented cast -- and solid source material -- on a tired crime drama whose clichés rapidly outnumber its thrills.
Synopsis: Undercover Las Vegas police officer Vincent Downs (Jamie Foxx) finds himself caught in a high-stakes web of corrupt cops, internal... [More]
Directed By: Baran bo Odar

#28

Bait (2000)
26%

#28
Adjusted Score: 27633%
Critics Consensus: Even though Jamie Foxx shines in Bait, the movie suffers from music video roots and a formulaic script that strains credibility.
Synopsis: Landing in jail for a petty theft crime, Alvin finds himself sharing a cell with John Jaster, the incarcerated half... [More]
Directed By: Antoine Fuqua

#27
#27
Adjusted Score: 31373%
Critics Consensus: Unnecessarily violent and unflinchingly absurd, Law Abiding Citizen is plagued by subpar acting and a story that defies reason.
Synopsis: Clyde Shelton (Gerard Butler) is an honorable family man, until the day his wife and daughter are murdered in a... [More]
Directed By: F. Gary Gray

#26

Annie (2014)
28%

#26
Adjusted Score: 33610%
Critics Consensus: The new-look Annie hints at a progressive take on a well-worn story, but smothers its likable cast under clichés, cloying cuteness, and a distasteful materialism.
Synopsis: Ever since her parents left her as a baby, little Annie (Quvenzhané Wallis) has led a hard-knock life with her... [More]
Directed By: Will Gluck

#25

The Players Club (1998)
31%

#25
Adjusted Score: 31035%
Critics Consensus: No consensus yet.
Synopsis: Single mother Diana Armstrong (LisaRaye) takes to sliding down a stripper pole in order to pay for college -- and... [More]
Directed By: Ice Cube

#24
#24
Adjusted Score: 33597%
Critics Consensus: This formulaic screwball comedy is weighed down by a contrived, overly complicated plot.
Synopsis: Quincy Watson (Jamie Foxx) has been having a tough time. After being abruptly dumped by his fiancée (Bianca Lawson), he... [More]
Directed By: Daniel Taplitz

#23
#23
Adjusted Score: 41519%
Critics Consensus: Horrible Bosses 2 may trigger a few belly laughs among big fans of the original, but all in all, it's a waste of a strong cast that fails to justify its own existence.
Synopsis: Tired of always answering to others, Nick (Jason Bateman), Dale (Charlie Day) and Kurt (Jason Sudeikis) go into business for... [More]
Directed By: Sean Anders

#22

Due Date (2010)
39%

#22
Adjusted Score: 46277%
Critics Consensus: Shamelessly derivative and only sporadically funny, Due Date doesn't live up to the possibilities suggested by its talented director and marvelously mismatched stars.
Synopsis: Peter Highman (Robert Downey Jr.) will be a dad for the first time when his wife gives birth in five... [More]
Directed By: Todd Phillips

#21

Robin Hood (2010)
43%

#21
Adjusted Score: 51697%
Critics Consensus: Ridley Scott's revisionist take on this oft-told tale offers some fine acting and a few gripping action sequences, but it's missing the thrill of adventure that made Robin Hood a legend in the first place.
Synopsis: After the death of Richard the Lion-Hearted, a skilled archer named Robin Longstride (Russell Crowe) travels to Nottingham, where villagers... [More]
Directed By: Ridley Scott

#20
#20
Adjusted Score: 45575%
Critics Consensus: No consensus yet.
Synopsis: Boxing promoter the Rev. Fred Sultan (Samuel L. Jackson) decides the best way to revive public interest in his top... [More]
Directed By: Reginald Hudlin

#19

Miami Vice (2006)
46%

#19
Adjusted Score: 55673%
Critics Consensus: Miami Vice is beautifully shot but the lead characters lack the charisma of their TV series counterparts, and the underdeveloped story is well below the standards of Michael Mann's better films.
Synopsis: A case involving drug lords and murder in South Florida takes a personal turn for undercover detectives Sonny Crockett (Colin... [More]
Directed By: Michael Mann

#18

Rio 2 (2014)
48%

#18
Adjusted Score: 52448%
Critics Consensus: Like most sequels, Rio 2 takes its predecessor's basic template and tries to make it bigger -- which means it's even busier, more colorful, and ultimately more exhausting for viewers outside the youthful target demographic.
Synopsis: Blue macaws Blu (Jesse Eisenberg), Jewel (Anne Hathaway) and their three children are comfortably settled in the city -- perhaps... [More]
Directed By: Carlos Saldanha

#17

The Kingdom (2007)
51%

#17
Adjusted Score: 59071%
Critics Consensus: While providing several top-notch action scenes, The Kingdom ultimately collapses under the weight of formula and muddled politics.
Synopsis: Charged with the most important assignment of his career, federal agent Ron Fleury (Jamie Foxx) has one week to assemble... [More]
Directed By: Peter Berg

#16

White House Down (2013)
52%

#16
Adjusted Score: 59090%
Critics Consensus: White House Down benefits from the leads' chemistry, but director Roland Emmerich smothers the film with narrative clichés and choppily edited action.
Synopsis: Capitol police officer John Cale (Channing Tatum) has just been denied his dream job of protecting President James Sawyer (Jamie... [More]
Directed By: Roland Emmerich

