This week at the movies, we’ve got dark whimsy (Coraline, with voice work by Dakota Fanning and Teri Hatcher); love mishaps (He’s Just Not That Into You, starring Jennifer Aniston and Scarlett Johansson); a bumbling detective (The Pink Panther 2, starring Steve Martin and Aishwarya Rai) and some paranormal antagonists (Push, starring Chris Evans and Djimon Hounsou). What do the critics have to say?


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Coraline

If any proof were needed that 3-D movies have entered a bold new era, the critics say Coraline is it; this stylistically bold, emotionally resonant stop-motion flick is a twisted marvel. Directed by Henry Selick (who helmed the bewitchingly macabre The Nightmare Before Christmas) and based upon the best seller by Neil Gaiman, Coraline follows the phantasmagoric exploits of the title character (voiced by Dakota Fanning), a bored 11-year-old who discovers a door in her house that leads to a parallel version of her life — one that at first is enchanting, but soon threatens to entrap our hero. The pundits say Coraline is one of the most visually dazzling pictures to come along in many a moon, and it’s anchored by a delightfully twisted storyline. It’s not only Certified Fresh, it’s also the best-reviewed wide release of the year so far. (Be forewarned, however; the scribes say this film may be too scary for small children.)



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He’s Just Not That Into You

He’s Just Not That Into You is the latest in a long line of romantic comedies that attempt to navigate the complexities of modern relationships. The movie’s problem, critics say, is that by juggling so many plot threads it ends up giving a short shrift to characterization and insight. An embarrassment of talented actors (including Jennifer Aniston, Drew Barrymore, Scarlett Johansson, Ben Affleck, and Jennifer Connelly) play Baltimore residents who are attempting to find the perfect match, but are regularly stymied by self-questioning and unreturned phone calls. The pundits say the film is bogged down by the fact that there’s too much going on for the characters to emerge as three-dimensional personalities, thus reducing its talented thespians (despite their best efforts) to playing stereotypes.



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The Pink Panther 2

As the self-important, supremely incompetent, and impenetrably-accented Inspector Clouseau, Peter Sellers created one of the most memorable comic characters of modern times. Steve Martin is a very funny guy too, but critics say that’s not enough to redeem The Pink Panther 2‘s uninspired script and tired gags. In the second installment starring Martin, Clouseau is enlisted into a team of super detectives in order to track down some priceless cultural artifacts that have been purloined by a rogue named the Tornado. The pundits say that like its predecessor, The Pink Panther 2 is a “beumb”; it’s aimlessly plotted and emphasizes lame slapstick gags at the expense of the considerable talents of Martin, John Cleese, Lily Tomlin, Jeremy Irons, and Aishwarya Rai, among others. (Check out this week’s Total Recall, in which we explore Martin’s best-reviewed movies, and click here for co-star Jean Reno‘s five favorite films.)



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Push

Establishing a credible science fiction world — especially one containing characters with super abilities — is a tall order. Unfortunately, critics say Push isn’t up to it, squandering an intriguing premise with hyperkinetic pacing and a general lack of coherence. Chris Evans plays Nick, who has remarkable paranormal powers and finds himself on the run from unseemly government agents, including the dangerous Henry (Djimon Hounsou), who want to utilize his abilities for their own means. The pundits say that despite director Paul McGuigan‘s visual flair, Push is really hard to follow, with a convoluted script and an excess of style. (Check out our interview with McGuigan, in which he shares his five favorite films with RT.)


Also opening this week in limited release:

  • Chocolate, a bizarre Thai martial arts flick about an autistic girl with remarkable fighting skills, is at 71 percent.
  • Our City Dreams, a documentary about a year in the life of five female artists in New York City, is at 67 percent.
  • The road trip comedy Fanboys, which follows several Star Wars fanatics on their quest to see The Phantom Menace before its release, is at 27 percent.
  • Memorial Day, a mockumentary about a group of hard-partying soldiers and their bad behavior on leave and in Iraq, is at 14 percent.

