Paramount Pictures courtesy Everett Collection

(Photo by Paramount Pictures courtesy Everett Collection)

Nicolas Cage Movies, Ranked by Tomatometer

There’s a lot to be said for consistency, and for film fans, the ability to count on reliably great performances from an actor can be the difference between pre-ordering tickets weeks in advance or waiting until a movie comes out on home video. On the other hand, there’s also an undeniable excitement that comes with unpredictability, and Nicolas Cage‘s filmography is a perfect case in point. From toking up with Sean Penn’s Spicoli in Fast Times at Ridgemont High to waging chainsaw vengeance against the cultists that murdered his wife in Mandy — and beyond — Cage has racked up more than 100 film credits over the last several decades, delivering performances that range from Oscar-winning (Leaving Las Vegas) to wildly over the top (Bad Lieutenant: Port of Call New Orleans) and starring in blockbuster fare (The Rock, National Treasure) as well as acclaimed indies (Raising Arizona, Joe), and we wouldn’t want him any other way.

Most recently, he’s gotten career-best accolades for the drama Pig. Nobody captures the camera’s attention quite like Nicolas Cage, and to honor all those years of singularly entertaining achievement, we’ve rounded up all of his major film roles, sorted by Tomatometer. Read on to see where your favorites rank, and remember: Not the bees!

#88

Deadfall (1993)
0%

#88
Critics Consensus: No consensus yet.
Synopsis: A New Yorker (Michael Biehn) heads to California to find the look-alike brother (James Coburn) of his con-man father.... [More]
Directed By: Christopher Coppola

#87

Grand Isle (2019)
0%

#87
Critics Consensus: No consensus yet.
Synopsis: Walter and his neglected wife lure a young stranger into their Victorian home to escape from a hurricane. When the... [More]
Directed By: Stephen S. Campanelli

#86

Left Behind (2014)
1%

#86
Adjusted Score: 3288%
Critics Consensus: Yea verily, like unto a plague of locusts, Left Behind hath begat a further scourge of devastation upon Nicolas Cage's once-proud filmography.
Synopsis: The entire planet is thrown into mayhem when millions of people disappear without a trace -- all that remains are... [More]
Directed By: Vic Armstrong

#85

Arsenal (2017)
3%

#85
Adjusted Score: 4354%
Critics Consensus: Aside from an opportunity to watch a mustachioed Nicolas Cage acting from under a wig and behind a prosthetic nose, Arsenal has depressingly little to offer.
Synopsis: The Lindel brothers, Mikey and JP, only had each other to rely on growing up. As adults, JP finds success... [More]
Directed By: Steven C. Miller

#84

Outcast (2014)
4%

#84
Adjusted Score: 4030%
Critics Consensus: Unforgivably dull, Outcast fails to deliver virtually all of the goofy fun that should come from a movie starring Nicolas Cage and Hayden Christensen in ancient China.
Synopsis: A fugitive Chinese prince and his sister enlist the aid of two war-weary Crusaders (Nicolas Cage, Hayden Christensen) to help... [More]
Directed By: Nick Powell

#83

211 (2018)
4%

#83
Adjusted Score: 4606%
Critics Consensus: 211's disjointed assortment of action clichés and uninspired set pieces adds up to roughly zero.
Synopsis: Officer Mike Chandler and a young civilian passenger find themselves unprepared and outgunned when fate puts them squarely in-the-crosshairs of... [More]
Directed By: York Shackleton

#82
#82
Adjusted Score: 5521%
Critics Consensus: Loaded with talent but borderline unwatchable, Trapped in Paradise will leave viewers feeling the first part of the title and pining for the last.
Synopsis: Fresh out of prison, Alvin (Dana Carvey) and Dave Firpo (Jon Lovitz) pull their brother Bill (Nicolas Cage) back into... [More]
Directed By: George Gallo

#81
#81
Adjusted Score: 10640%
Critics Consensus: With murky cinematography, a meandering pace, a dull storyline, and rather wooden performances, The Pang Brothers' Hollywood remake of Bangkok Dangerous is unsuccessful.
Synopsis: Remorseless assassin Joe (Nicolas Cage) is in Thailand to complete a series of contract killings for a crime boss called... [More]
Directed By: Oxide Pang, Danny Pang

#80

Fire Birds (1990)
10%

#80
Adjusted Score: 9826%
Critics Consensus: Despite the talent on board, Fire Birds is little more than a subpar military adventure sporting video game-like action, outdated philosophy, and uneven acting.
Synopsis: Army lovers (Nicolas Cage, Sean Young) and their task-force leader (Tommy Lee Jones) join the drug war in Apache assault... [More]
Directed By: David Green

#79

Pay the Ghost (2015)
10%

#79
Adjusted Score: 10344%
Critics Consensus: Pay the Ghost takes a weak stab at supernatural horror, but ultimately, it's only viewers who will pay for watching this sloppily assembled picture.
Synopsis: Haunted by eerie images and unexplainable messages, a man (Nicolas Cage) tries to unravel the mystery behind the disappearance of... [More]
Directed By: Uli Edel

#78
#78
Adjusted Score: 10659%
Critics Consensus: Dying of the Light envelops the spark of several intriguing talents, leaving audiences lost in a yawning void of uninspired filmmaking.
Synopsis: Forced into retirement and terminally ill, a CIA agent (Nicolas Cage) gets word that his longtime nemesis (Alexander Karim) has... [More]
Directed By: Paul Schrader

#77

Trespass (2011)
11%

#77
Adjusted Score: 12270%
Critics Consensus: Another claustrophobic thriller that Joel Schumacher can churn out in his sleep, Trespass is nasty and aggressive, more unpleasant than entertaining.
Synopsis: Fast-talking diamond dealer Kyle Miller (Nicolas Cage) and his wife, Sarah (Nicole Kidman), live the good life in a beautiful... [More]
Directed By: Joel Schumacher

#76
#76
Adjusted Score: 15449%
Critics Consensus: Slow, cheap-looking, and dull, Season of the Witch fails even as unintentional comedy.
Synopsis: His faith broken by many years fighting in the Crusades, a knight named Behman (Nicolas Cage) returns to Europe and... [More]
Directed By: Dominic Sena

#75

Tokarev (2014)
12%

#75
Adjusted Score: 11974%
Critics Consensus: Depressingly dull and all-around poorly made, Rage is the rare Nicolas Cage action thriller lacking enough energy to reach "so bad it's good" territory.
Synopsis: Following the kidnapping and murder of his daughter (Aubrey Peeples), a reformed criminal (Nicolas Cage) returns to his old ways... [More]
Directed By: Paco Cabezas

#74
Adjusted Score: 3769%
Critics Consensus: No consensus yet.
Synopsis: In this animated retelling of Charles Dickens' classic tale, Ebeneezer Scrooge (Simon Callow) remains the same old curmudgeonly hermit. As... [More]
Directed By: Jimmy T. Murakami

#73
#73
Adjusted Score: 15311%
Critics Consensus: No consensus yet.
Synopsis: Diagnosed with a fatal condition, a mob enforcer leaves prison after 19 years and plots a bloody course of revenge... [More]
Directed By: Shawn Ku

#72

The Wicker Man (2006)
15%

#72
Adjusted Score: 18146%
Critics Consensus: Puzzlingly misguided, Neil LaBute's update The Wicker Man struggles against unintentional comedy and fails.
Synopsis: A reclusive lawman (Nicolas Cage) travels to a secluded island to search for a girl who has gone missing. Once... [More]
Directed By: Neil LaBute

#71
Adjusted Score: 15073%
Critics Consensus: No consensus yet.
Synopsis: After their ship is torpedoed by a Japanese submarine, the crew members of the USS Indianapolis face a harrowing nightmare... [More]
Directed By: Mario Van Peebles

#70

Amos & Andrew (1993)
17%

#70
Adjusted Score: 17511%
Critics Consensus: No consensus yet.
Synopsis: When erudite black playwright Andrew Sterling (Samuel L. Jackson) moves to a predominantly white suburb, the buffoonish local police surround... [More]
Directed By: E. Max Frye

#69
Adjusted Score: 21554%
Critics Consensus: With a weak script, uneven CG work, and a Nic Cage performance so predictably loony it's no longer amusing, Ghost Rider: Spirit of Vengeance aims to be trashy fun but ends up as plain trash.
Synopsis: Now hiding out in Eastern Europe, Johnny Blaze (Nicolas Cage) is still struggling with the curse of the Ghost Rider... [More]

#68

Stolen (2012)
20%

#68
Adjusted Score: 20015%
Critics Consensus: No consensus yet.
Synopsis: A former thief (Nicolas Cage) has just 12 hours to come up with $10 million after his former partner (Josh... [More]
Directed By: Simon West

#67

Looking Glass (2018)
21%

#67
Adjusted Score: 20542%
Critics Consensus: Looking Glass gives Nicolas Cage a chance to turn in an atypically understated performance, but this is still a suspense thriller with a fatal dearth of suspense or thrills.
Synopsis: Ray must race to save his wife and himself from a gruesome secret connected to a desert hotel and the... [More]
Directed By: Tim Hunter

#66

Sonny (2002)
22%

#66
Adjusted Score: 22096%
Critics Consensus: Sonny is sunk by debuting director Nicolas Cage's evident inability to locate the heart of his movie's story - or properly modulate his cast's performances.
Synopsis: After a stint in the army, former male prostitute Sonny Phillips (James Franco) returns to his home in a run-down... [More]
Directed By: Nicolas Cage

#65

G-Force (2009)
22%

#65
Adjusted Score: 26780%
Critics Consensus: G-Force features manic action, but fails to come up with interesting characters or an inspired plot.
Synopsis: Armed with the latest high-tech spy gear, a guinea pig named Darwin (Sam Rockwell) and his team of specially trained... [More]
Directed By: Hoyt H. Yeatman Jr.

#64

8MM (1999)
23%

#64
Adjusted Score: 25666%
Critics Consensus: Its sadistic violence is unappealing and is lacking in suspense and mystery.
Synopsis: Private detective Tom Welles (Nicolas Cage) lives a normal life with his wife (Catherine Keener) and young daughter, until he... [More]
Directed By: Joel Schumacher

#63
#63
Adjusted Score: 24640%
Critics Consensus: No consensus yet.
Synopsis: A tenacious federal agent traces the supply line of a group of cagey and experienced cocaine dealers.... [More]
Directed By: Jason Cabell

#62

The Runner (2015)
24%

#62
Adjusted Score: 23703%
Critics Consensus: In spite of a promising premise and a roundly talented cast, The Runner is a disappointing outing to be viewed by only the staunchest of Nicolas Cage completists.
Synopsis: An embarrassing video threatens the career of an idealistic Louisiana congressman (Nicolas Cage) who dreams of running for the Senate.... [More]
Directed By: Austin Stark

#61
#61
Adjusted Score: 12850%
Critics Consensus: No consensus yet.
Synopsis: In the near future, global warming turns parts of the American Midwest into a desert. In its attempt to take... [More]
Directed By: Rob King

#60

Army of One (2016)
25%

#60
Adjusted Score: 19951%
Critics Consensus: No consensus yet.
Synopsis: Gary Faulkner (Nicolas Cage), an ex-con, unemployed handyman, and modern day Don Quixote receives a vision from God telling him... [More]
Directed By: Larry Charles

#59
#59
Adjusted Score: 30115%
Critics Consensus: Even though Oscar-bearers Nicolas Cage, Angelina Jolie, and Robert Duval came aboard for this project, the quality of Gone in 60 Seconds is disappointingly low. The plot line is nonsensical, and even the promised car-chase scenes are boring.
Synopsis: Randall "Memphis" Raines long ago abandoned his life of crime, but after an ominous visit from an old friend, he... [More]
Directed By: Dominic Sena

#58

Ghost Rider (2007)
26%

#58
Adjusted Score: 31746%
Critics Consensus: Ghost Rider is a sour mix of morose, glum histrionics amidst jokey puns and hammy dialogue.
Synopsis: Years ago, motorcycle stuntman Johnny Blaze (Nicolas Cage) sold his soul to save the life of a loved one. Now,... [More]
Directed By: Mark Steven Johnson

#57

Justice (2011)
28%

#57
Adjusted Score: 29724%
Critics Consensus: Seeking Justice is nothing more than a typical potboiler with another phoned-in performance by Nicolas Cage.
Synopsis: A stranger (Guy Pearce) approaches a high-school teacher (Nicolas Cage) and offers to punish his wife's (January Jones) attacker.... [More]
Directed By: Roger Donaldson

#56
Adjusted Score: 31373%
Critics Consensus: The cinematography is gorgeous, but the movie plays it fast and loose with history and the novel it was adapted from. Mostly, the movie fails because the romance between the leads strains credulity and the story is largely uninvolving.
Synopsis: An epic tale about the enduring hope of love and the devastating brutality of war, set amid the Italian occupation... [More]
Directed By: John Madden