#15

Any Given Sunday (1999)
52%

#15
Adjusted Score: 57380%
Critics Consensus: Sometimes entertaining, but overall Any Given Sunday is a disappointment coming from Oliver Stone.
Synopsis: Four years ago, DAmato's (Al Pacino) Miami Sharks were at the top. Now, his team is struggling with three consecutive... [More]
Directed By: Oliver Stone

#14
#14
Adjusted Score: 64749%
Critics Consensus: While the cast is outstanding and the special effects are top-notch, the latest installment of the Spidey saga suffers from an unfocused narrative and an overabundance of characters.
Synopsis: Confident in his powers as Spider-Man, Peter Parker (Andrew Garfield) embraces his new role as a hero and spends time... [More]
Directed By: Marc Webb

#13

The Soloist (2009)
57%

#13
Adjusted Score: 64421%
Critics Consensus: Though it features strong performances by its lead players, a lack of narrative focus prevents The Soloist from hitting its mark.
Synopsis: Los Angeles columnist Steve Lopez (Robert Downey Jr.) has reached an impasse in his life. His marriage is on the... [More]
Directed By: Joe Wright

#12

Jarhead (2005)
61%

#12
Adjusted Score: 67983%
Critics Consensus: This first person account of the first Gulf War scores with its performances and cinematography but lacks an emotional thrust.
Synopsis: In the late 1980s, Anthony Swofford (Jake Gyllenhaal) enlists as a Marine, training in boot camp under a sadistic drill... [More]
Directed By: Sam Mendes

#11

Shade (2003)
67%

#11
Adjusted Score: 38873%
Critics Consensus: No consensus yet.
Synopsis: Tiffany (Jamie Foxx), Charlie (Gabriel Byrne) and Vernon (Thandie Newton) are con artists looking to up the ante from their... [More]
Directed By: Damian Nieman

#10

Ali (2001)
68%

#10
Adjusted Score: 72998%
Critics Consensus: Though perhaps no film could fully do justice to the fascinating life and personality of Muhammad Ali, Mann's direction and Smith's performance combine to pack a solid punch.
Synopsis: With wit and athletic genius, with defiant rage and inner grace, Muhammad Ali forever changed the American landscape. Fighting all... [More]
Directed By: Michael Mann

#9

Horrible Bosses (2011)
69%

#9
Adjusted Score: 77596%
Critics Consensus: It's nasty, uneven, and far from original, but thanks to a smartly assembled cast that makes the most of a solid premise, Horrible Bosses works.
Synopsis: Nick (Jason Bateman), Dale (Charlie Day) and Kurt (Jason Sudeikis) are workers who would like nothing better than to grind... [More]
Directed By: Seth Gordon

#8

Rio (2011)
72%

#8
Adjusted Score: 77462%
Critics Consensus: This straightforward movie reaches great heights thanks to its colorful visual palette, catchy music, and funny vocal performances.
Synopsis: Captured by smugglers when he was just a hatchling, a macaw named Blu (Jesse Eisenberg) never learned to fly and... [More]
Directed By: Carlos Saldanha

#7

Dreamgirls (2006)
78%

#7
Adjusted Score: 86908%
Critics Consensus: Dreamgirls' simple characters and plot hardly detract from the movie's real feats: the electrifying performances and the dazzling musical numbers.
Synopsis: Deena (Beyoncé Knowles),Effie (Jennifer Hudson) and Lorrell (Anika Noni Rose) form a music trio called the Dreamettes. When ambitious manager... [More]
Directed By: Bill Condon

#6

Ray (2004)
79%

#6
Adjusted Score: 86557%
Critics Consensus: An engrossing and energetic portrait of a great musician's achievements and foibles, Ray is anchored by Jamie Foxx's stunning performance as Ray Charles.
Synopsis: Legendary soul musician Ray Charles is portrayed by Jamie Foxx in this Oscar-winning biopic. Young Ray watches his 7-year-old brother... [More]
Directed By: Taylor Hackford

#5

Just Mercy (2019)
85%

#5
Adjusted Score: 105715%
Critics Consensus: Just Mercy dramatizes a real-life injustice with solid performances, a steady directorial hand, and enough urgency to overcome a certain degree of earnest advocacy.
Synopsis: After graduating from Harvard, Bryan Stevenson heads to Alabama to defend those wrongly condemned or those not afforded proper representation.... [More]
Directed By: Destin Daniel Cretton

#4
Adjusted Score: 87365%
Critics Consensus: Sharp, witty, and charming, The Truth About Cats and Dogs features a standout performance from Janeane Garofalo.
Synopsis: Abby (Janeane Garofalo) hosts a popular radio show about pets. When Brian (Ben Chaplin) calls in to ask about his... [More]
Directed By: Michael Lehmann

#3

Collateral (2004)
86%

#3
Adjusted Score: 94839%
Critics Consensus: Driven by director Michael Mann's trademark visuals and a lean, villainous performance from Tom Cruise, Collateral is a stylish and compelling noir thriller.
Synopsis: A cab driver realizes his current fare is a hit man that has been having him drive around from mark... [More]
Directed By: Michael Mann

#2

Django Unchained (2012)
86%

#2
Adjusted Score: 98840%
Critics Consensus: Bold, bloody, and stylistically daring, Django Unchained is another incendiary masterpiece from Quentin Tarantino.
Synopsis: Two years before the Civil War, Django (Jamie Foxx), a slave, finds himself accompanying an unorthodox German bounty hunter named... [More]
Directed By: Quentin Tarantino