Four new releases hit North American multiplexes on Friday setting up a pair of cinematic fights. The main event sees rival franchise comedies go at it for the number one spot with He’s Just Not That Into You targeting the date crowd and The Pink Panther 2 reaching out to kids and families. The second battle is between two short-titled films starring young superstar Dakota Fanning who voices the title character in the girly animated fantasy and co-stars as a teen bad-ass in the sci-fi actioner Push. The overall box office looks to easily outpace the same weekend from a year ago.

The battle of the sexes unfolds this weekend with the all-star comedy He’s Just Not That Into You as the popular relationship book jumps to the big screen. The PG-13 film brings together the acting talents of Jennifer Aniston, Drew Barrymore, Ben Affleck, Scarlett Johansson, and Jennifer Connelly. Seeing broader potential, Warner Bros. set up a marketing push for the New Line production that targets both genders preventing a ladies-only turnout. Sure females will outnumber the chaps, but a significant number of couples will pick up tickets since it doesn’t have an ultra chick flick vibe. You should target the same audiences that last year generated openings of $20.2M for What Happens in Vegas, $21.6M for Fool’s Gold, and $23M for 27 Dresses.

Indeed with Valentine’s Day around the corner and recent weeks being dominated by Clint, Blart, and Liam, there is an opening for a romantic comedy to score with young women. And the cast is young enough to draw in celebrity-obsessed teens too. Direct competition should not be too fierce which could open the door for a top spot bow. With a built-in audience from the self-help book and plenty of star wattage, a solid turnout should be expected this weekend. After that, it’ll be up to words from the mouth. Opening in 3,175 theaters, He’s Just Not That Into You could pull in about $22M this weekend.


He’s Just Not That Into You

Nearly three years to the day after Steve Martin rebooted the classic bumbling sleuth franchise, the funnyman returns with The Pink Panther 2 reuniting him with past co-stars while new cast members join in too. The PG-rated pic features Jean Reno and Emily Mortimer reprising their roles from the 2006 edition and sees additions with John Cleese, Alfred Molina, Andy Garcia, Lily Tomlin, Jeremy Irons, and Aishwarya Rai Bachchan. The last Panther, which was also one of four new wide releases on the weekend before the Presidents’ Day frame, bowed at number one to a solid $20.2M from 3,477 locations and went on to gross $82.2M domestically and $159M worldwide. Knowing the international potential of the franchise, actors from across the globe were tossed in along with a story that unites a dream team of detectives from all parts of the world banding together to solve a new case.

The family audience is the target here and given the success of the last film, there should certainly be a built-in audience here. Weak reviews should matter not. Fans have not been clamoring for a new adventure so don’t expect the opening weekend to far exceed the last one’s, but rather mimic it. Competition will be a factor since the PG-rated comedies Paul Blart: Mall Cop and Hotel For Dogs have given this crowd plenty of physical humor over the last three weeks with close to $135M in combined sales. Plus Coraline may take away some girls not interested in seeing grown men fall flat on their faces. Sony breaks into more than 3,000 theaters with The Pink Panther 2 and could see a debut of around $20M.


Steve Martin as Inspector Clouseau in The Pink Panther 2

Chris Evans turns his flame off but remains in the sci-fi action genre with Push, a Hong Kong-set thriller about a group of operatives with paranormal powers that must fight the government agency out to exploit them. The PG-13 film co-stars Dakota Fanning and Djimon Hounsou. As the latest young-skewing movie to brand its title and release date across the top of its entire 30-second television spot, Push should play to teens and young adults and skew a bit more male. A slick trailer from Summit has been selling the picture well which is crucial since the stars are known, but far from sure things at the box office. With no new action entries to face this weekend, the main competition will come from the current chart-topper Taken which proved last weekend that an appetite is still there for interesting action films. Floating into 2,313 theaters, Push could make off with about $10M this weekend.


Chris Evans and Dakota Fanning in Push

Fanning fans who find her new tough-girl persona too radical in Push can rest easy. The actress voices the title character in the stop-motion pic Coraline playing an 11-year-old girl who discovers a gateway to a mysterious new world in her new house. The PG-rated film from Focus should play to a young audience of kids and skew female. It will have to compete with Pink Panther which is a bigger brand name to girls and parents so it won’t be easy this weekend. But despite the recent round of PG-rated content, there have been no new animated films since mid-December’s The Tale of Despereaux so there should be some takers this weekend, especially among moms and daughters. Selling this to ten-year-old boys will be tougher. The advertising has been shrewdly pitching Coraline as being from the director of James and the Giant Peach which many think was helmed by Tim Burton. He produced. A respectable opening should result and good legs could follow since many schools take time off in February for winter breaks and Presidents’ Day. Sneaking into about 2,100 locations, Coraline may debut to roughly $9M this weekend.