#55

Next (2007)
28%

#55
Adjusted Score: 33275%
Critics Consensus: Numerous plot holes and poorly motivated characters prevent Next from being the thought-provoking sci-fi flick it could've been.
Synopsis: Blessed, or cursed, with the ability to see events minutes before they occur, Cris Johnson (Nicolas Cage) earns a living... [More]
Directed By: Lee Tamahori

#54

Inconceivable (2017)
31%

#54
Adjusted Score: 30022%
Critics Consensus: No consensus yet.
Synopsis: Angela develops a friendship with a mysterious woman named Katie and offers her a job as a live-in nanny. The... [More]
Directed By: Jonathan Baker

#53

Zandalee (1991)
33%

#53
Adjusted Score: 17727%
Critics Consensus: No consensus yet.
Synopsis: An artist (Nicolas Cage) drifts to New Orleans and explores the theme of lust with his poet buddy's (Judge Reinhold)... [More]
Directed By: Sam Pillsbury

#52

Windtalkers (2002)
33%

#52
Adjusted Score: 37332%
Critics Consensus: The action sequences are expertly staged. Windtalkers, however, sinks under too many clichés and only superficially touches upon the story of the code talkers.
Synopsis: Marine Joe Enders (Nicolas Cage) is assigned to protect Ben Yahzee (Adam Beach) -- a Navajo code talker, the Marines'... [More]
Directed By: John Woo

#51

Knowing (2009)
34%

#51
Adjusted Score: 40422%
Critics Consensus: Knowing has some interesting ideas and a couple good scenes, but it's weighted down by its absurd plot and over-seriousness.
Synopsis: Fifty years after it was buried in a time capsule, a schoolgirl's cryptic document falls into the hands of Caleb... [More]
Directed By: Alex Proyas

#50
Adjusted Score: 41220%
Critics Consensus: A talented cast goes to waste in the improbable National Treasure: Book of Secrets, which is eerily similar to the first film.
Synopsis: When a long-missing page from the diary of assassin John Wilkes Booth suddenly resurfaces, it implicates the great-great grandfather of... [More]
Directed By: Jon Turteltaub

#49

Primal (2019)
37%

#49
Adjusted Score: 38019%
Critics Consensus: Chiefly of interest to Nicolas Cage completists and hardcore B-movie fans, this action thriller suffers from an unfortunate lack of Primal energy.
Synopsis: Hunter and collector Frank Walsh expects a big payday after bagging a priceless white jaguar for a zoo. But the... [More]
Directed By: Nicholas Powell

#48
#48
Adjusted Score: 47888%
Critics Consensus: It has a likable cast and loads of CGI spectacle, but for all but the least demanding viewers, The Sorcerer's Apprentice will be less than spellbinding.
Synopsis: Dave Stutler (Jay Baruchel) is just an average guy, but the wizard Balthazar Blake (Nicolas Cage) sees in him a... [More]
Directed By: Jon Turteltaub

#47

Snake Eyes (1998)
41%

#47
Adjusted Score: 43268%
Critics Consensus: Snake Eyes has a number of ingredients that promise a trashy fun time; unfortunately, they're lost in an energetic and stylish thriller with a frustratingly hollow core.
Synopsis: Detective Rick Santoro (Nicolas Cage) has never played by the rules. When he attends a high-profile boxing match with his... [More]
Directed By: Brian De Palma

#46
#46
Adjusted Score: 51700%
Critics Consensus: National Treasure is no treasure, but it's a fun ride for those who can forgive its highly improbable plot.
Synopsis: Historian and code-breaker Ben Gates (Nicolas Cage) has been searching his whole life for a rumored treasure dating back to... [More]
Directed By: Jon Turteltaub

#45

Drive Angry (2011)
48%

#45
Adjusted Score: 51342%
Critics Consensus: It may deliver the over-the-top action pieces, but Drive Angry prefers to work safely within grindhouse formula than do something truly unique.
Synopsis: Thrown into hell for his crimes, brutal felon John Milton (Nicolas Cage) escapes from the fiery pit after cultists murder... [More]
Directed By: Patrick Lussier

#44

Dog Eat Dog (2016)
49%

#44
Adjusted Score: 52756%
Critics Consensus: Dog Eat Dog's refreshing bundle of quirks and surfeit of visual style aren't quite enough to compensate for an aimlessly forgettable story.
Synopsis: Ex-cons, Troy (Nicolas Cage), Mad Dog (Willem Dafoe) and Diesel (Christopher Matthew Cook), are hired by an eccentric mob boss... [More]
Directed By: Paul Schrader

#43

Astro Boy (2009)
50%

#43
Adjusted Score: 55855%
Critics Consensus: While it isn't terribly original, and it seems to have a political agenda that may rankle some viewers, Astro Boy boasts enough visual thrills to please its target demographic.
Synopsis: In futuristic Metro City, a brilliant scientist named Tenma builds Astro Boy (Freddie Highmore), a robotic child with superstrength, X-ray... [More]
Directed By: David Bowers

#42

The Family Man (2000)
53%

#42
Adjusted Score: 57760%
Critics Consensus: Despite good performances by Cage and especially by Leoni, The Family Man is too predictable and derivative to add anything new to the Christmas genre. Also, it sinks under its sentimentality.
Synopsis: Jack's lavish, fast-paced lifestyle changes one Christmas night when he stumbles into a grocery store holdup and disarms the gunman.... [More]
Directed By: Brett Ratner

#41

Con Air (1997)
56%

#41
Adjusted Score: 59935%
Critics Consensus: Con Air won't win any awards for believability - and all involved seem cheerfully aware of it, making some of this blockbuster action outing's biggest flaws fairly easy to forgive.
Synopsis: Just-paroled army ranger Cameron Poe (Nicolas Cage) is headed back to his wife (Monica Potter), but must fly home aboard... [More]
Directed By: Simon West

#40

Guarding Tess (1994)
57%

#40
Adjusted Score: 58988%
Critics Consensus: No consensus yet.
Synopsis: Doug Chesnic (Nicolas Cage), an agent with the Secret Service Uniformed Division, is assigned to protect former first lady Tess... [More]
Directed By: Hugh Wilson

#39

City of Angels (1998)
59%

#39
Adjusted Score: 61945%
Critics Consensus: City of Angels may not tug the heartstrings as effortlessly as it aims to, but the end results will still leave more than a few viewers in tears.
Synopsis: This is the story of Seth (Nicolas Cage), an angel who wanders the Los Angeles area invisible to humans. As... [More]
Directed By: Brad Silberling

#38

The Weather Man (2005)
59%

#38
Adjusted Score: 63078%
Critics Consensus: With fine performances and a dark, dry sense of humor, The Weather Man is mostly cloudy with occasional rays of sunshine.
Synopsis: David Spritz (Nicolas Cage) is a Chicago weatherman who, despite success at his job, is deeply unhappy. Eclipsed by his... [More]
Directed By: Gore Verbinski

#37
#37
Adjusted Score: 57005%
Critics Consensus: No consensus yet.
Synopsis: In their last weeks before deployment to World War II as Marines, teenage friends Henry Nash (Sean Penn) and Nicky... [More]
Directed By: Richard Benjamin

#36

Vampire's Kiss (1989)
61%

#36
Adjusted Score: 61211%
Critics Consensus: He's a vampire! He's a vampire! He's a vampire!
Synopsis: The life of white-collar New Yorker Peter (Nicolas Cage) seems to revolve solely around making as much money and sleeping... [More]
Directed By: Robert Bierman

#35
#35
Adjusted Score: 62603%
Critics Consensus: Though this by-the-numbers true procedural seems basic, The Frozen Ground presents a welcome return for Nicolas Cage in a solid performance.
Synopsis: A teenage escapee (Vanessa Hudgens) provides a critical break in the case, as an Alaskan detective (Nicolas Cage) hunts a... [More]
Directed By: Scott Walker

#34
#34
Adjusted Score: 65015%
Critics Consensus: Willy's Wonderland isn't quite as much fun as its premise would suggest -- but it's still got Nicolas Cage beating the hell out of bloodthirsty animatronics, which is nice.
Synopsis: A quiet loner (Nicolas Cage) finds himself stranded in a remote town when his car breaks down. Unable to pay... [More]
Directed By: Kevin Lewis

#33

Lord of War (2005)
61%

#33
Adjusted Score: 67647%
Critics Consensus: While Lord of War is an intelligent examination of the gun trade, it is too scattershot in its plotting to connect.
Synopsis: The 20-year arms dealing career of Queens, N.Y., outcast Yuri Orlov (Nicolas Cage) serves as a window onto the end... [More]
Directed By: Andrew Niccol

#32

Snowden (2016)
61%

#32
Adjusted Score: 76484%
Critics Consensus: Snowden boasts a thrilling fact-based tale and a solid lead performance from Joseph Gordon-Levitt, even if director Oliver Stone saps the story of some of its impact by playing it safe.
Synopsis: Disillusioned with the intelligence community, top contractor Edward Snowden (Joseph Gordon-Levitt) leaves his job at the National Security Agency. He... [More]
Directed By: Oliver Stone

#31

The Ant Bully (2006)
62%

#31
Adjusted Score: 65656%
Critics Consensus: Sometimes inventive and witty, this animated adventure into an ant-sized world is a pleasant diversion.
Synopsis: Tired of weathering constant attacks on their colony, ants shrink a destructive boy, named Lucas (Zach Tyler Eisen), to their... [More]
Directed By: John A. Davis

#30

The Trust (2016)
63%

#30
Adjusted Score: 65061%
Critics Consensus: The Trust may not be an all-time heist classic, but its solidly workmanlike plot -- and the chemistry between Nicolas Cage and Elijah Wood -- should satisfy genre enthusiasts.
Synopsis: Corrupt cops working in the police department evidence room make plans to rob a vault full of drug money in... [More]

#29
#29
Adjusted Score: 65196%
Critics Consensus: Honeymoon in Vegas is a light screwball comedy that has just about what you expect (and nothing you don't).
Synopsis: After losing $65,000 to professional gambler and con man Tommy Korman (James Caan), penniless private investigator Jack Singer (Nicolas Cage)... [More]
Directed By: Andrew Bergman

#28

Wild at Heart (1990)
68%

#28
Adjusted Score: 70551%
Critics Consensus: One of director David Lynch's more uneven efforts, Wild at Heart is held together by his distinctive sensibilities and compelling work from Nicolas Cage and Laura Dern.
Synopsis: After serving prison time for a self-defense killing, Sailor Ripley (Nicolas Cage) reunites with girlfriend Lula Fortune (Laura Dern). Lula's... [More]
Directed By: David Lynch

#27
#27
Adjusted Score: 76168%
Critics Consensus: As a visually stunning tribute to lives lost in tragedy, World Trade Center succeeds unequivocally, and it is more politically muted than many of Stone's other works.
Synopsis: Two Port Authority officers, Sgt. John McLoughlin (Nicolas Cage) and Officer Will Jimeno (Michael Peña), become trapped in the rubble... [More]
Directed By: Oliver Stone

#26

Kiss of Death (1995)
67%

#26
Adjusted Score: 68026%
Critics Consensus: An outstanding ensemble cast propels Kiss of Death, a noir-ish crime thriller that's slick and big on atmosphere, even if its script may only provide sporadic bursts of tension.
Synopsis: After his time in prison, Jimmy Kilmartin (David Caruso) keeps his head down and provides for his wife and kids,... [More]
Directed By: Barbet Schroeder

#25

The Rock (1996)
68%

#25
Adjusted Score: 72222%
Critics Consensus: For visceral thrills, it can't be beat. Just don't expect The Rock to engage your brain.
Synopsis: FBI chemical warfare expert Stanley Goodspeed (Nicolas Cage) is sent on an urgent mission with a former British spy, John... [More]
Directed By: Michael Bay

#24
#24
Adjusted Score: 71695%
Critics Consensus: No consensus yet.
Synopsis: Charlie Lang (Nicolas Cage) is a simple, kindhearted New York City cop. When he realizes he has no money to... [More]
Directed By: Andrew Bergman

#23
#23
Adjusted Score: 75661%
Critics Consensus: Stunning and compelling, Scorsese and Cage succeed at satisfying the audience.
Synopsis: After a disheartening and haunting career wears him down, New York City paramedic Frank Pierce (Nicolas Cage) begins to collapse... [More]
Directed By: Martin Scorsese

#22

The Croods (2013)
72%

#22
Adjusted Score: 76516%
Critics Consensus: While it may not be as (ahem) evolved as the best modern animated fare, The Croods will prove solidly entertaining for families seeking a fast-paced, funny cartoon adventure.
Synopsis: Prehistoric family the Croods live in a particularly dangerous moment in time. Patriarch Grug (Nicolas Cage), his mate, Ugga (Catherine... [More]