#1

Baby Driver (2017)
92%

#1
Adjusted Score: 122089%
Critics Consensus: Stylish, exciting, and fueled by a killer soundtrack, Baby Driver hits the road and it's gone -- proving fast-paced action movies can be smartly written without sacrificing thrills.
Synopsis: Talented getaway driver Baby (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the... [More]
Directed By: Edgar Wright

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Jon Favreau - M. Caulfield/WireImage.comActor, director, fanboy hero. When Jon Favreau was announced as the man who’d be responsible for bringing one of Marvel’s comic staples to the big screen it was news openly embraced by a passionate group of fans. With Robert Downey Jr. later cast in the lead role, interest in Iron Man reached fever pitch. For two years Favreau has consulted with those fans and dropped teasers of his adaptation to the point that, come Friday, a legion of dorks will be openly salivating in anticipation outside cinemas worldwide. And lest it seem like we’re disapproving of that sort of thing – rest assured RT will be there too.

But, as we sit down with an exhausted Favreau, who’s fighting his way around the world on a mammoth press trip for the movie, the multihyphenate explains that it’s everyone else he wants to see in cinemas. Favreau tells us why Iron Man needs to fly into the hearts of housewives, dads and kids if he’s going to be given the reins to another chapter…

Busy day?

Jon Favreau: Busy two weeks. I started in LA, went to Mexico City, Australia, Seoul, Paris, Berlin, Rome and now London and then I’m going to New York for more press and finally back to LA for the premiere.

Is this the biggest thing you’ve ever experienced?

JF: By far. And I’m afraid to fly! Well, I was…

For Robert and me, this is a huge opportunity for both of us and we’ve got to really get out there. Especially this summer where there are so many good movies coming out. You’ve got to do everything you can to stand out, whether it’s marketing tie-ins or personal appearances or press or talk shows or cutting commercials together; anything you can to cut through all that chatter and get to the audience you hope will come see the movie and make it successful.

Robert’s even in The Incredible Hulk – it’s that intense…

JF: He does, I think, a one scene cameo in the film. I don’t know that much about it, I wasn’t involved in that, but he’s confirmed it so I feel comfortable talking about it!

But this is the first film under a new approach Marvel is taking to making movies that’s really empowering that.

JF: Absolutely – it’s their money. Marvel has tremendous control over these characters now. They’re not sharing control with a studio like Sony or Fox which is the arrangement they’d had in the past. As certain characters revert back to them they’re self-financing these projects, which gives them the ability to combine characters if they want to. You couldn’t do that with X-Men or Spider-Man because they’re different studios.

Iron Man

There was talk of a cameo by Samuel L. Jackson as Nick Fury in Iron Man but we didn’t spot it in the movie – what happened to that?

JF: Well, we were making the movie for two years and a year ago we went to Comic-Con and showed a bit of footage, then some spy stuff or reports from the set come out, and then we leak certain footage and images. People are smart – especially the fans of Marvel comics. Many of them know more about the source material than I do. They’re able to piece together what’s going on and what you don’t want to have happen is have everyone figure out what’s in the movie before it comes out.

So I’m online, I’m reading Rotten Tomatoes, I’m reading Ain’t it Cool News, I’m reading Dark Horizons, Superhero Hype, and I have my own MySpace Iron Man movie group. I’m constantly getting a sense about what people are talking about and what they’re expecting and sometimes you have to acknowledge the anticipations and sometimes you have to go against them. You never want the audience to be ahead of you, because you always want some surprises up your sleeve.

It all comes down to this phrase that Robert even uses in the press notes: nerdgasm. All of that anticipation is the build up to the nerdgasm, which is the release of the film. But you even go as far as doing it in the film, with Terrence Howard‘s line, “Next time baby,” when he looks at the empty suit…

JF: Yeah, and there are a few of those. The way we introduce S.H.I.E.L.D. is another thing where you don’t see it coming and then it’s there. There’s all sorts of images and references to The Mandarin, in the end credits in the animations there’s a little tip of the hat to War Machine. There’s little things in the details that I know the fans of the books are going to see. They fly by people that aren’t aware of the books and they can see the movie as what it is, a summer popcorn movie with hopefully and intelligent tone to it, and ultimately a story about a man who transforms himself.

Iron Man

There’s also a much greater sense of reality to the film than we’re used to from superhero movies, you built a lot of what we see on screen and you use CGI sparingly.

JF: Me and my effects supervisor John Nelson worked with the Stan Winston studios to build practical suits and we were working with the team from ILM who, a lot of them, had worked on Transformers. We got to benefit from a lot of the technology they broke through for that production which really makes Iron Man photo-real. As you might know, I’m not a fan of CGI per-se so I was very demanding that we make the effects as photo-real as possible.

If you can find a balance where you’re using that technology where necessary but practical effects where you can the blend is much more seamless and it’s harder to tell where the CG comes in.

JF: Well that’s what Jurassic Park did and that’s why I think it holds up so well today. There are relatively few shots in Jurassic Park; a lot of that stuff is robotics, animatronics. You have to mix practical with computer generated and so there was stuff we did that was seen as wasteful sometimes when we were budgeting.