Coraline

Liam Neeson still aims to make his presence felt in the top three this weekend. His action thriller Taken scored a major opening last weekend despite facing off against the highest-rated Super Bowl ever. Audiences responded to the raw nature of the kidnapping pic’s marketing push. A 40% drop may occur this frame giving Fox about $14.5M and an impressive ten-day total of $47M.

Sony’s Paul Blart: Mall Cop has a new bumbling crime-fighter to deal with which happens to be another PG-rated comedy from the same studio. Pink Panther should provide some direct competition for families and young kids looking for mindless humor. Look for a 35% fall to roughly $9M boosting the 24-day cume to a jolly $95M.

Not faring all that well last weekend was the supernatural thriller The Uninvited which failed to open the way so many previous horror films debuting over Super Bowl weekend have. Fans seem to have had enough fright flicks over the last few weeks. The road ahead is creepy too with nothing here to keep the numbers alive. A fall of 55% may result putting the Paramount title at around $4.5M this weekend pushing the sum to $16.5M.

LAST YEAR: The comedy-adventure Fool’s Gold which reunited Matthew McConaughey and Kate Hudson debuted at number one with $21.6M. The Warner Bros. release went on to capture $70.2M. Opening in second place in 738 fewer theaters but with a nearly identical average was Martin Lawrence‘s comedy Welcome Home Roscoe Jenkins with $16.2M. A $42.4M final resulted for the Universal title. Former champ Hannah Montana & Miley Cyrus tumbled 67% and fell from first to third with $10.3M in its sophomore session for Disney. Rounding out the top five were The Eye with $6.5M and Juno with $5.6M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

It isn’t the most highly anticipated sequel of the year, but The Pink Panther 2 opens this weekend, and in honor of Steve Martin‘s second turn as the successful-in-spite-of-himself Inspector Clouseau, we decided this would be a great time to look back at the best-reviewed movies of his career.

Over the last three decades, Martin has done it all: starred in classic comedies (The Jerk), critically lauded dramas (The Spanish Prisoner), and even a musical (Pennies from Heaven). He’s written books, plays, and is currently promoting his first album of original banjo music alongside Pink Panther 2; clearly, even in the collection of larger-than-life personalities known as Hollywood, Steve Martin is in a class of his own. So let’s spin the dials on the Tomatometer and relive the 10 freshest films in the Martin filmography — and when we’re done, have a look at the rest of his releases, including all your favorites that missed the cut!


10. Pennies from Heaven (83 percent)

Worried about being typecast as a buffoon, Martin used the career capital he’d earned with The Jerk to make his dramatic debut in the American remake of the 1978 BBC series Pennies from Heaven. Having loved the source material — he publicly proclaimed it “the greatest thing I’ve ever seen” — Martin went all out for the role of Depression-era sheet-music salesman Arthur Parker, taking six months of tap-dancing lessons in preparation for what ended up being one of the more critically well-received flops of the first half of the decade. Although audiences ignored Pennies, bringing in a paltry $9 million return on its $22 million budget — and Fred Astaire bitterly bemoaned the use of his old footage in a film he derided as “cheap and vulgar…froth” — many critics appreciated the script’s cynical update on the classic musicals of the 1930s; Roger Ebert captured the mood of many of his peers when he termed it “dazzling and disappointing in equal measure.”