#21

Rumble Fish (1983)
74%

#21
Adjusted Score: 76704%
Critics Consensus: Rumble Fish frustrates even as it intrigues, but director Francis Ford Coppola's strong visual style helps compensate for a certain narrative stasis.
Synopsis: Disaffected and restless, Rusty James (Matt Dillon) is spoiling for a fight. Abandoned by his mother and living with his... [More]
Directed By: Francis Ford Coppola

#20

Mom and Dad (2017)
75%

#20
Adjusted Score: 82860%
Critics Consensus: Mom and Dad's gonzo premise serves as an effective springboard for a wickedly dark, bloody comedy - and an appropriately over-the-top performance from Nicolas Cage.
Synopsis: A teenage girl and her little brother try to survive a wild 24 hours during which a mass hysteria of... [More]
Directed By: Brian Taylor

#19

Kick-Ass (2010)
76%

#19
Adjusted Score: 86375%
Critics Consensus: Not for the faint of heart, Kick-Ass takes the comic adaptation genre to new levels of visual style, bloody violence, and gleeful profanity.
Synopsis: Using his love for comics as inspiration, teenager Dave Lizewski (Aaron Johnson) decides to reinvent himself as a superhero --... [More]
Directed By: Matthew Vaughn

#18

The Cotton Club (1984)
77%

#18
Adjusted Score: 77850%
Critics Consensus: Energetic and brimming with memorable performers, The Cotton Club entertains with its visual and musical pizazz even as its plot only garners polite applause.
Synopsis: The lives of various characters intersect at Harlem's renowned Cotton Club. Handsome horn player Dix Dwyer (Richard Gere) falls for... [More]
Directed By: Francis Ford Coppola

#17
Adjusted Score: 83140%
Critics Consensus: While Fast Times at Ridgemont High features Sean Penn's legendary performance, the film endures because it accurately captured the small details of school, work, and teenage life.
Synopsis: Stacy Hamilton (Jennifer Jason Leigh) is a pretty, but inexperienced, teen interested in dating. Given advice by her uninhibited friend,... [More]
Directed By: Amy Heckerling

#16

Matchstick Men (2003)
82%

#16
Adjusted Score: 88573%
Critics Consensus: Breezy and well-acted, Matchstick Men focuses more on the characters than on the con.
Synopsis: Roy (Nicolas Cage), a depressed con artist with obsessive-compulsive disorder, and Frank (Sam Rockwell), his partner, find their line of... [More]
Directed By: Ridley Scott

#15

Birdy (1984)
83%

#15
Adjusted Score: 83758%
Critics Consensus: No consensus yet.
Synopsis: Birdy (Matthew Modine) returns from the Vietnam War scarred from the horrific experiences of battle. He is so damaged by... [More]
Directed By: Alan Parker

#14

Valley Girl (1983)
83%

#14
Adjusted Score: 85175%
Critics Consensus: With engaging performances from its two leads, Valley Girl is a goofy yet amiable film that both subverts and celebrates the cheerful superficiality of teen comedies.
Synopsis: Lovely teen Julie Richman (Deborah Foreman) is steeped in the excessive, pink-clad culture of the San Fernando Valley, complete with... [More]
Directed By: Martha Coolidge

#13
#13
Adjusted Score: 88145%
Critics Consensus: Peggy Sue Got Married may seem just another in a line of '80s boomer nostalgia films, but none of the others have Kathleen Turner keen lead performance.
Synopsis: Peggy Sue Bodell (Kathleen Turner) attends her 25-year high school reunion after separating from her cheating husband, Charlie (Nicolas Cage).... [More]
Directed By: Francis Ford Coppola

#12

Joe (2013)
86%

#12
Adjusted Score: 90378%
Critics Consensus: Rich in atmosphere and anchored by a powerful performance from Nicolas Cage, Joe is a satisfying return to form for its star -- as well as director David Gordon Green.
Synopsis: The rough-hewn boss (Nicolas Cage) of a lumber crew courts trouble when he steps in to protect the youngest member... [More]
Directed By: David Gordon Green

#11
Adjusted Score: 90537%
Critics Consensus: Befitting its unorthodox origins, this Bad Lieutenant benefits from Werner Herzog's typically fearless direction and a delightfully unhinged Nicolas Cage in the title role.
Synopsis: Terence McDonagh (Nicolas Cage) isn't doing so well. He has a nasty painkiller addiction, courtesy of an injury he sustained... [More]
Directed By: Werner Herzog

#10
#10
Adjusted Score: 100395%
Critics Consensus: A welcome return for director Richard Stanley, Color Out of Space mixes tart B-movie pulp with visually alluring Lovecraftian horror and a dash of gonzo Nicolas Cage.
Synopsis: After a meteorite lands in the front yard of their farm, Nathan Gardner and his family find themselves battling a... [More]
Directed By: Richard Stanley

#9
#9
Adjusted Score: 93441%
Critics Consensus: Oscar-awarded Nicolas Cage finds humanity in his character as it bleeds away in this no frills, exhilaratingly dark portrait of destruction.
Synopsis: Adapted from the novel by John O'Brien, this acclaimed drama follows alcoholic screenwriter Ben Sanderson (Nicolas Cage) as he drinks... [More]
Directed By: Mike Figgis

#8

Raising Arizona (1987)
91%

#8
Adjusted Score: 95570%
Critics Consensus: A terrifically original, eccentric screwball comedy, Raising Arizona may not be the Coens' most disciplined movie, but it's one of their most purely entertaining.
Synopsis: An ex-con and an ex-cop meet, marry and long for a child of their own. When it is discovered that... [More]
Directed By: Joel Coen

#7
Adjusted Score: 97545%
Critics Consensus: Teen Titans Go! To the Movies distills the enduring appeal of its colorful characters into a charmingly light-hearted adventure whose wacky humor fuels its infectious fun -- and belies a surprising level of intelligence.
Synopsis: It seems that all the major superheroes out there are starring in their own movies -- all but the Teen... [More]

#6

Adaptation (2002)
91%

#6
Adjusted Score: 97000%
Critics Consensus: Dizzyingly original, the loopy, multi-layered Adaptation is both funny and thought-provoking.
Synopsis: Nicolas Cage is Charlie Kaufman, a confused L.A. screenwriter overwhelmed by feelings of inadequacy, sexual frustration, self-loathing, and by the... [More]
Directed By: Spike Jonze

#5

Face/Off (1997)
92%

#5
Adjusted Score: 96460%
Critics Consensus: John Travolta and Nicolas Cage play cat-and-mouse (and literally play each other) against a beautifully stylized backdrop of typically elegant, over-the-top John Woo violence.
Synopsis: Obsessed with bringing terrorist Castor Troy (Nicolas Cage) to justice, FBI agent Sean Archer (John Travolta) tracks down Troy, who... [More]
Directed By: John Woo

#4

Moonstruck (1987)
94%

#4
Adjusted Score: 98239%
Critics Consensus: Led by energetic performances from Nicolas Cage and Cher, Moonstruck is an exuberantly funny tribute to love and one of the decade's most appealing comedies.
Synopsis: No sooner does Italian-American widow Loretta (Cher) accept a marriage proposal from her doltish boyfriend, Johnny (Danny Aiello), than she... [More]
Directed By: Norman Jewison

#3

Red Rock West (1993)
95%

#3
Adjusted Score: 96586%
Critics Consensus: Red Rock West is a hidden neo-noir gem with some delightful cracks in its surface -- and an opportunity to see Lara Flynn Boyle, Nicolas Cage, Dennis Hopper, and J.T. Walsh go toe-to-toe in all their early '90s glory.
Synopsis: When unemployed ex-marine Michael Williams (Nicolas Cage) stumbles into a bar in Red Rock, Wyo., the owner, Wayne (J.T. Walsh),... [More]
Directed By: John Dahl

#2

Pig (2021)
97%

#2
Adjusted Score: 109638%
Critics Consensus: Like the animal itself, Pig defies the hogwash of expectations with a beautiful odyssey of loss and love anchored by Nicolas Cage's affectingly raw performance.
Synopsis: Living alone in the Oregon wilderness, a truffle hunter returns to Portland to find the person who stole his beloved... [More]
Directed By: Michael Sarnoski

#1
Adjusted Score: 121250%
Critics Consensus: Spider-Man: Into the Spider-Verse matches bold storytelling with striking animation for a purely enjoyable adventure with heart, humor, and plenty of superhero action.
Synopsis: Bitten by a radioactive spider in the subway, Brooklyn teenager Miles Morales suddenly develops mysterious powers that transform him into... [More]

Philip K. Dick was born 1928 and died 1982, just months before the first movie based on a novel he wrote, Blade Runner, would be released, changing the film landscape forever.

In his 52 years, Dick wrote 44 novels and over 100 short stories, mainly within his adopted literary realm of science fiction. At a time when sci-fi was disrespected and stereotyped with martian invaders and zap guns, Dick turned the genre inward, obsessing over themes of identity, humanity, the nature of reality, religion, and drug abuse.

Since 1982, and especially after the release of 1990’s Total Recall, Hollywood has trawled the Dick library for movie ideas. Television has also been getting into the game, with Fox premiering Minority Report in September (Rotten at 29%), and Amazon releasing all 10 episodes today of The Man in the High Castle (Certified Fresh at 97%), an alternate history series that explores life in America if the Axis powers had won World War II.

Now, Rotten Tomatoes explores the history of Philip K. Dick stories on the big screen and how they compare to their literary sources.


Blade Runner (1982) 89%, based on the 1966 novel Do Androids Dream of Electric Sheep?

In a world… ravaged and emptied after World War III, people are lured into outer space where human cyborgs perform all manual labor. Physically superior to their creators, these replicants are banned from Earth. Rick Deckard (Harrison Ford) is a blade runner, a detective/bounty hunter whose latest assignment is to track down and “retire” four replicants.

What went right: Blade Runner eschews the book’s nuttier elements (the world is obsessed with religions and owning animals as status symbols) and transforms itself into hard-boiled neo-noir, full of high-contrast lighting and architectural wonder. The movie is a slow burn for sure, and it doesn’t draw you in so much as smother you with world-building and detail. The 2007 Final Cut is when the film finally came together after existing for decades in various forms of refinement; this version cleans up effects and clarifies dialogue, turning Blade Runner at last into an immaculate timeless nightmare.


Total Recall (1990) 82%, based on the 1966 short story “We Can Remember It For You Wholesale”

In a world… of implanted memories that feel just like the real thing, Douglas Quaid dreams of shedding his humdrum life and becoming a superspy. Quaid goes to Rekall to sidestep reality but when the procedure goes awry, he realizes he was a spy — his identity had been erased and life as he knows it is a forgery.

What went right: A hyper-violent classic! If Arnold Schwarzenegger’s Last Action Hero was a parody of meathead action movies of the ’80s and ’90s, Total Recall delivers the same goods with a straight face. It’s got everything: guns, sex, plot twists, foot and car chases, and Arnie getting hit in the junk half a dozen times. The short story Total Recall is based on plays it straight: the main character goes to Rekall and realizes he was a spy in a previous life and his dreams of Mars were repressed memories coming to surface. The power of Total Recall is that it finds an extra layer that Dick didn’t conceive: What if everything that happens to Quaid is a dream? The movie plays out so conveniently to Quaid’s fantasies that it’s impossible to tell whether it’s actually happening or if he’s still strapped to a chair at Rekall having a psychotic episode. Such existential ruminations represent Dick’s themes at its most fun.


Confessions d'un Barjo (Confessions of a Crap Artist) (1992) , based on the 1959 novel Confessions of a Crap Artist

In a world… where people are horrible to each other. Yeah, not a stretch of the imagination with this one. The crap artist in question is Jack (Hippolyte Girardot), a collector of useless junk and absurd ideas who is invited by his sister to live on her estate with her abusive husband.

What went right: Dick wrote a series of non-science fiction novels before the 1960s, all of which were rejected by book houses. The only one to be eventually published during his lifetime was Confessions, written in 1959 and released in 1975, during a dry spell as Dick dealt with personal issues and labored over A Scanner Darkly. Ostensibly, Crap is a comedic look at the social mores and increasing wealth of California life during the 1950s, though its film adaptation transports this setting to modern France. The movie version of Jack is softer and more accessible as an anti-hero than in the novel, and his observations on the hypocritical nature of family and community translate well, despite this upheaval in setting. Human nature, it seems, transcends time and space.