When Iron Man’s flying we’d send real planes up to do the choreography so that we’d get the camerawork to really look like a cameraman was following from another plane. It gives it that Top Gun look. One of the first things I did was I sat down all the people working on the visual effects and we screened scenes from Top Gun and scenes from Stealth and I said, “Why does Top Gun look so much more real?” Stealth had all of this money, technology and state-of-the-art effects and it looks like you’re watching a videogame.

We figured out that a lot of it had to do with how restrained the camera was. Don’t give the camera too much freedom or choreography. Get the shading right, the lighting right and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI and if you overuse it, it draws attention to itself.

Iron Man

Does your Iron Man journey continue? Are you going to stick around?

JF: I hope so. Now it’s out of the hands of us, of the filmmakers, and it’s even out the hands of your readers. I know all the people who have been following this for two years are going to go and see the movie, and maybe they’ll see it twice and I’m very grateful for that, but it’s got to crossover and it’s got to hit people who’ve never heard of Iron Man. It’s got to hit the housewives, it’s got to hit the dads, it’s got to hit the kids and if everybody comes out to see the movie and it’s successful, then I’m sure Marvel’s going to want to do another one and if they want to, I’ve got another two movies in my head and I’m ready to go and I know the cast feels the same way. It’s really in the hands of the public now, whether they like it or not.

But I’m very proud of what we were able to accomplish and I’m very grateful to your readership and the people who were very supportive of this when it was seen by the mainstream media as a B-level superhero movie that would be an experiment in financing as to whether Wall Street would support Marvel in their new studio and now the debate is about what’s going to be the biggest movie of the summer and whether Iron Man will be one of them. Things really got classed-up and I owe a debt of gratitude to the fanboys who really stuck with it and were vocal about it and their voices really rose up to the mainstream.

Remember that pretty rotten Jean Claude Van Damme movie that was based on a video game called "Street Fighter"? Well, you can bet the producers of the new version wish you’d forgotten.

Not only will there be a new-fangled "Street Fighter" movie, but early word is that Ms. Jessica Biel is in line to star as Chun Li, who is obviously a mega-talented butt-kicker, which means Jessica will have ample opportunity to jump around and look hot. Cute as she is, though, Jessica Biel doesn’t look much like a "Chun Li" to me…

To those without eyeballs, I’ll remind you that Jessica Biel starred in "The Texas Chainsaw Massacre," "Blade: Trinity," and (hehe) "Stealth."

More word on this 20th Century Fox video game adaptation when we get it.

Source: Latino Review

Yep, looks like Universal is finally about to get off its butt and make a third "Mummy" movie. Though not signed yet, Brendan Fraser and Rachel Weisz are expected to return. And wait till you see who they got to writer and direct the sequel!

Yep, "The Mummy 3," only this time Stephen Sommers isn’t directing it. Rob Cohen is! Yep, the guy who did "xXx" and "The Fast and the Furious" must make amends for delivering "Stealth" unto the world, and it looks like he’ll be the one in the director’s chair for this one.

In screenwriting news, it seems that Alfred Gough and Miles Millar will be penning the new follow-up. Fanboys/girls no doubt recognize those names from "Shanghai Noon," "Spider-Man 2," and (of course) "Smallville."

That’s about all we have for this project so far, but rest assured we’ll be talking about "The Mummy 3" a whole bunch by the time it hits theaters.

A few months ago we learned that director Rob Cohen was working on a movie ("Rage and Fury") that would "feature" Bruce Lee in some fashion or another. And since Mr. Lee has been deceased for quite some time, a lot of us were curious to see what "feature" actually meant. And now we know.

From Mr. Cohen himself, as sent to Latino Review: "The big headline is that I am NOT using clips from the film; I am creating an entirely photo-realistic Bruce Lee with new, advanced digital technlogy. Digital Domain who did "XXX" and "Stealth" with me are on it big time. We are in the vfx development stage.

This will be the first digital actor and I am very excited about the challenge."

Click here for the rest of the article, and I’ll leave it to you to decide precisely HOW tacky this movie idea is. I say quite a lot.

In this week’s Ketchup, Keith Richards is living up to everyone’s expectations on the set of the third "Pirates" installment, Emma Watson is experiencing growing pains with "Harry Potter," and the Nolan brothers talk about "The Dark Knight."

Also, a full slate of big-name sequels is on the way next summer, and the rumors of Sylvester Stallone in "Predator 3" couldn’t possibly be true (could they?). Read on for more.

This week’s Most Popular News:

Keith Richards is "So Drunk" on the "Pirates 3" Set
"Hey guess what? Keith Richards likes to get drunk — and he’s certainly not about to let a cameo role in "Pirates of the Caribben: At Worlds End" stand in the way of a good time.

Emma Watson’s Getting a Little Tired of Playing With "Harry Potter"

In a move that could be best described as "contract negotiation hardball," young actress Emma Watson just dropped a bomb on the producers of the "Harry Potter" series. Seems the actress is not yet signed for the final pair of Potter flicks, and she’s hinting that she might not even want the gig anymore.

The Nolan Brothers Discuss "The Dark Knight"

When "The Dark Knight" ultimately hits theaters, it’ll most likely come with credits that read: Story by Christopher Nolan & David S. Goyer, Screenplay by Jonathan Nolan. How that arrangement came about is the subject of conversation at IGN FilmForce.

"Spidey 3," "Shrek 3," and "Pirates 3" — Get Ready for Summer ’07

"The article we’re about to read is about eight days old, but it seems like a rather fun topic of discussion, so let’s do it anyway. As far as Summer ’07 is concerned, what’s your pick: "Spider-Man 3," "Shrek the Third," or "Pirates of the Caribbean: At Worlds End"?