9. The Jerk (83 percent)

Martin’s first role in a feature film came in 1978’s Sgt. Pepper’s Lonely Hearts Club Band, but the less said about that, the better; for all intents and purposes, his movie career kicked off with his appearance as the simpleminded Navin R. Johnson in the rags-to-riches-and-back-again story The Jerk. While it certainly isn’t for everyone — if you require your comedies to have brains to go along with their hearts, or even to make complete sense from start to finish, then you may not find it all that funny — but it’s full of classic bits, and Martin’s willingness to get dumb helped blaze a trail for everyone from Adam Sandler to Jim Carrey. (Don’t thank him all at once.) Not all critics appreciated The Jerk when it was released, but it’s aged well, moving into the pop-culture consciousness and inspiring fond memories in scribes like Channel 4 Film‘s Richard Luck, who wistfully remarked, “if only he could have satisfied himself with this area of expertise, people would still talk of Steve Martin as one of the kings of comic cinema.”

 

8. Dirty Rotten Scoundrels (88 percent)

Faithful in story, if not entirely in spirit, to 1964’s David Niven/Marlon Brando farce Bedtime Story, 1988’s Dirty Rotten Scoundrels acts as a sort of closing chapter in the career of Steve Martin, absurdist funnyman; after yukking it up with Michael Caine in the French countryside for this tale of dueling grifters — and offending eyepatch-wearing inbreds everywhere with his unforgettable scenes as Ruprecht the Monkey Boy — Martin mostly avoided abject silliness until signing on for The Pink Panther. Critics were, for the most part, quite kind to Scoundrels; although they were quick to point out the film’s recycled origins, as well as the occasional plot defect, the fun being had by the leads is as obvious as it is infectious. In the words of the BBC‘s George Perry, “there is a slightly perfunctory air in the way the story unreels as though it’s all been done before. Nevertheless, Caine and Martin make a great double act.”


7. The Spanish Prisoner (88 percent)

Although Martin had attempted a number of dramatic roles by the late 1990s, his appearance in David Mamet’s The Spanish Prisoner still seemed like something of a revelation — partly because it came during a period in which Martin was receiving positive notice for branching out into new areas (the 1993 play Picasso at the Lapin Agile; his essay-writing gig for the New Yorker), and partly because it was a good deal more entertaining than any of his recent comedies (including Mixed Nuts and Sgt. Bilko). Of course, the star of any Mamet production is Mamet’s script — something pointed out by several critics who took issue with the many Mamet-isms in The Spanish Prisoner‘s dialogue — but Martin acquitted himself admirably as Jimmy Dell, the mysterious stranger who may or may not be pulling the strings in a high-stakes con, impressing writers like Filmcritic‘s Christopher Null, who wrote “Steve Martin and Campbell Scott — wow! Who knew they had such talent?”

 

6. All of Me (89 percent)

Between 1978 and 1984, Martin averaged a film a year, encompassing everything from typically Martinesque comedies (The Jerk, The Man with Two Brains) to a musical revival (Pennies from Heaven) and a film noir parody (Dead Men Don’t Wear Plaid). Not everything he made during this period was particularly well-received, either by critics or filmgoers, but 1984’s All of Me represents an early career peak. Teaming with director Carl Reiner for the fourth time, Martin plays Roger Cobb, an attorney/jazz guitarist who ends up having half of his body taken over by the spirit of a deceased client (played by Lily Tomlin). The setup is ridiculous, but it allows Martin plenty of room to display his incredible gift for physical comedy; the scenes in which he struggles with Tomlin’s spirit for control of his body would make the movie worth watching even if they were its only good qualities. Fortunately, there’s a very good story, and some fine performances, behind all the laughs; as Time Magazine‘s Richard Corliss observed, “Martin vaults to the top of the class with his brazen, precise performance. This one goes in the time capsule.”


5. Little Shop of Horrors (91 percent)

Okay, so Little Shop of Horrors isn’t a Steve Martin movie in the truest sense; his appearance as the sadistic dentist Orin Scrivello is basically a glorified cameo. But what a cameo it is — Martin’s big musical number, the terrifically witty “Dentist!,” just about steals the show, which is all the more impressive when you stop to consider that the show in question features a bloodthirsty talking plant with spellbindingly full lips and the voice of Levi Stubbs. Most critics enjoyed this colorful, Frank Oz-directed musical update on Roger Corman’s 1960 film, but even the ones who didn’t — such as eFilmCritic‘s Brian McKay — admitted that Little Shop is “made tolerable by Steve Martin and the talking plant.”