Screamers (1995) 29%, based on the 1953 short story “Second Variety”

In a world… where man has colonized the planets, war is being waged by two factions (the New Economic Block and the Alliance insurgents) over a precious radioactive mineral. The Alliance has developed “screamers” — autonomous robots that burrow through the ground to fight for them. But the screamers have evolved, developing new varieties that look and act like humans.

What went wrong: The opposing forces in the short story are Americans against Russians with the fate of mankind at stake. In the movie, it’s essentially a war over commercial interests, which drastically reduces the scope and weight of the action. The screamers themselves are not particularly menacing, especially in the wake of Edge of Tomorrow, which nailed the look of fluid cybernetic monsters. Screamers‘ dialogue can be effective and there are some scary moments, but the last 20 minutes are laughable and stupid.


Impostor (2001) 24%, based on the 1953 short story “Impostor”

In a world… where a hostile civilization from Alpha Centauri is waging relentless war on Earth, the aliens have introduced a new weapon: replicants. These replicants arrive, kill their target human and assume its identity — all the while equipped with an internal nuclear device that can blow at any second. Spencer Olham (Gary Sinise) is a government scientist developing humanity’s own secret weapon when he’s arrested with a serious charge: the real Spencer is dead and he is, in fact, a ticking timebomb replicant.

What went wrong: Toss this one onto the pile of Dick adaptations that doesn’t do anything particularly wrong, but also nothing exemplary. Impostor seems to have been something of a passion project for Sinise (who gets a rare producer credit), selling himself as a credible action star with plenty of moments running around shirtless and sneaking in a shower butt shot. But the visuals lack creative spark and the sets are drab and monotone, while the movie’s middle section is essentially a single chase sequence with a few jumps to other locations and not much plot development. Impostor was originally shot as a 40-minute film to be packaged with Mimic (which also became a feature film) and Danny Boyle’s Alien Love Triangle. It works better as a short. Kudos, though, for Impostor retaining the short story’s challenging ending.


Minority Report (2002) 90%, based on the 1956 short story “The Minority Report”

In a world… that has zero murders, thanks to PreCrime wielding mutant predictions to accuse and arrest individuals before their bad deeds get committed, Captain John Anderton goes on the run as the “precogs” accuse him murdering a stranger in 36 hours.

What went right: Some of Dick’s stories lack much action (like this, or “We Can Remember It For You Wholesale”), existing more as existential inquiries. That’s a boon for filmmakers as it provides a great groundwork which visionary directors can build upon and overload with imagination.  Along with Blade Runner, Minority Report presents the most “complete” worlds: these movies feel lived-in and the technology is logical. In Minority’s case, it predicted total societal integration with electronics before it happened to us in real life. The action is some of Steven Spielberg‘s best, frequently fused with black humor, though I still take umbrage with the movie’s improbably upbeat ending.


Paycheck (2003) 27%, based on the 1952 short story “Paycheck”

In a world… where your memory is erased after finishing a job, engineer Michael Jennings (Ben Affleck) has just completed a majorly lucrative two-year contract. When emerging with his employment memories wiped, Jennings discovers his past self has inexplicably forfeited the paycheck in favor of an envelope of useless everyday trinkets. Soon afterwards, he’s targeted for assassination and goes on the run.

What went wrong: “Paycheck” was one of Dick’s earliest published stories and, as such, pure 1950s pulp. The screenwriters update the setting and remove the lame original ending, though its replacement isn’t much improvement. The plot hook (that the envelope’s contents rescue Jennings at seemingly random life-threatening moments) is pretty weak. Being aware Jennings will escape every hairy situation with a paper clip or some lederhosen drains all tension from the action as we wait for the envelope to deplete itself, and in the movie that doesn’t happen until there’s 20 minutes before credits. Until then, our hero runs sweatily around clutching a bag of convenient dei ex machina. Uma Thurman plays the love interest, Aaron Eckhart is the evil talking chin, and there’s a motorcycle chase that recalls director John Woo‘s early career but, otherwise, this is forgettable stuff. No need for a memory wipe after watching Paycheck: you won’t remember it the next day.


A Scanner Darkly (2006) 68%, based on the 1977 novel A Scanner Darkly

In a world… of widespread drug addiction, Americans are hooked on mind-altering Substance D. The government responds with heavy policing and ubiquitous surveillance, creating a black job market of narcs who spy and report anonymously on their friends and neighbors. Bob Arctor (Keanu Reeves) is one such narc, a Sub D addict keeping tabs on his chums for local police. Things are hunky dory until Arctor receives his next surveillance assignment: himself.

What went right: Dick’s masterpiece in the hands of a master filmmaker (Richard Linklater). The book is a howlingly funny, anguished eulogy to tripped-out hedonists whose major crime is hoping the Summer of Love would last forever, based on Dick’s own experiences as his friends succumbed to hard drugs during the 1970s. Linklater rotoscoped this adaptation, slathering a layer of animation over his live actors which emphasizes the story’s theme of disconnection — mentally and physically — as Arctor loses track of his multiple personas. The casting is perfect, especially Robert Downey Jr. as one of Arctor’s asshole pals. This is also the most faithful of the PKD movies, and in a way reminds me of No Country For Old Men: both strive for such fidelity to the book they develop an un-movielike pace and rhythm, to the point of being unsettling. Though Linklater’s film ups the paranoia and loses a chunk of the book’s humor, this is as good an adaptation it’ll ever get.


Next (2007) 28%, based on the 1954 short story “The Golden Man”

In a world… where one man can see two minutes into the future and its myriad of possibilities, Nicolas Cage is Cris Johnson, a clairvoyant relentlessly pursued by an FBI agent (Julianne Moore) who wants to use his ability to track down a nuke.

What went wrong: In the short story, mutants are common and they’re rounded up to be studied then euthanized, while the Cris Johnson character can see 30 minutes into the future as opposed to two. Also, Cris is a sex object, covered gold head to toe. So yeah, the movie strays far from the source, though that’s no crime if the filmmakers come up with something better. They don’t. Next‘s plot has the depth of a weekly CBS procedural as it pushes Cage around, who wears an ugly jacket with a bad haircut during the runtime. Then there’s loads of CGI, none of which looks convincing. And the ending — wow, a total copout. Place it somewhere between “It was all a dream!” and “Turns out you were crazy the whole time!”


The Adjustment Bureau (2011) 71%, based on the 1954 short story “Adjustment Team”

In a world… where your fate is controlled by angelic bureaucratic agents, Matt Damon dares to defy the odds. Damon plays David Norris, a Senate hopeful who meets Elise, the woman of his dreams (Emily Blunt), on the campaign trail. After accidentally seeing the Adjustment Bureau at work behind the scenes, they warn David he risks everything (including death) in pursuing her.

What went right: The short story is a fairly low-stakes affair, so the movie does right by putting David’s possible candidacy for POTUS on the line. Dick wrote about women a lot but he was not particularly sensuous about it, so it’s refreshing to see a sweeping romance effectively seared into a story of his. And Bureau simply looks great: the colors are lush, deep, and the lines and angles that make up a majority of the backgrounds are wonderful (they’re subtly used to guide the eye around the frame, in the same way these characters are guided by the agents). The movie sets up a lot of rules about this universe and threatens to collapse under their weight; sagely, the story concludes before this occurs.


Total Recall (2012) 31%

What went wrong: Sometimes when Hollywood remakes a classic, producers will claim that their version is going to be closer to the book (see:True Grit). Not so in this case. The remake, directed by Underworld‘s Len Wiseman, doesn’t mine any additional story elements from “We Can Remember It For You Wholesale” and instead works completely off the template laid by Paul Verhoeven’s 1990 version. Wiseman is a better director of action scenes than Verhoeven, who’s always been enchanted with gore and sleaze (not that there’s anything wrong with that), and his camera work here is fluid and kinetic. Likewise, the city landscapes and gadget designs are out of this world. But the main characters (this time played by Colin Farrell, Kate Beckinsale, and Jessica Biel) undergo zero development and all the story beats were done better the first time around. For lightweight spectacle, you could do worse, but this overall is a redundant and bloodless trip down memory lane.


Radio Free Albemuth (2010) 33%, based on the 1976 novel Radio Free Albemuth

In a world… where a fascist president has ruled over America for 15 years, record store clerk Nicolas Brady (Jonathan Scarfe) begins receiving messages in his dreams from a far away galactic supreme being called VALIS. Under its direction, Brady moves his family to Los Angeles, takes up a position at a music label, and awaits the appearance of a songwriter named Silvia (Alanis Morissette) who will help him overthrow the president.

What went wrong: Albemuth is clearly a labor of love but not of particular talent, resulting in a poorly lit film with crap framing, hokey CG, and scenes jammed together without grace. If I hadn’t read the novel beforehand, I would’ve had a tough time following the plot or even understanding what the title meant. The 1970s were a tumultuous decade for Dick: he was questioned by the FBI, his house was burgled (with Dick believing it was the government trying to spook him), and he had a deep religious awakening, all of which are described in this work, where the author himself is a major character. Written as a sci-fi confessional and introduction to his new gnostic viewpoint, Dick’s book is something of a noble failure, beautiful but flat, and it’s crazy somebody thought a movie could be made out of it on such a low budget.

Stan Lee might be 85 years old, but he’s showing no signs of slowing down.

Variety reports that Lee’s POW! Entertainment has inked a deal with Disney to set up three projects — titled Nick Ratchet, Blaze, and Tigress — based on characters developed by Lee. The agreement comes on the heels of a first-look deal between Disney and POW! that the companies signed in June 2007. From the article:

“Nick Ratchet” will be directed by Richard LaGravenese (“P.S. I Love You“) from a screenplay he is writing. Larry Jacobson and Sonny Grosso are in talks to produce.

“Blaze” is being penned by Gary Goldman (“Next“).

“Tigress” is being written by newcomer Zoe Green. State Street Pictures’ Robert Teitel and George Tillman will produce. Film is not the same as a previously announced project titled “Tigress” that Lee is developing with Michelle Rodriguez attached to star. That project is based on a “Conan the Barbarian” villainess.

According to Lee, “it’s not unlikely” that the films could inspire comic book spinoffs; as he tells Variety, “You either have a great comic book and it becomes a great movie. Or you have a great movie that becomes a great comic book. These things have a natural progression.”

Source: Variety

No awards season — even a strike-tainted one — would be complete without the Razzies, right? Of course not. And that’s why we’ve thoughtfully assembled all of this year’s nominees in one convenient location.

The Razzies, now entering their 28th year, have been celebrating the worst in film since 1980, when John Wilson took a raspberry trophy, spray-painted it gold, and stuck it to Can’t Stop the Music. This year’s nominees are suitably distinguished, and they all follow below (with Tomatometers in parentheses). ‘Fess up, Vineketeers — how many of these have you seen? And enjoyed?

Worst Picture:
Bratz (7 percent)
Daddy Day Camp (1 percent)

I Know Who Killed Me (8 percent)
I Now Pronounce You Chuck & Larry (14 percent)
Norbit (9 percent)

Worst Actor:
Nicolas Cage, for Ghost Rider (27 percent), National Treasure: Book of Secrets (32 percent), and Next (30 percent)
Jim Carrey, for The Number 23 (8 percent)
Cuba Gooding, Jr., for Daddy Day Camp and Norbit
Eddie Murphy, for Norbit
Adam Sandler, for I Now Pronounce You Chuck & Larry

Worst Actress:
Jessica Alba, for Awake (21 percent), Fantastic Four: Rise of the Silver Surfer (35 percent), and Good Luck Chuck (3 percent)
Logan Browning, Janel Parrish, Nathalia Ramos & Skyler Shaye, for Bratz
Elisha Cuthbert, for Captivity (7 percent)
Diane Keaton, for Because I Said So (5 percent)
Lindsay Lohan (as Aubrey), for I Know Who Killed Me
Lindsay Lohan (as Dakota), for I Know Who Killed Me

Worst Supporting Actor:
Orlando Bloom, for Pirates of the Carribbean: At World’s End (45 percent)
Kevin James, for I Now Pronounce You Chuck & Larry
Eddie Murphy, for Norbit
Rob Schneider, for I Now Pronounce You Chuck & Larry
Jon Voight, for Bratz, National Treasure: Book of Secrets, September Dawn (13 percent), and Transformers (57 percent)

Worst Supporting Actress:
Jessica Biel, for I Now Pronounce You Chuck & Larry and Next
Carmen Electra, for Epic Movie (2 percent)
Eddie Murphy, for Norbit
Julia Ormond, for I Know Who Killed Me
Nicolette Sheridan, for Code Name: The Cleaner (4 percent)

Worst Screen Couple:
Jessica Alba with Dane Cook (for Good Luck Chuck), Hayden Christensen (for Awake), and Ioan Gruffudd (for Fantastic Four: Rise of the Silver Surfer)
Any combination of two totally air-headed characters in Bratz
Lindsay Lohan and Lindsay Lohan, for I Know Who Killed Me

Worst Remake or Ripoff:
Are We Done Yet? (8 percent, remake/ripoff of Mr. Blandings Builds His Dream House)
Bratz (a ripoff if ever there was one)
Epic Movie (ripoff of every movie it rips off)
I Know Who Killed Me (ripoff of Hostel, Saw, and The Patty Duke Show)
Who’s Your Caddy? (7 percent, ripoff of Caddyshack)

Worst Prequel or Sequel:
Aliens vs. Predator: Requiem (16 percent)
Daddy Day Camp
Evan Almighty (24 percent)
Hannibal Rising, (15 percent)
Hostel: Part II (44 percent)

Worst Director:
Dennis Dugan, I Now Pronounce You Chuck & Larry
Roland Joffe, Captivity
Brian Robbins, Norbit
Fred Savage, Daddy Day Camp
Chris Sivertson, I Know Who Killed Me

Worst Screenplay:
Geoff Rodkey and David J. Stem & David N. Weiss, Daddy Day Camp

Jason Friedberg & Aaron Seltzer, Epic Movie
Jeffrey Hammond, I Know Who Killed Me
Barry Fanaro and Alexander Payne & Jim Taylor, I Now Pronounce You Chuck & Larry
Eddie Murphy & Charles Murphy, Jay Sherick & David Ronn, Norbit

Worst Excuse for a Horror Movie:
Aliens vs. Predator: Requiem
Captivity
Hannibal Rising

Hostel: Part II
I Know Who Killed Me

Source: Razzies

Judd Apatow fans, get thee to a video store! Knocked Up, starring Seth Rogen, is out on DVD today and features an entire disc of bonus materials that make it well worth your home video bucks. Otherwise, if you’re in the mood for some salacious WWII-era thrills (Black Book), or have 90 minutes to spend watching a behind-the-scenes featurette (Babel), you have plenty of new releases to choose from.