Stallone to Star in "Predator 3"?

It’s a piece of casting gossip that’s almost certainly untrue, but it’s a fun one anyway, so let’s get to it: Someone thinks that Sylvester Stallone could be lined up to star in the second sequel to "Predator."


You never know.

In Other News:

  • Keira Knightley is set to star "The Best Time of Our Lives," based on a screenplay written by playwright Sharman McDonald, who happens to be Knightley’s mother.
  • Warner Bros. has acquired the film rights to James A. Owen’s upcoming children’s novel "Here, There Be Dragons."
  • New Line Cinemas has acquired an untitled Ice Cube comedy, in which he’ll play a social climber whose goals are threatened by an unexpected visit from a child he was unaware he had.
  • "Naughty or Nice," a stop-motion animated film from Seth Green‘s company Stoopid Monkey, has been picked up by Dimension Films.
  • 20th Century Fox has acquired film rights to the R.L. Stine children’s book series "The Rotten School." Stine created the best-selling "Goosebumps" series.
  • Dimension Films has acquired film rights to Rosario Dawson‘s comic book series "O.C.T.- Occult Crimes Taskforce." Dawson will star in and produce the film.
  • Fox Searchlight has acquired rights to the vigilante action-drama "Stephon’s Corner," with George Tillman set to direct.
  • New Line has acquired the comedy "Mild Things" from the writing team of Michael Colton and John Aboud.
  • HQ Pictures, Tyrese Gibson‘s production company, has acquired Mark Jonathan Stanley’s sci-fi/action picture "12th Man."
  • Finally, director Lars von Trier‘s next movie project will be the horror film "Antichrist," which will begin filming next summer.

He must owe somebody a favor.

With cops, drug dealers, and lots of bullets flying, the action film Miami Vice hits theaters across North America this weekend with its aim squarely on the number one spot. Young kids, meanwhile, will be offered another animated film in the form of The Ant Bully while teens get a new high school comedy in John Tucker Must Die. The overall box office should continue to be much healthier than last year as the Jack Sparrow-dominated month of July comes to a close.

Universal can smell a number-one opening in the air tonight. The studio hopes to claim bragging rights to the film that finally knocks Pirates out of the top spot with its action thriller Miami Vice. Directed by Michael Mann, the R-rated pic stars Jamie Foxx and Colin Farrell in a loose update of the hit NBC cop show from the 1980s. Gong Li co-stars in this story of an undercover operation into the workings of a South American drug lord. In a summer full of Kryptonian heroes, pirates, and mutant villains, moviegoers are ready for a standard action film, set in modern times, with big stars playing the bad-ass good guys. With the tame PG-13 actioners behind us, Miami Vice ups the volume on violence and doesn’t hold back when it comes to gun battles and the offing of bad guys.

Vice has racked up some of the best reviews of any summer action film this year which should help in selling the pic to older adults. Though Mann stumbled with 2001’s Ali, the director has been pretty solid with the films he’s delivered over the past decade with Collateral, The Insider, and Heat. This new film’s leads will be the driving force at the box office. Both are hip and cool enough to appeal to teens as well as adults. The men exude plenty of sex appeal which will aid in drawing in women, plus Foxx has tremendous pull with African-American moviegoers who should be out in large numbers. Universal’s marketing has been as slick and cool as can be and makes the film seem like a necessary investment for action movie fans.

Miami Vice looks to appeal to the same audiences as a pair of action titles from the summer of 2003. Bad Boys II was another R-rated, star-driven, cop buddy picture set in Miami and bowed to $46.5M with a $14,602 average that July. Will Smith and Martin Lawrence made for a more potent commercial combo at the cash registers plus the sequel boasted plenty of comedy and already had a large built-in fan following. The next month, Farrell scored his fourth number-one opening of that year starring in another remake of an old cop show by teaming up with Samuel L. Jackson for S.W.A.T. The PG-13 film debuted on top with $37.1M and a $11,575 average.

Detectives Crockett and Tubbs will bring a breath of fresh air to a marketplace that is ready to move on from the record-breaking pirate shenanigans. Older teens and adult moviegoers are ready to see something else, and for now, this is it. Busting into 3,020 theaters, Miami Vice could debut with about $38M this weekend.

A ten-year-old boy gets miniaturized and becomes one with an insect colony in The Ant Bully, a new toon from Warner Bros. Young kids and their parents are the target audience here as the studio is aiming for the summer vacation crowd with this PG-rated adventure. An impressive voice cast that includes Julia Roberts, Nicolas Cage, and Meryl Streep might attract some biz and throwing in the name of producer Tom Hanks won’t hurt either. But Bully is going after the exact same audience as last week’s rival toon Monster House so the pie will get split. Neither is being treated as a must-see from a well-known franchise. Like Sony’s kidpic, Bully also will be playing in select 3D theaters as Imax is on board with a special run in their locations. The added value will certainly intrigue some families. Reviews are weak, but these films really rely on the ratio of nagging from kids to the willingness to give in by parents. Invading 3,050 sites, The Ant Bully might debut to around $15M.