 

4. Parenthood (92 percent)

Ten years after redefining doofus comedy with 1979’s The Jerk, Steve Martin had (mostly) traded in props and pratfalls — and he cemented his more reflective, mature on-screen persona with his appearance as sensitive dad Gil Buckman in Ron Howard’s Parenthood. Blending comedy and drama with crowded casts was trendy for a time in the late ’80s (thirtysomething, anyone?), and there are few better examples of the “dramedy” subgenre than this tender, witty look at the tangled bonds between parents and their kids; Parenthood was greeted with a wave of glowing reviews upon its release, many of them reserving their highest praise for the uncommon dexterity with which the story (written by Howard, Lowell Ganz, and Babaloo Mandel) jumps between its numerous threads. Martin disappointed some critics (and fans) by trading in madcap laughs for gentle observations, but there’s no denying he did it well. As Rolling Stone‘s Peter Travers pointed out, “It’s a shock, and a welcome one, to see Steve Martin cast against type as a doting dad. Martin’s nippy wit continually lifts this movie above the swamp of sentiment.”


3. Roxanne (93 percent)

The years leading up to Roxanne were not the most active ones for Steve Martin — after 1984’s All of Me, he surfaced only to make a brief appearance in 1986’s Little Shop of Horrors remake and co-star with Chevy Chase and Martin Short in ¡Three Amigos! the same year — and this was due, in part, to the time he spent working on the script for Roxanne. A loose modern update on Edmond Rostand’s Cyrano de Bergerac, it stars Martin as C.D. “Charlie” Bales, a small-town fire chief and all-around good guy who just happens to have an enormous nose. Afraid to express his feelings for the titular object of his affections (played by Daryl Hannah), he compensates by helping a loutish volunteer fireman woo her. Like many Martin movies, Roxanne is unabashedly sweet, and although some critics found it overly sentimental — Variety dismissed it as “hopelessly sappy stuff” — most agreed with the Washington Post‘s Hal Hinson, who held it up as “the most unabashed, and most satisfying, romantic movie to come along in years” and “a swooning, delicate, heart-on-its-sleeve work.”

 

2. L.A. Story (94 percent)

New York has received plenty of cinematic love letters in its day — take, for instance, the bulk of Woody Allen’s output — but what about poor, smoggy Los Angeles? Steve Martin addressed this imbalance when he wrote and starred in 1991’s L.A. Story, an affectionate sendup of the city’s many foibles (and tribute to its strengths) in which he played Harris K. Telemacher, a down-on-his-luck weatherman whose quest for meaningful relationships is aided by a riddle-dispensing electronic billboard. It sounds ludicrous — and it is — but it’s also very charming and often very funny. As Vincent Canby of the New York Times put it, “Like Mr. Martin himself, L.A. Story seems basically decent, intelligent and sweet. It’s a fanciful romantic comedy whose wildest and craziest notion is that Los Angeles, for all of its eccentricities, is a great place to live.”


1. Planes, Trains and Automobiles (95 percent)

Today it’s regarded as a modern holiday classic, but in 1987, a person could have been forgiven for assuming Planes, Trains and Automobiles would be little more than lowbrow piffle; after all, neither its stars nor its writer/director were known to pass up any opportunity to make a joke about a bodily function. But guess what? Planes proved that John Hughes could make an adult comedy when the mood struck him, provided John Candy with an opportunity to broaden his range, and gave Martin his second non-wild and crazy role in less than a year. As Neal Page, the uptight ad exec who watches haplessly as his 90-minute flight home devolves into a torturous three-day journey, Martin has plenty of chances to go for easy laughs — but he also shows a subtler, more restrained side, one that foreshadowed some of the projects he’d choose in the years to come. It is, in the words of Moviehole‘s Clint Morris, “One of John Hughes’ finest hours, and a tour de force for Candy and Martin.”


For Steve Martin’s complete filmography, click here. And check out the rest of our Total Recall archives here.