Knocked Up


Tomatometer: 91%

Judd Apatow‘s comic treatment of an accidental pregnancy is the best-reviewed comedy of the year so far (and one of our favorites here in the RT office); we already knew we had to have it, if only to re-watch the awesome “Shimmy Shimmy Ya” opening sequence! And then we took a look at the bonus features — with a whopping three hours of extras, there’s really no reason not to run to the store right now. In addition to special features like Apatow’s behind the scenes video diaries, an extended version of the psychotic OB-GYN Dr. Kuni’s verbal rampage, and a hilarious, cameo-filled Finding Ben Stone “casting” video (remember that Michael Cera on-set breakdown clip?), there are tons of improv-filled deleted and extended scenes. And that’s just the tip of the iceberg. You’ve got no excuses! Go get it now.


Black Book


Tomatometer: 76%

Paul Verhoeven is known for his over-the-top, effects-filled Hollywood films (see RoboCop, Starship Troopers, Total Recall) and also for pushing the envelope where good taste is concerned (see Basic Instinct, Showgirls). His latest, the WWII espionage thriller Black Book, bears both of those trademark stamps. The beautifully-lensed Dutch-language pic concerns a Dutch Resistance fighter (Carice van Houten) who encounters danger and intrigue while seducing a Nazi officer. But don’t expect sensitivity or quiet reflection on the grave historical subject matter — this is pure melodrama, with plenty of crass and ridiculous plot points to keep a Verhoeven fanatic enthralled. A director commentary and behind-the-scenes featurette comprise the extras.


The TV Set


Tomatometer: 63%

Jake Kasdan wrote and directed this insider comedy about the cutthroat world of television, which should entertain those who love showbiz fiction. David Duchovny stars as a writer who sells a script to a cutthroat network, only to watch it devolve into a shadow of what it was meant to be…cautionary viewing for you aspiring Hollywood types out there?


Ten Canoes

Tomatometer: 98%

Rolf de Heer‘s pre-contact Aborigine tale is notable for a few reasons: it’s the first feature-length film to be entirely shot using the languages of native Australians, and it’s been overwhelmingly approved by critics. The film, about a group of Aborigine men telling stories through their own oral history traditions, is accompanied on the DVD by a making-of featurette, interviews with de Heer and co-director Peter Djigirr, a gallery of historical anthropological area photos, and a CD-ROM study guide.


More Releases Worth Your While

I Like Killing Flies

Tomatometer: 95%

A quirky documentary with an equally quirky subject, this critically-lauded film follows the iconoclast proprietor of the Greenwich Village eatery Shopsins.

Chalk

Tomatometer: 78%

This improvised mockumentary about high school teachers was written by former educators Mike Akel and Chris Mass based on their own experiences working in public schools, which if you went to public school, you know is a comic goldmine (I’m looking at you, Ms. Monares’ senior year Spanish class).


Tekkonkinkreet

Tomatometer: 71%

Directed by U.S.-born Japanese transplant Michael Arias, this anime flick follows rival orphan gangs on the streets of Japan.


Babel Special Collector’s Edition

Tomatometer: 68%
Alejandro Gonzalez Inarritu‘s Oscar-nominated Babel is out again in a two-disc Special Collector’s Edition. Those truly moved by the multi-story drama might be interested in the release’s only special feature — a 90-minute making-of documentary shot by the director himself.

Don’t Say We Didn’t Warn You…


Next

Tomatometer: 29%

Nicolas Cage stars in this adaptation of a Philip K. Dick tale as a man who can see into the future — two minutes at a time. How useful can that be?


Evening

Tomatometer: 26%

Despite an extraordinary cast that includes Vanessa Redgrave, Meryl Streep, Glenn Close, Toni Collette, and Claire Danes, this multi-generational tale of a dying woman’s true love turned out to be a snoozer. That is, unless you’re a native Rhode Islander who likes to play spot-the-location.


Full of It

Tomatometer: 6%

A poorly executed, cliché-ridden teen comedy about a liar (Ryan Pinkston, who used to innocently ask celebs inappropriate questions on Punk’d) whose fibs become true, this flick didn’t come close to winning over critics.

Until next week, happy renting!

Movie fans came out in droves this weekend to see their favorite green ogre’s newest adventure as "Shrek the Third" easily captured the box office crown and broke the record for the biggest opening ever for an animated film.

That sent the super hero saga "Spider-Man 3" down to the runnerup spot but the overall marketplace once again beat last year’s levels for the third straight weekend giving the summer movie season an explosive start.

Executives at DreamWorks Animation and Paramount were drinking green champagne this weekend thanks to "Shrek the Third" which debuted to an astounding $122M, according to estimates, over the Friday-to-Sunday period and $122.9M since its early launch at 10pm on Thursday night in about 1,000 theaters. Invading 4,122 total locations, the PG-rated toon averaged a stunning $29,597 per cinema and surpassed the $108M bow of 2004’s "Shrek 2" which previously held the record for the biggest animated opening. That film, which was the first in history to break the 4,000-theater threshold, debuted on a Wednesday and captured $129M over its five-day premiere period. The next biggest toon opening is $70.5M for the 2004 Disney/Pixar vehicle "The Incredibles" which just shows how different the league that the "Shrek" franchise lives in is.

"Third" also set new opening weekend records for both DreamWorks and Paramount beating "Shrek 2" and "War of the Worlds" ($64.9M), respectively. The ogre sequel also generated the third best opening of all-time trailing only "Spider-Man 3"’s $151.1M from earlier this month and "Pirates of the Caribbean: Dead Man’s Chest’s" $135.6M from last July. That ranking should slip another spot next weekend after the new "Pirates" film sets sail.

The new ogre sequel grossed $907,000 on Thursday from night-before showings beginning at 10pm, hauled in $38.5M on Friday (its true opening day), surged 22% to $47M on Saturday, and is estimated to dip 22% on Sunday to $36.5M. "Shrek 2," which opened on the same exact weekend three years ago, also suffered a 22% Saturday-to-Sunday dip in its debut frame. The production budget on the new installment is estimated to be $160-170M.

Reuniting the voice talents of Mike Myers, Eddie Murphy, Cameron Diaz, and Antonio Banderas, "Shrek the Third" adds some new characters including a teen would-be king voiced by Justin Timberlake. The slender 92-minute film was not very well-liked by critics and earned the worst reviews for the franchise just as "Spider-Man 3" did a couple of weeks ago. However, moviegoers again disregarded the critics and came out for some early summer fun dropping some mighty big bags of cash at multiplexes nationwide. "Shrek" dominated the attention of ticket buyers and accounted for about 70% of all sales for the Top 20.

Studio research showed that Fiona’s hubby appealed to all audience segments becoming a true four-quadrant pic. Females made up 51% of the crowd and those over and under the age of 25 were evenly split. Teens, young adults, and families all came out in strong numbers. Those polled by CinemaScore gave the toon a B+ grade which is decent, but not spectacular. A fourth chapter of "Shrek" is already in development for a planned 2010 release.

Dropping 51% in its third weekend was two-time box office champ "Spider-Man 3" with an estimated $28.5M. Sony’s webslinger sequel flew to $281.9M (including Imax grosses) from North America and averaged $6,591 from a record high 4,324 theaters. After 17 days, the Venom pic shot up to number 28 on the list of all-time domestic blockbusters just ahead of "The Matrix Reloaded" which grossed $281.5M in 2003. Given its rate of erosion and upcoming competition from Captain Jack, the third webcrawler still looks on a course to conclude its domestic run with $340-350M.

"Spider-Man 3" continues to rank number one in most international territories and grossed $49.6M overseas this weekend pushing its offshore cume to a scorching $465M and the global gross to a towering $747M. The latest Peter Parker tale has now become the top-grossing "Spidey" film overseas surpassing the $418M for the first film in 2002 and the $410M of "Spider-Man 2" in 2004. The third chapter has really taken off internationally as overseas box office accounts for 62% of the global tally. The first two super hero installments saw about 52% of their worldwide groesses come from outside of North America.

Fox’s horror sequel "28 Weeks Later" dropped one spot to third place with an estimated $5.2M bringing the ten-day total to $18.6M. The well-reviewed virus thriller declined by 48% which is impressive for a fright flick. Still, "Weeks" looks to finish with about $30-32M or about one-third less than the $45.1M of 2003’s "28 Days Later."

Only scraps were left for the other films playing at multiplexes as the rest of the movies in the top ten attracted weekend ticket sales of less than $4M each. Three-time chart-topper "Disturbia" took in an estimated $3.7M, off only 22%, for a $71.3M cume for Paramount. The sleeper hit should find its way to around $80M.

Universal’s Jane FondaLindsay Lohan pic "Georgia Rule" dropped 48% to an estimated $3.5M in its second weekend pushing its ten-day total to a weak $12.6M. Look for a disappointing $20-22M final for the R-rated film which few have been showing interest in. New Line’s "Fracture" dipped just 17% to an estimated $2.5M putting the sum at $34.7M. A final tally of roughly $40M should result.

The Lionsgate comedy "Delta Farce" followed its dismal bow with a troubling 46% fall to an estimated $1.8M this weekend for a miniscule total of $6.1M in ten days. It will try to limp to a $10M overall gross. Following in eighth place was Buena Vista’s "The Invisible" with an estimated $1.3M, down 44%, putting the cume at $17.7M. The supernatural thriller will probably end up with about $21M. British import "Hot Fuzz" continued to have good legs dipping only 27% to an estimated $1.3M pushing the total to $21.1M. Focus will try to get to $25M.

Two very different films tied for tenth place with estimates of $1.1M a piece. Fox Searchlight enjoyed continued success with the expansion of the Keri Russell starrer "Waitress" which widened from 65 to 116 theaters for a solid $9,784 average serving up moviegoers in the top ten for the first time. That doubled the comedy’s cume to $2.2M. This Friday, "Waitress" will expand again to most markets across the country reaching over 500 theaters playing as an indie alternative to the mindless popcorn films of early summer. Paramount’s big-budget action flop "Next" fell 35% giving the Nicolas Cage actioner an embarrassing $16.6M to date. A $19M final seems likely.

Tumbling out of the top ten this weekend was Disney’s animated comedy "Meet the Robinsons" which fell a steep 71% thanks to the ogre’s arrival to an estimated $521,000. The G-rated toon has grossed $95.3M after its eighth weekend and may be headed for a $97M finish.

Meanwhile in just two theaters, Fox Searchlight saw a powerful debut for its musical romance "Once" which grossed an estimated $60,511 for a sizzling $30,256 per site. Showered with praise from critics, the R-rated film premieres in eleven new cities on Friday.

Yari Film Group had a mild debut for its ensemble drama "Even Money" which bowed to an estimated $26,013 from six playdates for a not-so-impressive $4,336 average.

