The nominations for the 65th annual Golden Globe Awards were announced this morning. Did your favorite films, stars, and songs make the cut?
The nominees were read at the Beverly Hilton by a surreal panel consisting of Dane Cook, Hayden Panettiere, Ryan Reynolds, and Quentin Tarantino. The film nominations follow below, with Tomatometers in parentheses:
American Gangster (79 percent)
Atonement (85 percent)
Eastern Promises (88 percent)
The Great Debaters
Michael Clayton (90 percent)
No Country for Old Men (95 percent)
There Will Be Blood (100 percent)
Cate Blanchett, Elizabeth: The Golden Age (34 percent)
Julie Christie, Away From Her (95 percent)
Jodie Foster, The Brave One (45 percent)
Angelina Jolie, A Mighty Heart (77 percent)
Keira Knightley, Atonement
Actor, Musical or Comedy:
Johnny Depp, Sweeney Todd
Ryan Gosling, Lars and the Real Girl (78 percent)
Tom Hanks, Charlie Wilson’s War
Philip Seymour Hoffman, The Savages (89 percent)
John C. Reilly, Walk Hard: The Dewey Cox Story
Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford (75 percent)
Javier Bardem, No Country for Old Men
Philip Seymour Hoffman, Charlie Wilson’s War
John Travolta, Hairspray
Tom Wilkinson, Michael Clayton
Tim Burton, Sweeney Todd
Ethan Coen and Joel Coen, No Country for Old Men
Julian Schnabel, The Diving Bell and the Butterfly (94 percent)
Ridley Scott, American Gangster
Joe Wright, Atonement
4 Months, 3 Weeks and 2 Days, Romania (96 percent)
The Diving Bell and the Butterfly, France and U.S.
The Kite Runner, U.S. (65 percent)
Lust, Caution, Taiwan (64 percent)
Persepolis, France (100 percent)
Michael Brook, Kaki King, Eddie Vedder, Into the Wild (82 percent)
Clint Eastwood, Grace Is Gone (70 percent)
Alberto Iglesias, The Kite Runner
Dario Marianelli, Atonement
Howard Shore, Eastern Promises
Original Song: Despedida from Love in the Time of Cholera (28 percent)
Grace Is Gone from Grace Is Gone
Guaranteed from Into the Wild
That’s How You Know from Enchanted
Walk Hard from Walk Hard: The Dewey Cox Story
Paramount reigned supreme at the North American box office as its animated
adventure tale Beowulf seized the number one spot in its opening weekend while
the studio’s other toon
Movie finished in second place in its third frame.
But the overall marketplace remained troubled posting ticket sales that were
more like October numbers than like the typically robust figures seen in
November. In fact, the top ten films combined for just over $92M making it the
worst showing in nine years for the weekend before Thanksgiving.
The 3D computer-animated actioner Beowulf collected an estimated $28.1M over the
Friday-to-Sunday period becoming the top choice of movie fans this weekend.
Attacking 3,153 theaters, the PG-13 film averaged a strong $8,912 per location
for Paramount which scored its seventh number one hit of 2007. The
picture used motion capture technology to tell the story of a Viking warrior who
saves a kingdom from demonic beasts. Ray Winstone
Angelina Jolie contributed their voices and
likenesses. Reviews were generally favorable.
Beowulf was the widest opener ever for a 3D film with over 700 of the venues
offering the adventure in the high-tech format. The Real D format accounted for
638 of the locations (20% of the total) and roughly $8M (28%) of the weekend
gross. Several dozen Imax sites also played the 3D version while traditional
theaters played the 2D one. According to studio research the audience was 60%
male and was split evenly between those over and under the age of 25.
Warner Bros. co-financed the $150M project and opened Beowulf in several
international territories day-and-date with the domestic bow. The ancient epic
grossed an estimated $17M overseas from 2,500 screens in 13 markets for a global
opening of $45.1M. It enjoyed solid second-place debuts in the United Kingdom
and Germany and rang up number one bows in many Asian markets like Hong Kong,
South Korea, Thailand, and Singapore. Beowulf invades France, Russia, Spain, and
Mexico later this week and attacks Australia, Brazil, and Japan on the following
Paramount also claimed the silver medal with another toon, the
Movie, which dropped 44% to an estimated $14.3M in its third outing.
After 17 days of release, the PG-rated kidpic has amassed $93.9M from just under
4,000 theaters and could be headed for $130-140M by the end of its domestic run.