Finally, here’s everyone’s favorite wild and crazy guy doing one of his most celebrated standup numbers, “King Tut”:


Jean Reno
American audiences who know Jean Reno strictly from Luc Besson productions
(The Professional, Nikita, The Big Blue, Wasabi) and
smart action blockbusters (Ronin, Mission: Impossible, The
Crimson Rivers
) will be surprised how little ass-kicking he does in his role
as Ponton in The Pink Panther 2, opening this Friday. As family man
partner to eternal-bumbler Inspector Clouseau (Steve Martin), Reno’s character
is indeed one of the few to escape the mystery without slipping, falling, or
crashing into solid objects. But it’s representative of Reno’s career, a varied
body of work that frequently crosses over into video games, French slapstick,
and romantic comedies that is rarely seen in the States. RT spoke with Reno
recently to get his Five Favorite Films.

Apocalypse
Now
(1979, 98% Tomatometer)



Apocalypse Now
It’s like a surge of intimacy of human beings, you know? It is spectacular. It is well done, a lot of actors, and I like very much Coppola as a director. I like the performance of the main role, the guy…he had a heart attack. I don’t remember his name. Martin Sheen. I almost said Martin Short. [laughs] I like also the performance of Marlon Brando. I like it very much, that movie.

Taxi Driver (1979,
100% Tomatometer)

Taxi DriverIt was a shock, a real shock. The acting was so sincere, so honest. Brilliant performances from everybody, from Robert DeNiro and Jodie Foster. There are always good moments in the movie business, but that was a very intense moment in the American cinema. It was amazing to see those movies.




Life is Beautiful
(1998, 77% Tomatometer)



Life is Beautiful
A movie I like very much by Roberto Benigni. It’s a way of talking about a very serious matter through a comic form. A touching form. That was a new way of speaking of a moment in the history of humanity. Very painful.
[Having worked with him on The Tiger and the Snow], Benigni is somebody who [writes] the script and he is somebody who [interprets] the script, but he will let you very free. He is not a dictator. Basically, he is a poet. Somebody who sees the world through his own eyes in a poetic way. [The Tiger and the Snow] is a movie I like because he wanted to talk about the war through his eyes, and it is a very honest movie. Very.


Il Sorpasso (1954, Tomatometer N/A)



Il Sorpasso
Italian, a black-and-white movie. If you go to the internet, you can find it. Dino Risi movie, with Vittorio Gassman acting in it. And a French actor named Jean-Louis Trintignant. It is about somebody who is pretentious, who’s always speaking [loudly], always speaking about himself. And somebody in front who is shy. The story is about changing personality, and the moral of the story is, “If you want to change your personality, change with your own rhythm. Don’t try to imitate people.”
[This was] reality because so many people try to imitate things that they have seen without any reasons inside themselves. They just want to imitate because they have seen that on screen or in a book. Instead of following their own rhythm, their own needs. I still remember that… long time ago. 30 years
ago.




Beauty and the Beast
(1946, 95% Tomatometer)



Beauty and the Beast
Cocteau, black-and-white, with Jean Marais. That was [a] way of telling stories…very, very [strangely]. I was very shocked because everything [becomes] possible [when] you can present your story in a poetic way. And the voice of the actor…

When you are young, you understand [here] that even if you are not handsome, you can find love, because the girl loved the beast. [chuckles] It came maybe from my fears when I was young, not to find a girl, not to seduce. You know what I mean?


The Pink
Panther 2
opens in wide release February 6, 2009.
Click here for a full synopsis, photo gallery and trailers.

Want more Five Favorite Films? Check out previous installments with Ernest Borgnine, Mickey Rourke, Danny Boyle, and James Franco.

Steve Martin and Diane Keaton, whose chemistry helped propel Father of the Bride and Father of the Bride Part II to the top of the box office, are reuniting onscreen.

Variety reports that the duo has signed on to star in Paramount’s One Big Happy, described as “a comic pitch from Party of Five creators Chris Keyser and Amy Lippman.” From the article:

Concept is being kept under wraps, but sources describe “One Big Happy” as a family comedy about a couple and a family reconnecting amid various obstacles. The material is a strong match for Martin and Keaton, who played a married couple in the Charles Shyer-directed “Father of the Bride” and its sequel.

The project continues a solid run for Keaton, who was most recently seen in Mama’s Boy and Mad Money, and will act as the follow-up for Martin’s Pink Panther 2.

Source: Variety

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