The top ten films grossed an estimated $170.8M which was up 12% from last year when "The Da Vinci Code" opened at number one with $77.1M; and up 10% from 2005 when "Star Wars Episode III" debuted on top with $108.4M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

Peter Parker suffered a massive sophomore slide, but "Spider-Man 3" still dominated the box office around the globe spending a second weekend at number one with no other film coming anywhere near its stellar numbers.

Among the frame’s four new releases, the zombie thriller "28 Weeks Later" fared best with a decent bow in the runnerup spot while the Jane FondaLindsay Lohan pic "Georgia Rule" was mostly ignored and opened with disastrous results. Two other new comedies "Delta Farce" and "The Ex" barely registered a blip on the radar.

Sony was still crushing its competitors this weekend with "Spider-Man 3" which tumbled 60% to an estimated $60M in its second try in theaters. After ten days, the PG-13 hit has amassed a stunning $242.1M from North America and is still running ahead of its two predecessors. Ten-day cumes for 2002’s "Spider-Man" and 2004’s "Spider-Man 2" were $223M and $225M, respectively. However the new Venom installment is eroding faster as is often the case with the third part of a franchise. After the first three days, "Spider-Man 3" was an impressive 32% ahead of the first webslinger pic which opened on the exact same weekend in 2002. After seven days the lead was cut to 20% and now after ten days the gap has been reduced to 9%.

For the weekend, "Spider-Man 3" accounted for a stellar 64% of the box office for the top ten and grossed $17.1M on Friday (down 72% from its record-shattering opening day last week), $25M on Saturday (down 51% from last Saturday), and is projected to gross $18M on Sunday (down 55% from a week ago). The 60% second weekend drop is not uncommon for high-profile tentpole sequels with mammoth debuts. Some other sophomore drops include 53% for "X2: X-Men United," 54% for "Pirates of the Caribbean: Dead Man’s Chest," 63% for "Harry Potter and the Prisoner of Azkaban," and 67% for "X-Men: The Last Stand."

Where is part 3 headed in the long run? It would make sense to look at other action films that kicked off the summer movie season on the first weekend of May. The shares of the total cume collected in the first ten days were 64% for last year’s "Mission: Impossible III," 69% for 2003’s "X2," and 71% for 2004’s "Van Helsing." Based on its trajectory and the competitive road ahead, "Spider-Man 3" could be headed for a finish of about $340-360M domestically. That would make it the lowest-grossing Spidey film in North America, however the overseas markets are a different story.

"Spider-Man 3" grossed an estimated $85.4M internationally this weekend to boost its overseas haul up to a mammoth $379.6M for a colossal global gross of $622M. Next weekend, the Sandman entry will surpass the international takes of $418M and $410M for the first two Spider-Man flicks to become the top performer of the franchise outside of North America. With the "Spider-Man" fan base already maxed out domestically, Sony made a strategic move to grow the brand around the world by hosting several star-studded international red carpet premieres and opening the film in most countries days ahead of the United States leading to a substantial increase in moviegoer excitement in all markets. "Spider-Man 3" still stands a very good chance of becoming the biggest grossing film of the trilogy on a global scale with the North American shortfall being overshadowed by gains overseas. With a reported production budget of $258M, the super hero film should surpass the $900M mark worldwide this summer.

Flesh-eating zombies took control of second place this weekend as the horror sequel "28 Weeks Later" opened with an estimated $10M representing a solid, but somewhat weaker-than-expected debut. The R-rated gorefest averaged a decent $4,342 from 2,303 playdates and delivered a gross almost equal to the $10.1M that "28 Days Later" achieved in its opening frame in June 2003. That sleeper hit bowed in a thousand fewer locations with 1,260 theaters and scored a more potent $7,986 average. Adjust for four years of ticket price increases and "Weeks" generated an opening weekend average half that of "Days." The new chapter earned very high praise from most critics, but being the fourteenth horror film of 2007 probably hurt its cause as many genre fans have overdosed on frightfests. If the estimate holds (Fox estimated a rather slim 26% Saturday-to-Sunday drop), "Weeks" will become the first non-Spidey film to reach double digits on opening weekend since "Fracture" from mid-April.

The star-driven chick flick "Georgia Rule" was dead on arrival at the box office debuting to an estimated $5.9M from 2,523 theaters for a flimsy $2,330 average. The R-rated film stars Lindsay Lohan as a rebellious teen left with her no-nonsense grandmother (Jane Fonda) for the summer. Felicity Huffman plays the alcoholic middle mom in the family. "Georgia" played more to the Fonda crowd than to the Lohan audience. Studio research from Universal showed that a whopping 81% of the turnout was female, 79% was white, and 70% was over the age of 30.

"Georgia Rule" imploded at the box office since it repelled its two main consumer groups. Older women pay attention to reviews and critics were brutal in reviewing the dramedy. And younger teen girls who track Lohan obsessively couldn’t get in thanks to the harsh R rating. The opening was less than half the amount that the studio saw earlier this year when it targeted the same audience with the same number of theaters with the Diane KeatonMandy Moore pic "Becasue I Said So" which bowed to $13.1M over Super Bowl weekend. The Fonda flick was released over the Mother’s Day frame, but most daughters chose to give their moms the gift of not seeing "Georgia Rule."

Paramount’s hit teen thriller "Disturbia" enjoyed the best legs in the top ten dipping only 18% to an estimated $4.8M. Although in its fifth weekend, the Shia LaBeouf hit has the second largest theater count of any film and is playing in 3,106 locations that are still holding onto the durable thriller. Cume to date is $66.3M.

The military comedy "Delta Farce" bombed in its opening weekend grossing only $3.5M, according to estimates, landing in fifth place. The PG-13 pic averaged a dismal $1,813 from 1,931 locations for Lionsgate. Reviews were understandably pitiful.

New Line’s Anthony HopkinsRyan Gosling drama "Fracture" dipped only 22% to an estimated $2.9M in its fourth frame and upped its cume to $31M. The horror flick "The Invisible" dropped to seventh with an estimated $2.2M, down 33%, for a $15.5M total.

Sliding only 25% in its third round was the action-comedy "Hot Fuzz" with an estimated $1.7M for Focus putting the sum at $18.9M. Nicolas Cage followed with his sci-fi flop "Next" which took in an estimated $1.6M, down 45%, for a total of $14.6M. Rounding out the top ten with an estimated $1.6M as well was the Disney animated hit "Meet the Robinsons" which fell 39% for a sturdy $94.1M cume. The 3D comedy will enjoy its status as the year’s top-grossing toon for just one more week since "Shrek the Third," which opens on Friday, could march past it after only one weekend in theaters.

Debuting with miserable results outside of the top ten was the Zach BraffAmanda Peet comedy "The Ex" which opened to an estimated $1.3M from 1,009 locations for a pathetic $1,288 average. The PG-13 date flick was released by MGM and earned poor reviews. With "The Ex," Hollywood has now seen a disturbing twelve wide releases over the last eight weeks fail to open to at least $5M. Numerous movies with little to offer paying moviegoers are being slaughtered in an overcrowded marketplace.

Three star-driven vehicles dropped out of the top ten this weekend. Will Ferrell’s blockbuster comedy "Blades of Glory" grossed an estimated $1.4M in its seventh lap and boosted its cume to $113.8M. Off 41%, the $60M-plus DreamWorks/Paramount pic looks to skate to a $116-118M finish. Ice Cube’s comedy sequel "Are We Done Yet?" fell 46% to an estimated $950,000 giving Sony $47.4M to date. The family film looks to end with just under $50M putting it 40% behind its predecessor "Are We There Yet?" which pulled in $82.3M two years ago. Warner Bros. has collected a measly $5M in ten days for its Eric BanaDrew Barrymore poker pic "Lucky You" and will probably fold with an embarrassing $7M.

Arthouse darling "Waitress" starring Keri Russell expanded successfully in its second weekend serving up an estimated $636,000 from 65 sites for a solid $9,788 average. Fox Searchlight widened the acclaimed film from just four locations last weekend and pushed its cume to $788,000. A special Mother’s Day gift bag promotion across the country is expected to strengthen Sunday sales. This Friday, the comedy expands in its existing markets adding 57 theaters and on May 25 it will widen to 400-500 total theaters nationwide for the Memorial Day holiday weekend.

The top ten films grossed an estimated $94.1M which was up 16% from last year when "Mission: Impossible III" stayed at number one with $25M; and up a scant 3% from 2005 when "Monster-in-Law" debuted on top with just $23.1M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

In the most lopsided box office victory in history, the hugely anticipated super sequel "Spider-Man 3" swung into theaters and monopolized the marketplace breaking the all-time records for both opening day and opening weekend in the process.

Sony unleashed its summer behemoth worldwide and also shattered the record for the biggest global debut ever as it conquered the box office in over 100 countries. The summer movie season could not have asked for a better way to begin.

Following a tidal wave of hype, "Spider-Man 3" exploded on the scene and grossed an eye-popping $148M during its opening weekend in North America, according to estimates, breaking the previous record of $135.6M set last summer by "Pirates of the Caribbean: Dead Man’s Chest." The super hero flick opened in 4,252 theaters (also a record) and averaged a staggering $34,807 for Sony. The smash hit also set a new Imax record with $4.8M from those large-format engagements beating 300’s old mark set two months ago by 33%. Imax presentations, despite their higher ticket prices, were reportedly sold out from coast to coast.

Overseas, "Spider-Man 3" began its global assault on Tuesday May 1 in several key nations in Asia and Europe and has since grossed a mammoth $227M from 105 international territories putting its worldwide cume at a gargantuan $375M in a mere six days. In less than one week around the world, "SM3" has already reached nearly half of the total global gross of "Spider-Man 2" which hauled in $784M in 2004.

Domestically, the new webslinger adventure kicked things off on Friday with a record $59.3M in its first day beating the former record "Chest" set with $55.8M. Both figures included shows beginning at midnight on Thursday night. "Spidey" dropped 14% on Saturday to $51M and the studio estimated that Sunday sales will fall by only 26% to $37.7M. Final figures will be released on Monday after Sunday sales are tabulated. According to Sony research, the opening weekend audience skewed towards young men as expected. Males made up 54% of the crowd while 63% were under the age of 25.

"Spider-Man 3" reunited director Sam Raimi with his key actors Tobey Maguire, Kirsten Dunst, and James Franco. Joining the cast were Topher Grace, Thomas Haden Church, and Bryce Dallas Howard. Critics had mixed feelings with many calling it the worst of the series. Part "3" scored a 62% Fresh rating on RottenTomatoes.com compared to 90% for the first "Spidey" flick and 93% for the second installment. Moviegoers, however, did not care as they showed up anyway in unprecedented numbers proving that "SM3" was indeed a critic-proof blockbuster. The film’s long-term success will rely more on word-of-mouth from fans, rather than a thumbs up or down from reviewers. Users of Yahoo! Movies have given it a mild B grade from over 17,000 votes which could mean that fans are not exactly ecstatic.

"Spider-Man 3" carries a reported production cost of $258M, although many industry watchers believe it to be much higher. Despite its sky high budget, the PG-13 film has enjoyed such a strong start that it has a good chance of surging past the $822M worldwide gross of the first "Spider-Man" and could even approach the $1 billion mark. Buzz from fans will of course be a major factor in helping the Venom pic spread.

Competition, or a lack of it, was a key contributor to the record opening. There were absolutely no other films that energized audiences as every wide release failed to reach an average of even $2,000. That allowed the newest "Spider-Man" pic to account for a jaw-dropping 80% of the entire box office pie and dominate the marketplace with ease. Led almost exclusively by Peter Parker and friends, the top ten powered its way to an incredible $174M — its highest level since the "Pirates" sequel bowed last summer. It was an astonishing reversal from the previous weekend when the box office slumped to a seven-month low.

With nothing else worthy to program, multiplexes had no problem opening up screens. Sony did not report its official screen count but industry insiders note that it was over 10,000. By comparison, screen counts for previous blockbuster openers were 9,400 for "Star Wars Episode III," 8,500 for "Dead Man’s Chest," and 7,500 for the first "Spider-Man" which opened five years ago this same weekend and also broke the all-time opening weekend record. The extra screens for the new film allowed Sony to absorb all demand right away and leave almost nothing on the table.

Next weekend, "Spider-Man 3" will have little to worry about as nothing huge is opening, but the week after that is when "Shrek the Third" launches, followed seven days later by "Pirates of the Caribbean: At World’s End" over the lucrative Memorial Day holiday frame. Peter Parker will grasp tightly onto his records for now since Captain Jack Sparrow would like nothing more than to swipe them once again.

A few moviegoers did in fact choose to see other films this weekend in auditoriums which offered plenty of space. Three-time chart-topper "Disturbia" was bumped to the number two spot, but held up well considering the new competition. The Paramount thriller dropped by only 37% to an estimated $5.7M and boosted its 24-day cume to $59.9M, or about what Spidey did in its first day. New Line’s courthouse thriller "Fracture" followed with an estimated $3.4M in its third weekend, down 50%, and lifted its sum to $26.5M.