The one-two punch of Beowulf and Bee marked the first time in three years that
animated films occupied the top two positions at the box office. The last
occurrence was over the November 12-14, 2004 frame when
The Incredibles remained
number one with a mighty $50.3M in its sophomore session and Zemeckis’
Express opened in second with $23.3M. Only two other times this year has one
studio claimed the top two films. Warner Bros. ruled the March 23-25 weekend
with TMNT and
300 while a few weeks later Paramount reigned with
Blades of Glory.
Despite the studio’s killer B’s leading the box office, the overall marketplace
was in bad shape which does not bode well for the end of what has been a record
year. The top ten films have now failed to break the $100M mark over
back-to-back weekends during the normally busy month of November. This has not
occurred during this month since 2000. Also, the weekend before Thanksgiving is
routinely used by Hollywood studios to launch some of their biggest holiday
season blockbusters. Beowulf generated the worst opening for a number one film
over this high-profile frame in nine years. Clearly the box office is lacking
strength right now and moviegoers are losing excitement over the current menu of
films that studios have served up. To make things worse, the next two weekends
lack any film expected to see explosive sales.
shot up another $13.2M in ticket stubs, according to
estimates, and raised its 17-day cume to $101M. Off 45%, the
Crowe hit became the 21st film of 2007 to break the century
mark and the fifth for Universal which leads all studios. Warner Bros, Fox,
Buena Vista, and Sony have all claimed three such blockbusters each this year
with Paramount close to joining them when Bee Movie crosses the barrier later
this week. Gangster should head towards $130-140M domestically.
In Europe, the
Ridley Scott-helmed crime saga began generating heat with number
one openings in the United Kingdom, Germany, France, Belgium, Portugal, and
Switzerland for an international weekend haul of $14M from 1,471 theaters in 14
markets. In the U.K., Gangster went head to head against the debut of Beowulf
and beat it by 13%.
Fox attracted mediocre numbers for its new kidpic Mr. Magorium’s Wonder
Emporium which opened in fifth with an estimated $10M from 3,164 sites. The G-rated tale
Dustin Hoffman and
Natalie Portman averaged a mild $3,168 per theater.
Reviews were mostly negative and competing family films from a busy bee and
Santa’s brother provided ample competition for the target audience.
For the third straight weekend, the Steve Carell dramedy
Dan in Real Life
enjoyed the smallest drop in the top ten as the Buena Vista release continued to
benefit from solid word-of-mouth. The romantic comedy dipped only 25% to an
estimated $4.5M in its fourth frame and pushed its total up to $37.1M. A $50M
final could result.
The latest offering from the
No Country for
Old Men expanded into
wider release and posted sensational numbers allowing it to enter the top ten at
number seven while still only playing in 148 theaters. The R-rated thriller
starring Tommy Lee Jones,
Javier Bardem, and
Josh Brolin grossed an estimated
$3.1M for a scorching $20,932 average lifting the total to $4.9M from limited
play. Strong reviews, good word-of-mouth, and a loyal fan following for the
filmmaking duo helped to keep Country going strong. On Wednesday, Miramax will
go nationwide by widening the pic to about 800 locations giving upscale adult
audiences something meaty for the turkey frame. Paramount Vantage co-financed
Tumbling 57% in its sophomore frame, the political snoozer
Lions for Lambs
fell to eighth with an estimated $2.9M giving the MGM release a wimpy $11.6M in
ten days. Produced for $35M, the
Tom Cruise–Robert Redford–Meryl
should end its run with about half its budget in domestic grosses. Poor reviews
and off-putting subject matter negated the starpower that the film tried to rely
on for commercial success. Redford will have the honor of directing Cruise’s
lowest-grossing movie since
Legend which took in a mere $15.5M in 1986.
Factoring in inflation over the superstar’s quarter-century career, Lions For
Lambs will end up selling the second fewest number of tickets for Tom Cruise
beating only 1983’s Losin’ It which found most of its audience on VHS tapes and
late-night cable television airings.
The horror sequel
Saw IV fell 53% to an estimated $2.3M in its fourth weekend
and lifted its cume to $61.8M. Look for a $66M final gross putting it ahead of
Saw‘s $55.2M from 2004, but behind the $87M of
Saw II and the $80.2M of last
year’s Saw III.
Together the four torture flicks will reach $288M in combined domestic grosses
with another installment in the works.