High school hijinks are at the core of the new comedy John Tucker Must Die which finds Jesse Metcalfe playing the title character, a teen romeo that juggles three girlfriends who learn of the infidelity and plot their revenge. The PG-13 pic comes from director Betty Thomas (Dr. Dolittle, Private Parts) and co-stars Ashanti, Brittany Snow, and Jenny McCarthy. Teenage girls will make up the target audience but with limited starpower, Tucker’s potential should be limited as well. The Fox film will be going up against a handful of comedies currently clogging up screens in multiplexes. Young females not of age to buy a Vice ticket, or just uninterested in that shoot-em-up cop pic, will take interest in the female revenge story of Tucker. Some interest from teen guys could be there too, but the post-college crowd is not likely to donate many bills. The marketing push has been decent and a bold title will get some attention. Opening in 2,561 locations, John Tucker Must Die might take in about $9M this weekend.

Woody Allen seems to have loved working with Scarlett Johansson in London so much with the Oscar-nominated Match Point that he went for round two in his latest film Scoop which opens in moderate national release on Friday. The Focus title features the young starlet playing an American journalism student who gets the inside track on uncovering the identity of a serial killer from the spirit of a deceased reporter. Hugh Jackman, Ian McShane, and Allen himself co-star in the PG-13 flick. Critics have not been kind as reviews so far have been weak which will impact the box office significantly. Die-hard Woody fans won’t be swayed, but other upscale moviegoers will be affected. Scoop enters 537 theaters this weekend and might collect about $2M.

Fox Searchlight platformed its Sundance darling Little Miss Sunshine on Wednesday ahead of a gradual national roll-out that will continue into late August. The R-rated film about a dysfunctional family that takes a road trip to enter their young daughter in a beauty contest stars Greg Kinnear, Steve Carell, Toni Collette, and Alan Arkin. Sunshine wowed audiences in Park City and won a reported $10M distribution deal from the Fox subsidiary. Armed with glowing reviews across the board, the comedy from the husband-wife directing team of Jonathan Dayton and Valerie Faris should score a sizzling average from its seven theaters in New York and Los Angeles. Long-term prospects also seem bright as Sunshine should play out as the indie alternative to a summer of mindless popcorn flick.

Kings lose crowns and this weekend Johnny Depp looks to give up his title as three-time ruler of the box office. Still, Pirates of the Caribbean: Dead Man’s Chest has been holding up well during the week and Miami Vice is the only new film to make a serious dent in its treasure chest. Another drop of 45% would give Disney about $19M for the session boosting the overall domestic haul to a mammoth $357M.

Sony’s animated adventure Monster House got off to a strong start last weekend with a $22.2M bow, but will face head-to-head competition from Ant Bully this weekend which will be looking to kick some sand in its face. A 40% fall would leave House with around $13M and a ten-day total of $45M.

M. Night Shyamalan‘s latest thriller Lady in the Water debuted below expectations last week and will be entering its all-important sophomore frame. If history is any indicator, the grosses should see a steep drop. Second weekend declines for the director’s last three films have been 68% for 2004’s The Village, 51% for 2002’s Signs, and 52% for 2000’s Unbreakable. Lady may not sink the way Village did as it seems to be generating both love-it and hate-it camps. Still, with such a low starting point, and Crockett and Tubbs stealing away adults, a fall of at least 50% could be in order. That would give the bedtime story roughly $9M and a cume of $34M in ten days.

LAST YEAR: After two weeks at number one and two respectively, Charlie and the Chocolate Factory and Wedding Crashers swapped places with the Owen WilsonVince Vaughn comedy taking over at the top with $20M, slipping a mere 22%. The Johnny Depp kidpic followed with $16.4M in its third frame. Newcomers filled up the rest of the top five. Leading the way was Disney’s super hero family film Sky High with $14.6M on its way to a solid $63.9M. Close behind were Sony’s action flop Stealth with $13.3M and the Warner Bros. romantic comedy Must Love Dogs wth $12.9M. Final grosses reached $31.7M and $43.9M, respectively.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

Michael Bay already owns his own production company (Platinum Dunes), so obviously he has to own his own FX house! This explains why the "Transformers" director and a partner dropped what must have been a LOT of cash to purchase well-regarded FX company Digital Domain.

Digital Domain, the Academy Award®-winning full-service digital studio and production company responsible for jaw-dropping visual sequences in such films as "Titanic," "The Day After Tomorrow" and "I, Robot" as well as commercials such as the recent Budweiser Super Bowl "Superfan" spot, has been acquired by South Florida-based Wyndcrest Holdings, LLC, a group led by director Michael Bay and investor John Textor.

Carl Stork, a long-time senior Microsoft executive and principal of Wyndcrest Holdings, has been elected chief executive officer and a member of the Board of Directors of Digital Domain, replacing Scott Ross who is stepping down as CEO and remaining a consultant to the company. C. Bradley Call will remain president and chief operating officer. Bay and Textor will co-chair the Board of Directors.

"At a time when every top grossing motion picture is relying on digital visual effects to help tell compelling and entertaining stories, we believe this translates into a bright future for companies in this field, and we believe Digital Domain represented a unique opportunity to invest," said Stork, whose accomplishments at Microsoft included leading the development of Windows® 95/98. "The creative and talented team at Digital Domain has a great reputation in both the feature film business and in the commercial advertising community for high-quality, award-winning work. Adding the expertise, business acumen and diverse relationships of the Wyndcrest principals will allow Digital Domain to capitalize on the rapidly expanding opportunities in the entertainment business.