The teen horror flick "The Invisible" ranked fourth and tumbled 60% in its sophomore frame to an estimated $3.1M. Buena Vista has scared up $12.3M in ten days and looks headed for a $16-18M finish. Nicolas Cage suffered the worst drop in the top ten as his latest action film "Next" crashed 61% and took in an estimated $2.8M this weekend. With a poor ten-day tally of $11.8M, Paramount will sputter to a horrendous $14-16M for the pricey star vehicle.

The much-delayed poker drama "Lucky You" had the unlucky fortune of opening against "Spider-Man 3" and suffered an embarrassing debut as it failed to average even $1,000. The Curtis Hanson-directed pic bowed to an estimated $2.5M from 2,525 locations for a dismal $996 average. The Warner Bros. release starring Eric Bana and Drew Barrymore met with bad marks from critics and total apathy from ticket buyers.

3D toon "Meet the Robinsons" fell 49% to seventh with an estimated $2.5M in its sixth frame for an impressive cume of $91.8M. Also in its sixth weekend, fellow spring hit "Blades of Glory" collected an estimated $2.3M, down 55%, giving Paramount $111.6M to date.

The action-comedy "Hot Fuzz" tumbled 58% in its third weekend to an estimated $2.1M. Focus has grossed $16.1M thus far. Rounding out the top ten was Sony’s "Are We Done Yet?" which dropped 51% to an estimated $1.7M leading to a total of $46.1M.

A pair of well-reviewed arthouse films aimed at adult women debuted to solid results in limited release as alternatives to the Spidey action. Fox Searchlight opened its Sundance acquisition "Waitress" to an estimated $91,000 from only four theaters in New York and Los Angeles averaging a potent $22,868 per location. The Keri Russell starrer directed by the late Adrienne Shelly will expand to 21 cities on Friday for a total of 62 theaters. Cume since the Wednesday launch is $111,000. The Alzheimer’s drama "Away From Her" from actress-turned-director Sarah Polley bowed to an estimated $56,000 from four locations for a sturdy $14,000 average for Lionsgate.

A pair of underachievers fell out of the top ten this weekend. Sony’s motel terrorfest "Vacancy" dropped a steep 65% to an estimated $1.5M upping its cume to only $16.4M. The Lionsgate action pic "The Condemned" crumbled even further collapsing 72% in its second weekend to an estimated $1.1M for a weak ten-day sum of $6M. Final grosses should end up with disappointing totals of $19M and $7M, respectively.

The top ten films soared to an estimated $174.1M which was up an astounding 85% from last year when "Mission: Impossible III" opened at number one with $47.7M; and up a staggering 129% from 2005 when "Kingdom of Heaven" debuted on top with just $19.6M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

Will the friendly neighborhood webslinger reclaim the holy grail of the movie biz – the opening weekend box office record?

After attacking most major markets around the world throughout this week, Sony’s global assault hits North America on Friday with "Spider-Man 3," the much-anticipated super hero sequel which ushers in a new summer movie season with a bang. And it could indeed be a record bang.

Director Sam Raimi returns with his illustrious cast including Tobey Maguire and Kirsten Dunst in the new mega-budgeted tentpole film following up on a pair of Spidey films that together grossed an eye-popping $1.6 billion worldwide earlier this decade. In the new PG-13 adventure, Peter Parker tries to take his relationship with his galpal Mary Jane to the next level just as three new villains enter the scene looking for some love and affection of their own from Spider-Man. James Franco, Thomas Haden Church, Topher Grace, and everyone’s favorite lady in the water Bryce Dallas Howard co-star. The new saga features the super foes Sandman, Venom, and the New Goblin.

With an official production cost of $258M (and some speculate that it is actually higher), Spider-Man 3 stands as the most expensive movie yet to hit theaters. But despite the enormous pricetag, and not to mention the extravagant marketing tab, the super sequel stands a chance of approaching $1 billion in global box office this summer with tons more cash coming from video, television, and merchandising. So the eye-popping budget almost seems justified.

Sony staked its claim to the first weekend of May over a year ago and competing studios took the warning by making sure they did not program anything worthy against it, or even on the weeks before and after its opening. That puts "Spider-Man 3" in the enviable position of having the entire marketplace all to itself for a full two weeks before the next summer sensation, "Shrek the Third," hits the marketplace. Spidey should easily have over $250M in the bank before the ogre pic opens giving the super hero a mammoth headstart in the annual race for the summer crown.

The lack of competition will be key this weekend in "Spider-Man 3"’s attempt to break the all-time opening weekend record set last summer by "Pirates of the Caribbean: Dead Man’s Chest" which exploded to $135.6M over a regular Friday-to-Sunday period. As big as that bow was, there was still a potent $60M spent on the rest of the top five films that weekend. This frame, look for the films in the two through five slots to collect only a third of that amount. The advantage the Venom flick has over the last "Pirates" is that the current marketplace is so dead that multiplexes will be handing over every possible screen. Whereas a July film might only get three or four screens at a venue, a tentpole release in early May can spread like black alien goo to a fifth, sixth, or seventh screen at the same multiplex since there’s absolutely nothing else of value to waste auditoriums on. This increases the grossing potential significantly.

Running time will not be an issue as "Spider-Man 3" actually runs about 10 minutes shorter than "Dead Man’s Chest." Thanks to the weak marketplace (last weekend was the worst frame in seven months), Sony has booked a record 4,253 locations for its bow this weekend breaking the previous high of 4,163 theaters for the launch of 2004’s "Shrek 2." The studio is not reporting its total print count, but based on other megablockbusters of its type, it can be safely estimated that over 8,000 total screens will offer up this new super hero flick. Possibly over 9,000. By comparison, the second "Pirates" hit set sail in 4,133 theaters with over 8,500 prints while "Star Wars Episode III" took off with over 9,400 prints in North America in mid-May 2005.

The marketing campaign has been running on overdrive with numerous red carpet premieres around the world over the last two weeks. The push seems to be helping as "Spider-Man 3" has surpassed the opening day marks of its two older brothers in every market. The event film grossed a stunning $29.2M on its first day in 16 territories on Tuesday breaking the all-time opening day record in ten of them including France, Italy, Hong Kong, Egypt, Belgium, Singapore, Malaysia, Thailand, and the Philippines. The tally was more than the first-day grosses in the same countries of the first two "Spidey" films combined. By Sunday the juggernaut will be playing in a stunning 107 markets across the globe. North American audiences may follow suit and push "3" ahead of the then-record $114.8M opening of the first Peter Parker pic from five years ago this very weekend. That same size audience turning out this weekend at today’s ticket prices would unload about $130M domestically.


Spidey hangs comfortably knowing a big opening weekend is ahead.

Although the new tale has little competition on its second weekend, its spider legs may not be as strong as those of the previous webslinger films. The first two were very big crowdpleasers with many calling the second installment the better film. Expectations are sky high for the new one. Yes, the threequel is a fun thrill ride worthy of kicking off the summer popcorn season and boasts impressive action sequences and effects. But its weak script and cram-a-ton-of-stories-into-one-film feel will not make many fans think of it as the best "Spidey" yet. It becomes so much of a super hero soap opera by its midpoint that it won’t have the same word-of-mouth as the previous ones. While that will have no effect on the opening weekend gross, it could eat into repeat business down the road. Last summer’s "X-Men: The Last Stand" opened powerfully to $122.9M over the four-day Memorial Day frame but tumbled down to $16.1M by its third weekend.

When franchises hit the third installment, pressure mounts to offer something new to the table so casual fans don’t lose interest. What "Spider-Man 3" has going for it is the buzz that has circulated (naturally or artificially – you decide) about how this could be the final "Spider-Man" film for Raimi, Maguire, and Dunst together. That succeeds in giving the film a sense of urgency in that fans feel that this might be the last party for the beloved trio. Add in the magazine covers, talk show appearances, and globe-trotting premieres and Spider-Man has truly conquered pop culture this week which will make movie fans not want to be the only goofballs on Monday who didn’t see the can’t-miss blockbuster.

Advance ticketing has been running at a record pace. Movietickets.com has reported that sales are ahead of "Dead Man’s Chest" at the same point in the advance sales cycle and three times better when compared to "Spider-Man 2." Add in Thursday night midnight shows, and the higher-priced Imax venues where tickets run as much as $15 in New York City, and the grossing potential climbs even higher.

"Spider-Man 3" stands an excellent chance of setting a new industry record for the biggest opening in history. The marketing assault has been amazing, audience anticipation is sky high, competition is zero, and every screen out there is dumping its spring trash in favor of the Sandman flick. Towering over its foes, "Spider-Man 3" might swing into the friendly neighborhood of $140M over the Friday-to-Sunday span this weekend.

Who would dare go head-to-head against Spider-Man this weekend? The Hulk of course! Eric Bana joins forces with Drew Barrymore in the poker drama "Lucky You" which Warner Bros. is quietly dropping into the marketplace. Offered as a counter-programming option for adult women, the much-delayed film from director Curtis Hanson ("L.A. Confidential," "8 Mile") tells of a hardcore card shark who juggles rocky relationships with his need to win a tournament. The PG-13 film could not have asked for a more unlucky frame. Although countering super hero films with chick flicks can be a good move ("My Best Friend’s Wedding" vs. "Batman & Robin," "The Devil Wears Prada" vs. "Superman Returns"), this time this film just doesn’t have the goods. Buzz is low, reviews are bad, and Drew just isn’t the draw she used to be. Plus "Spider-Man 3" boasts plenty of female appeal so the choice will be simple for most women. Not likely to find full houses in its 2,525 theaters, "Lucky You" looks to settle for a distant second place showing with about $7M this weekend.


"I’m not sure this hand is strong enough to go against Spider-Man."

Elsewhere in the land of single-digit millions, "Disturbia" will end its three-week reign atop the charts. The Paramount thriller has been enjoying good legs with second and third weekend declines of 42% and 31%, respectively. This time the fall should be harder since "Spidey" will appeal to the exact same audience. A 45% drop would give "Disturbia" about $5M for the session and a solid 24-day cume of $59M.

The supernatural thriller "The Invisible" probably burned through much of its audience on opening weekend so a 50% drop to around $4M could result. That would give Buena Vista $13M after ten days. Fellow sophomore "Next" starring Nicolas Cage should collapse as well as moviegoers showed no interest last weekend. A 50% decline should lead to a $3.5M frame and a dismal ten-day total of only $13M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

Awaiting the arrival of their webslinging hero, North American audiences avoided the multiplexes and held onto their money rejecting the slate of new releases that Hollywood dumped into theaters. That allowed the hit suspense pic "Disturbia" to retain its number one position for the third consecutive weekend despite the fact that the overall box office tumbled to its worst showing of 2007.

For the third straight weekend, moviegoers made the teen thriller "Disturbia" the top choice spending an estimated $9.1M on the Paramount release. After 17 days, the PG-13 sleeper hit has raked in a impressive $52.2M and could be headed for a $70M final. Produced by DreamWorks for only $23M, "Disturbia" is the first film to stay on top for back-to-back-to-back frames since Ben Stiller’s holiday season smash "Night at the Museum." Also, Paramount got to enjoy five straight weeks at number one with the Shia LaBeouf hit which followed on the heels of the two-week reign of "Blades of Glory." The last studio to accomplish this feat was Buena Vista in 2004 when "The Incredibles" claimed the top spot for two weeks followed by a three-week reign for "National Treasure."

The best opening among the new releases came from the new supernatural thriller "The Invisible" which landed in second with an estimated $7.6M from 2,019 theaters. Averaging a mild $3,767 per location, the PG-13 chiller about a teen whose spirit must solve his own murder was the fifth scary movie of the month to hit cinemas. "Invisible" had the least starpower of the four new releases, but used its creepy premise to connect with teens and young adults.

Nicolas Cage suffered his worst action opening since becoming a hero in the genre with his latest offering "Next" which stumbled into third place with a weak $7.2M debut, according to estimates. The Paramount release, which was expected to top the charts this weekend, averaged a feeble $2,642 from 2,725 theaters. Cage scored a hit earlier this year with the comic book actioner "Ghost Rider" which has taken in nearly $116M to date, but he couldn’t get action fans to make a return trip to the multiplexes with "Next" which was equally panned by critics. The film about a Las Vegas magician who can see two minutes into the future opened in several international markets as well this weekend and hit the top spot in France, Russia, and the United Kingdom. In all markets, "Next" is trying to grab whatever business it can before "Spider-Man 3" makes its global launch this coming week.