It’s a rare weekend when Javier Bardem stars in two films that reach the top
ten, but the acclaimed actor also saw his romantic drama Love in the Time of Cholera debut in the ten spot with an estimated $1.9M. Panned by critics, the
R-rated pic averaged a poor $2,201 from 852 locations for New Line. Thanks to
Cholera, the box office has now seen wide releases bow to averages of less than
$2,500 during nine of the last ten frames.
Despite mixed reviews from critics, the
Nicole Kidman–Jennifer Jason Leigh drama
Margot at the Wedding
opened to muscular numbers in its platform bow in
Manhattan with an estimated $83,000 from two locations for a sizzling $41,465
average. Paramount Vantage will expand the R-rated dysfunctional family drama
into 35 theaters in the top dozen markets across North America.
Four films dropped out of the top ten this weekend. Disney’s hit family comedy
The Game Plan
was the top-grossing picture during the September-October corridor
and fell 51% to an estimated $1.2M. With a robust $87.4M to date, the sports
flick should finish with just over $90M matching The Rock’s biggest film in a
leading role – $90.5M for 2002’s The Scorpion King. Summit’s fright flick
P2 tumbled 62% in its sophomore session to an estimated $800,000. With a weak $3.6M
in ten days, the suspense title should conclude its run with only $5M.
Sony’s $30M vampire thriller
30 Days of Night
has grossed $39.1M to date and looks headed for a finish of just north of $40M.
Child crashed 75% to an estimated $465,000 for a $7.2M sum. Don’t expect
the cume to get much higher than $8M.
The top ten films grossed an estimated $92.4M which was down a troubling 29%
from last year when Happy Feet opened in first place with $41.5M; and down a
disturbing 45% from 2005 when Harry Potter and the Goblet of Fire debuted in the
top spot with $102.3M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
This week at the movies, we’ve got epic poems come to life (Beowulf,
starring Ray Winstone and
Angelina Jolie), a magical toy shop (Mr. Magorium’s Wonder
Dustin Hoffman and
Natalie Portman), and romance in the
midst of infectious disease (Love in the Time of Cholera, starring
Javier Bardem). What do the critics have to say?
First, the bad news: critics say
Beowulf will inspire English teachers
and literary scholars to tear out their hair. The good news? The scribes also
say it’s a flick that fans of bombastic action and phantasmagoria will want give
their right arms for. If you didn’t read the epic poem in school, get thee to a
library; suffice to say the story involves a dude named Beowulf (Ray Winstone)
tangling with mead hall-crashing beast Grendel (Crispin Glover) and
his vengeful, seductive mom (Angelina Jolie, much more attractive than her fictional
progeny would indicate). The pundits say Beowulf‘s amazing visuals are
the biggest draw here, as director
Robert Zemeckis uses dazzling CGI to bring
the classic tale to vivid life. (They also note it’s not for the kiddies,
despite its PG-13 rating.) At 79 percent, Beowulf is Certified Fresh, and
it’s well above Zemeckis’ previous animation/live-action hybrid,
Express (57 percent). (And
our Total Recall feature on Beowulf and animation.)
Everyone can use a dose of magic and whimsy from time to time, right? But
frippery requires a light touch, something critics say
Mr. Magorium’s Wonder
Emporium lacks. Emporium stars
Dustin Hoffman in the title role as
the proprietor of a magic toy store, a place where baubles can come to life,
fueled by imagination;
Natalie Portman plays his protégé. The pundits say the
big problem with Mr. Magorium’s Wonder Emporium is that it ODs on
zaniness in an effort to make up for a bland storyline. At 24 percent on the
Tomatometer, business isn’t all that brisk at this Emporium.