"On behalf of all involved with Digital Domain, I would like to thank Scott Ross for his remarkable contributions as a founder and leader of the company over the past 13 years," Stork said. "We intend to draw on his advice and counsel over the coming years and we wish him well in his future endeavors."

"Having worked with Digital Domain in the past, I am well aware of the talent and creativity of the team here, and understand first-hand why the company has a well-earned reputation for creative and high-quality work," said Bay. "Rapidly evolving digital visual effects technology is going to allow motion picture directors to tell even more compelling and visually stunning stories in the future, and we believe that Digital Domain is uniquely positioned to take advantage of these new technologies, as well as new distribution channels and platforms."

"Digital Domain is well-positioned with exceptional people and leading technology at a time when reliance on visual effects is increasing in every sector of entertainment," said Textor, who has known Bay since their days at Wesleyan University and has been his business partner for eight years. "We look forward to combining these attributes with a renewed commitment to build the commercial and film industries’ leading director-centric visual effects business. Through the addition of new capital and the appropriate strategic relationships, we are also committed to the extension of the Digital Domain business into the direct development of animated films and effects-reliant live action films."

"While we all believe we’ve accomplished a great deal in the industry, we’re incredibly enthusiastic about the future as we believe this new ownership group will provide the necessary capital and strategic resources to allow us to grow our business profitably in both feature films and in advertising while retaining an environment that encourages our artists to strive for ever-greater heights of creative excellence," said Call, a decade-long Digital Domain executive who assumed the presidency of Digital Domain, as well as day-to-day responsibility for leading the company, in 2002.

"We know that our future depends on continuing to satisfy the creative needs of our clients in a manner, and on a budget, that other competitors cannot match," Call added.

Stork will take over as Digital Domain CEO effective immediately.

–Digital Domain press release courtesy of ComingSoon.net.

In addition to the three titles mentioned above, Digital Domain also provided visual effects for movies such as "True Lies" (their first flick), "Apollo 13," "The Fifth Element," "Armageddon," "Fight Club," "X-Men," "Charlie and the Chocolate Factory," "Stealth," "Aeon Flux," and the upcoming "My Super Ex-Girlfriend."

After some furious debate over David Germain‘s discussion of films "not screened for critics," RT takes a look at the Tomatometers and respective B.O. performances of the flicks withheld from critics so far this year.

Films Not Screened For Critics In 2006:
————————————————
29% — Tyler Perry’s Madea’s Family Reunion (Feb. 24)
17% — Grandma’s Boy (Jan. 6)
16% — Underworld: Evolution (Jan. 20)
10% — When a Stranger Calls (Feb. 3)
9% — Ultraviolet (Mar. 3)
8% — Date Movie (Feb. 17)
7% — BloodRayne (Jan. 6)
6% — Stay Alive (Mar. 24)
5% — Doogal (Feb 24)
4% — Larry the Cable Guy: Health Inspector (Mar. 24)
Average Tomatometer not screened for critics: 11%

As Germain noted, this is becoming a common trend; in 2006, 10 films have already been withheld from those mean old scribes, with "The Benchwarmers" and "Phat Girlz" joining that illustrious list this week. Apparently, the whole of the studio system is terrified that the following exchange will take place within the coveted teen and young adult demographic:

Teen No. 1: "Man, am I ever stoked to be first in line to see ("Date Movie"/ "Underworld: Evolution"/ "The Benchwarmers," etc.)! This film will certainly be off the chain! Oh look, there’s my friend!"

Teen No. 2 (running, looking frantic): "Bad news, homie. David Denby, Andrew Sarris, AND Stephanie Zacharek all dissed ("Date Movie"/ "Underworld: Evolution"/ "The Benchwarmers," etc.). They say it’s really stupid."

Teen No. 1: "Curses! I’m getting out of the line for this movie, and I shall not be seeing it on its opening weekend. Dear fellow, perchance is ‘The Best of Youth‘ still playing in the local arthouse?"

The phrase "critic-proof" has entered the lexicon for a reason: it perfectly sums up a certain type of move, one that the studios still feel is necessary not to screen.

And what do the critics have to say about these films? Unsurprisingly, the average is an 11 percent on the Tomatometer. Of the twenty worst reviewed wide releases of the year so far, these ten films occupy the top slots. Still, that doesn’t mean too much; "Big Momma’s House 2" was screened for critics, got a six percent on the Tomatometer, and still made a lot of money. So while the films that aren’t screened are by no means cinematic gems, there’s an excellent chance they will make lots of money regardless.

When the staff of Rotten Tomatoes is not meticulously analyzing the films of Bergman, Ozu, and Bresson, we’ve been known to watch (and unironically enjoy) such critically drubbed flicks as "Stealth," "Black Knight," and the collected works of Jean-Claude Van Damme. Some movies aren’t "good" per se, but that doesn’t mean they don’t have potential audiences. Studios should know this better than anyone; they made the movies.

See Also:
"Not Screened For Press" Trend Growing in 2006

This week at the movies brings us films about a risk-averse woman cutting loose ("Last Holiday"), a groundbreaking underdog basketball team ("Glory Road"), and an ancient folktale of grand passion ("Tristan & Isolde"). What do the critics have to say?