The webslinger sequel is poised to shatter records around the world thanks to both intense anticipation and weak competition. The mega-budgeted franchise film will have the domestic marketplace virtually to itself next weekend since there is zero excitement for any other film. Sony has even planned out Spider-Man Week in New York City which kicks off on Monday with the special black carpet premiere in conjunction with the Tribeca Film Festival with director Sam Raimi and the stars attending. Just like with the first Peter Parker flick from a half-decade ago, "Spider-Man 3" is not only kicking off the summer movie season, but it is arriving in a marketplace on life support in desperate need of a hero. The first "Spider-Man" opened to a then-record $114.8M and accounted for a whopping 77% of all ticket sales in the top ten. The new installment is swinging into an even weaker competitive environment and on more screens which could lead to a more dominant launch.

The Anthony HopkinsRyan Gosling thriller "Fracture" dropped a reasonable 36% in its second weekend to an estimated $7.1M. With $21.3M collected in ten days, the New Line release looks to find its way to $35-40M domestically.

"Blades of Glory," the year’s second biggest comedy after "Wild Hogs," slipped 32% to fifth place and grossed an estimated $5.2M for Paramount. With a budget of just over $60M, the Will Ferrell hit has taken in $108.1M and should skate to a $120M finish. Disney’s animated film "Meet the Robinsons" held up well thanks to no new kids competition and dipped 31% to an estimated $4.8M pushing the cume to $88.4M. The year’s top-grossing toon looks to end its run a bit north of the $100M mark.

Focus widened the run of its British action-comedy "Hot Fuzz" by expanding from 825 to 1,272 sites and grossed an estimated $4.8M this weekend for a decent $3,758 average on the sophomore frame. That represented a slim 18% dip in the gross but a steeper 47% drop in the average with the cume rising to $12.5M. The $16M production could conclude its North American run with $21-23M adding to its $49M tally from overseas.

The horror flick "Vacancy" suffered the worst fall in the top ten dropping 45% from its poor debut to an estimated $4.2M. Sony’s $19M thriller starring Luke Wilson and Kate Beckinsale has taken in just $13.9M to date and looks to limp to around $20M overall.

Wrestling fans ignored the new "Stone Cold" Steve Austin action pic "The Condemned" which debuted in ninth with a wimpy $4M, according to estimates. The R-rated film about ten death row inmates in a contest for survival was dead on arrival averaging a pathetic $1,732 from 2,310 sites for Lionsgate. Rounding out the top ten was Ice Cube’s family comedy "Are We Done Yet?" with an estimated $3.4M, off 34%, for a $43.8M sum. Sony should reach about $50M.

Jamie Kennedy’s new comedy "Kickin’ It Old Skool" flopped in its first weekend as the Yari Film Group release bowed to an estimated $2.8M from 1,816 locations for a miserable $1,542 average. It was a far cry from the actor’s 2003 spring comedy "Malibu’s Most Wanted" which debuted to $12.6M on its way to a solid $34.4M. Kickin’ was the ninth wide release this year to fail to reach the top ten on opening weekend.

Three films fell out of the top ten this weekend. Sony’s underperforming thriller "Perfect Stranger" dropped 46% to an estimated $2.2M putting the cume for the Halle BerryBruce Willis suspense pic at $21.6M. A disappointing $25M final seems likely for the star-driven bomb. The Warner Bros. chick flick "In the Land of Women" has grossed over $8M in its first ten days which is far from impressive. Look for a $12-14M finish for the Adam Brody clunker.

Buena Vista’s runaway smash comedy "Wild Hogs" finally left the top ten after eight long weeks. Starring Tim Allen, John Travolta, Martin Lawrence, and William H. Macy, the PG-13 pic took in an estimated $1.9M, off 33%, boosting the total to $158.8M. A final tally of $163-165M seems likely.

The top ten films slumped to an estimated $57.4M which was down 33% from last year when "RV" opened at number one with $16.4M; and down 26% from 2005 when "The Hitchhiker’s Guide to the Galaxy" debuted on top with $21.1M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

For the fourth consecutive weekend, four or more new wide releases will cram into multiplexes trying to get at their piece of a dwindling box office pie.

Nicolas Cage targets his second trip to the top spot this year with the action film "Next," rival actioner "The Condemned" counters with Stone Cold Steve Austin in the lead, horror fans get yet another creepy tale with "The Invisible," and Jamie Kennedy goes for some laughs with "Kickin’ It Old Skool."

Mostly garbage titles were programmed into this weekend’s menu since any studio with a decent film would not risk getting crushed on the second weekend by the webslinger sequel. Including these newest films, the first four months of 2007 boasts 64 wide releases hitting the marketplace, up slightly from last year’s 60 but up sharply from the 42 over the same period in 2005. With a mass quantity of weak April films, look for the North American box office to plunge to its lowest point of the year this weekend during what is essentially the calm before Sandman’s storm hits next Thursday night at midnight.

Following his Marvel Comics hit "Ghost Rider," Nicolas Cage once again plays the action hero card with the sci-fi thriller "Next." The PG-13 film finds the Oscar winner playing a man with the ability to see into the future who is called in to foil a terrorist plot before it happens. Directed by Lee Tamahori ("Die Another Day," "Along Came A Spider"), "Next" has the advantage of having the most screens and the most starpower of any new release this weekend. Plus with current films rotting away quickly (9 of the 16 holdovers in the Top 20 last weekend plunged by more than 55%), competition will not be too fierce. Paramount has been giving "Next" a decent amount of marketing, that is for a film being dumped into the final weekend of a month starting with the letter A. In almost any other time of year this would get clobbered, but given the current alternatives it will make for the only reasonable choice for many moviegoers. Hence, a number one opening by default and quite possibly the weakest one of the year. Crashing into over 2,500 theaters, "Next" could reach the top with around $13M.


Cage and Biel required an escort when exiting the "Next" premiere.

"The Condemned" offers a reality show idea not likely to be on any network’s fall schedule. In the weekend’s sole R-rated film, death row inmates duke it out to the death in order to avoid being executed, all while television cameras capture every brutal moment. World Wrestling Entertainment head Vince McMahon produces behind the scenes while former superstar grappler Steve Austin stars in front of the camera. Other WWE stars who headlined recent feature films include Kane in last May’s "See No Evil" ($4.6M debut) and John Cena in last fall’s "The Marine" ($7.1M bow). Both films averaged less than $4,000 on their opening weekends. Young men will make up the only audience segment for the new Lionsgate title and "Next" will provide some direct action competition. Still some hardcore wrestling fans will turn up to theaters since a movie ticket will be cheaper than ordering a pay-per-view event. But overall, prospects seem bleak. "The Condemned" will attack 2,310 theaters and may end up with $6M.


Steve Austin and some unfortunate soul in "The Condemned."

As if moviegoers don’t have enough scary films to choose from, Buena Vista offers up one more with the supernatural thriller "The Invisible." The PG-13 film follows a high school student whose spirit wanders after a brutal accident. Fright flicks have been flopping left and right recently and there is no reason to believe that this one will turn things around. The marketing volume has been stuck on low as this remake of a Swedish pic is more of a spring cleaning film tossed into the marketplace hoping to be forgotten soon. With no starpower, there will be almost nothing driving in traffic. "The Invisible" will appear in over 2,000 theaters this Friday, but might only collect roughly $5M.


One of them is "The Invisible."

Jamie Kennedy headlines the new comedy "Kickin’ It Old Skool" playing a 1980s breakdancer that falls into a coma and awakens two decades later to a much different world. Yari Film Group is targeting teenagers with this PG-13 pic which essentially offers the same laughs as the comedian’s 2003 film "Malibu’s Most Wanted." That modest hit bowed in late April to $12.6M from 2,503 theaters on its way to a $34.4M domestic final. "Skool" does not have a big studio marketing push behind it but it may grab the attention of some young dudes killing time before Peter Parker busts into theaters. DVD is where most people will find this one. Breaking into 1,600 theaters, "Kickin’ It Old Skool" could find itself with around $5M over three days.


Jamie Kennedy and Webster kick it "Old Skool."

Among holdovers, two-time champ "Disturbia" will find it difficult to hold onto its crown given the arrival of Nicolas Cage. But Paramount won’t care as it should still claim the number one film for the fifth consecutive weekend. A 40% decline would give the Shia LaBeouf pic about $8M for the frame and a healthy $51M after 17 days. The Anthony HopkinsRyan Gosling thriller "Fracture" has been well-received and competition is not too fierce so a 40% drop could be in order as well. That would leave New Line with $6.5M and a ten-day tally of $21M.

LAST YEAR: Three new flicks topped the charts led by the family comedy "RV" starring Robin Williams which opened at number one with $16.4M. The Sony hit enjoyed stellar legs and went on to collect $71.3M. Universal followed in second with the 9/11 thriller "United 93" which debuted in half as many theaters with $11.5M. The critically acclaimed pic went on to gross $31.5M. Buena Vista’s gymnastics film "Stick It" bowed in third with $10.8M on its way to $26.9M. Rounding out the top five were "Silent Hill" with $9.3M and "Scary Movie 4" with $7.8M. Also opening was the spelling drama "Akeelah and the Bee" with a weak $6M leading to a $18.8M final for Lionsgate and its promotional partner Starbucks.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

This week at the movies, we’ve got clairvoyants ("Next," with Nicolas Cage and Julianne Moore), cons ("The Condemned," starring Steve Austin and Vinnie Jones), teen spirits ("The Invisible," starring Justin Chatwin), and breakdancers ("Kickin’ It Old Skool," starring Jamie Kennedy and Bobby Lee). Are the critics feeling it this week?

Another year, another slickly-produced Philip K. Dick adaptation. In "Next," Nicolas Cage stars as a Cassandra-like magician who can see terrible things happening two minutes in the future. (Sorta like "Memento," but the other way around. Or something.) The movie also features Julianne Moore as an FBI agent on his trail attempting to thwart a terrorist plot, and Jessica Biel as the love interest. The critics say the biggest problem with "Next" is that it fails to provide a consistent framework for Cage’s character’s remarkable powers. In addition, it lacks the nuance of source writer Dick’s text and features mediocre performances. At 33 percent on the Tomatometer, you may not want this one to be "Next" on you’re viewing schedule.


"Can you throw on a little ‘Ninth Symphony?’"

In the wrestling ring, "Stone Cold" Steve Austin made for a compelling antihero. In "The Condemned," his first starring vehicle? Not so much, but don’t entirely blame the noted purveyor of the stone cold stunner. Austin stars as a death-row inmate sent to a remote island, where he and nine other prisoners must duke it out on live television for the ultimate prize: freedom. Critics say this retread of "The Most Dangerous Game" and "The Running Man" is undone by its shopworn premise and its message, which is that vicarious, voyeuristic violence is bad (as the film itself traffics in vicarious, voyeuristic violence). At 12 percent on the Tomatometer, this one’s been "Condemned," all right.


Slap fight!

Critics have been kept in the dark with regard to David S. Goyer’s latest, "The Invisible." This tale of a teenager trapped between the living and the dead wasn’t screened for the scribes. In addition, the pundits haven’t been allowed to bust a move with "Kickin’ It Old Skool," the Rip Van Winkle-inspired tale of a breakdancer (Jamie Kennedy) who gets his poppin’ and lockin’ crew together after a 20-year repose. Take a temporary break from listening to Run DMC and guess those Tomatometers.


You’re the best, Jamie Kennedy!

Also opening this week in limited release: "Triad Election," Johnny To’s star-studded Hong Kong gangster flick, is at 88 percent on the Tomatometer; "Diggers," a slice-of-life tale of clam diggers in Maine starring Paul Rudd and Lauren Ambrose, is at 86 percent; "The Short Life of Jose Antonio Gutierrez," a doc about the first soldier killed in Iraq, is at 83 percent; the French thriller "Poison Friends" is at 82 percent; "Snow Cake," a drama about the aftermath of a fatal accident starring Sigourney Weaver and Carrie-Anne Moss, is at 68 percent; "Zoo," an impressionistic doc about bestiality, is at 53 percent; and the Raymond Carver adaptation "Jindabyne," starring Laura Linney and Gabriel Byrne, is at 56 percent.


"Heard any good clam jokes?"

Films Not Screened for Critics in 2007 (Best To Worst Tomatometer Score):
———————————————-
28% — Ghost Rider
24% — The Abandoned
21% — The Hitcher
20% — Dead Silence
16% — Primeval
14% — The Messengers
13% — The Hills Have Eyes 2
11% — Slow Burn
10% — Blood and Chocolate
3% — Epic Movie
0% — Redline

Recent Philip K. Dick Adaptations:
————————————–
66% — A Scanner Darkly (2006)
28% — Paycheck (2003)
92% — Minority Report (2002)
15% — Impostor (2001)
29% — Screamers (1995)

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