Also opening this week in limited release: the documentary
I for India,
the story of an expat corresponding to his family, is at 100 percent;
Would Jesus Buy?, a doc that explores the commercialization of Christmas, is
at 94 percent; Gregg Araki‘s
Smiley Face, a stoner comedy starring
Faris, is at 67 percent;
Brian De Palma‘s mixed-media look at the horrors of the Iraq war, is at 52 percent (read
our interview with De Palma
here); the Icelandic import
Eleven Men Out,
about a soccer star who comes out of the closet, is at 50 percent;
Margot at the Wedding, starring Nicole Kidman in a tale of
familial strife, is at 47 percent (check out our take from Toronto
Tales, a wildly ambitious sci-fi/political satire starring
Rock" Johnson and
William Scott, is at 42 percent (see our interview
with director Richard Kelly
Recent Natalie Portman Movies:
84% — Paris, Je T’Aime (2007)
29% — Goya’s Ghosts (2007)
24% — Free Zone (2006)
72% — V for Vendetta (2006)
80% — Star Wars Episode III: Revenge of the Sith (2005)
One animated film will bump another from the number one spot at the North American box office. But the new warrior Beowulf is no B movie but an A-list production from an Oscar-winning director offering action audiences something new. Also opening this weekend but likely to see more modest grosses are the family pic Mr. Magorium’s Wonder Emporium and the romantic drama Love in the Time of Cholera. Without a compelling selection of great films, the marketplace should once again fall well below year-ago levels.
Paramount looks to capture the box office crown without the help of DreamWorks this time with Beowulf, a computer-animated action adventure based on the ancient epic poem. The PG-13 film comes from Robert Zemeckis who expands upon the motion capture technology he used in 2004’s The Polar Express. This time around his film is aimed at somewhat older moviegoers as young children will be too frightened by the violence, gore, and yes, nudity. Beowulf aims to pry 14-year-old boys away from their videogame systems and into the multiplexes with a new type of action film that is presented in 3D in selected theaters. Ray Winstone, Anthony Hopkins, and Angelina Jolie lend their voices and digital likenesses.
The marketing has been terrific on the part of the studio. The core audience of young males is excited and ready to buy tickets and the film might even pull in part of the literary crowd curious to see how this classic tale is adapted to the big screen. The marketplace needs something like this now with hits like American Gangster skewing more adult and kidpics like Bee Movie not offering enough violence. If last December’s Eragon could open to $23.2M, then surely Beowulf can target the same crowd and go higher. Launching in over 2,800 theaters, Beowulf could conquer the box office this weekend with about $32M.
LAST YEAR: In a major pre-holiday showdown, the penguin toon Happy Feet edged out the new James Bond film Casino Royale for the number one spot with a strong opening of $41.5M. The Warner Bros. family hit went on to collect $198M domestically and a stellar $384M worldwide. Sony’s relaunched spy series still posted a muscular debut grossing $40.8M over the weekend on its way to $167M domestically and a sensational $595M globally making the Daniel Craig-starrer the top-grossing 007 flick ever. After two weeks on top, Fox’s Borat slipped to third with $14.6M. Rounding out the top five were Disney’s The Santa Clause 3 with $8.3M and the Sony release Stranger Than Fiction with $6.6M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Only five days into development on Prince of Persia, director Mike Newell made the last rounds of press for his current film, Love in the Time of Cholera. When asked about the video game movie, he could barely contain his excitement for the material.
“It’s not a video game movie,” Newell said. “It’s a great story. If you had read the script, you would know that it wasn’t a video game. It’s very exciting and it’s immensely romantic and it’s like Lost Horizon. It takes you to somewhere you’ve never been.”
The film’s script comes courtesy of game creator Jordan Mechner and Day After Tomorrow writer Jeffrey Nachmanoff, based on the Prince of Persia: Sands of Time entry in the multi-game series. The story in Sands of Time involves the titular prince, a magical dagger, a giant sand-filled hourglass, and loads of adventure.
Newell has an assistant playing the video games to brief him on key details. “There’s so much that will happen with that story because it’s 1300 years ago. This girl who was actually a kind of priest… I’m sorry, I’ve been on it five days. I’m full of f***ing ideas. It’ll be terrific.”
One last tidbit before his publicist pulled him away involves an international landmark. “You know what Stonehenge is? Stonehenge is a machine that tells you that the world will survive because every year the sun comes up in exactly the same place.”
You may have heard that all this nasty “Hollywood strike” business had put the long-discussed Prince of Persia film adaptation on the back burner, but Variety is here to set the record straight.
What, you thought a little labor unrest was going to stop Disney and Jerry Bruckheimer from doing whatever they want? According to Variety‘s report, development on the Persia film continues; in fact, the studio and producer have offered Mike Newell (Harry Potter and the Goblet of Fire, Love in the Time of Cholera) the director’s chair.
Nothing’s definite yet — the article says “negotiations are expected to begin shortly” — but there’s a script from Jeffrey Nachmanoff and Jordan Mechner waiting to be filmed, and Newell knows how to make a big-budget picture, so something tells us the dotted lines will be signed soon enough.