There are some actors and actresses who are so likable, they can pull off nearly anything, no matter how predictable. Queen Latifah is one of them. "Last Holiday," a remake of the Alec Guinness classic, tells the tale of a woman who, upon hearing dire medical news, decides to live every day as if it’s her last. Critics say a movie that could be a moderately entertaining rom-com about the virtues of believing in oneself becomes something altogether greater in the hands of Latifah, who brings a winning charm to every scene. At 68 percent, this is a "Holiday" to celebrate.

The Kentucky Wildcats were among the dominant programs in college basketball during coach Adolph Rupp’s 42-year tenure. But in 1966, an all-African American starting lineup from Texas Western defeated Rupp’s all-white squad. There is no doubt that this is an inspiring, true-life underdog tale, and many critics say "Glory Road," the big-screen adaptation starring Josh Lucas and Derek Luke, delivers the visceral thrills of our favorite sports flicks without skimping on the social commentary. But others say that inspiring true-life tales don’t necessarily make for exciting cinema; at 53 percent, this "Road" may be a little too well traveled.

Speaking of inspiring, there’s a Celtic folktale that has inspired some of the world’s most monumental artistic works, from "Romeo and Juliet" to one of Wagner’s most influential operas. But critics say the movie treatment of "Tristan & Isolde" isn’t poised to join the pantheon. A tale of romance in the war-torn aftermath of Roman control over England, critics say the film is too tepid and slow to pull off a sweeping romantic vision. At 32 percent on the Tomatometer, this is one love story that could use a little more passion.

Recent Queen Latifah Movies:
————————————
40% — Beauty Shop (2005)
33% — The Muppets: The Wizard of Oz (2005)
70% — Barbershop 2: Back in Business (2004)
3% — The Cookout (2004)
10% — Taxi (2004)

Recent Joshua Lucas Movies:
————————————
13% — Stealth (2005)
51% — An Unfinished Life (2005)
27% — Around the Bend (2004)
57% — Undertow (2004)
60% — Hulk (2003)

STEALTH

Sony Pictures Home Entertainment
Directed by Rob Cohen
Jamie Foxx, Jessica Biel, Josh Lucas

This two-disc special edition feature was the first thing that came out after Jamie Foxx won the Academy Award for best actor in Ray. It’s definitely not his best acting, but it’s tough to perform most of your scenes in a tiny area the size of a cockpit anyway. The story is about three friends who are star pilots — Foxx, Biel and Lucas — and they find themselves battling a robotic pilot that comes across a bit as HAL from 2001: A Space Odyssey. The multiple documentaries inside the package show XXX and Fast and Furious director Rob Cohen getting his complicated stunts together and include candid interviews with the stars. With more than four hours of extras, and detailed behind-the-scenes analysis of some of the scenes, it’s a good study for people interested in stunt work.

DVD Features
Deleted scenes
Detailed and Declassified featurette showing two high action scenes
Harnessing Speed, documentary of filmmaker Rob Cohen
Music of Stealth featurette
Incubus’ Make a Move music video
Wide and full screen

STEALTH

Sony Pictures Home Entertainment
Directed by Rob Cohen
Jamie Foxx, Jessica Biel, Josh Lucas

This two-disc special edition feature was the first thing that came out after Jamie Foxx won the Academy Award for best actor in Ray. It’s definitely not his best acting, but it’s tough to perform most of your scenes in a tiny area the size of a cockpit anyway. The story is about three friends who are star pilots — Foxx, Biel and Lucas — and they find themselves battling a robotic pilot that comes across a bit as HAL from 2001: A Space Odyssey. The multiple documentaries inside the package show XXX and Fast and Furious director Rob Cohen getting his complicated stunts together and include candid interviews with the stars. With more than four hours of extras, and detailed behind-the-scenes analysis of some of the scenes, it’s a good study for people interested in stunt work.

DVD Features
Deleted scenes
Detailed and Declassified featurette showing two high action scenes
Harnessing Speed, documentary of filmmaker Rob Cohen
Music of Stealth featurette
Incubus’ Make a Move music video
Wide and full screen

John Horn of the LA Times delivers an interesting article on the sad state of affairs over at Sony Pictures. Seems that, aside from "Hitch," none of Sony’s releases have found an overly receptive audience this year. (For those keeping score, Sony’s 2005 releases include "Stealth," "xXx: State of the Union," "Lords of Dogtown," "Bewitched," and that "Deuce Bigalow" sequel.) Also, it seems that "Fun With Dick & Jane" is a merciless money-pit, and that alleged "Sinbad" movie starring Keanu Reeves and "Stealth" director Rob Cohen? Yeah, that project’s dead now.

"Light romantic comedies are not supposed to be expensive, grueling endeavors, but the filming of "Fun With Dick and Jane" was anything but fun for Sony Pictures.

Months over schedule and millions over budget, the remake of the 1977 caper comedy had a revolving door of top-dollar screenwriters constantly reworking its script. A year after the Jim Carrey movie began filming, director Dean Parisot had to go back behind the cameras, reshooting some 30 pages of new dialogue. The movie missed its planned summer release and will now come out in December."

Also, "the studio pulled the plug on "The 8th Voyage of Sinbad," a planned expensive spectacle that was to pair "Matrix" star Keanu Reeves with director Cohen. While Cohen’s "The Fast and the Furious" and the first "XXX" movie were global smashes, his $135-million "Stealth" was a summer flop, grossing just $32.1 million in domestic theaters and generating a Sony loss of almost $50 million."

Check out the full LA Times article right here.

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