This week on home video, we’ve got a decent number of new releases, but sadly, only one of them is Fresh (hey, at least it’s Certified Fresh), while no less than three of them fall below 20% on the Tomatometer. What makes this even more sad is that, among the Rotten choices, we have not only Robert Redford’s latest film, but also John Carpenter’s first directorial effort since 2001. But if you’re looking for a Paul Bettany-powered sci-fi action flick, yet another derivative rom-com, or a poorly crafted CGI fairy tale, you’ve come to the right place! (Don’t worry, both of the Criterion choices this week are solid, and as a thoughtful user pointed out, the Limited Edition Blu-Ray Book of The Big Lebowski also drops tomorrow.)



Paul Bettany has had an interesting career, as evidenced by his ten best-reviewed films, but his transition into action star has been a bumpy one. Maybe it’s because he chooses schlocky B-movie styled fantasy thrillers, like Priest, which almost looks like it could have been a follow-up to last year’s Legion, another Bettany starring vehicle. In any case, critics weren’t too thrilled with Priest, in which Bettany plays a nameless… er, priest in a post-apocalyptic alternate world. Oh, and he fights vampires. Despite its sleek and stylish production values, the film ultimately amounted to little more than a dull, derivative blend of sci-fi, action, and horror clichés, and critics duly rewarded it with a 17% Tomatometer. You’re welcome to check it out if you’re curious, but really, there are no guarantees with this one.

Something Borrowed


From Priest, we move on to Something Borrowed, a romantic comedy starring Ginnifer Goodwin, Kate Hudson, and John Krasinski (aka “Jim” from The Office). Rom-coms these days have to fight an uphill battle to begin with, being that almost every possible permutation of love story has been mined for the big screen. In order to stand out, you’ve got to have at least some sort of twist on a familiar storyline, and Something Borrowed went with “perpetually-single-girl-accidentally-sleeps-with-best-friend’s-fiance.” In this case, Goodwin is the single girl, and Hudson is the best friend; if only “single girl” knew that her “best guy friend” was actually in love with her! In case you couldn’t already tell, Something Borrowed didn’t offer anything impressive enough to wow the critics; in fact, it did quite the opposite with its heavy reliance on genre clichés, making its title a little more appropriate than it was probably meant to be. At 15% on the Tomatometer, this is an unpleasant misfire that unfortunately isn’t saved by earnest performances from its cast.

Jane Eyre (2011)


Lest we bombard you with terribly-reviewed movie after terribly-reviewed movie, here’s one that earned widespread acclaim, even if it didn’t do gangbusters at the box office (then again, how often do adaptations of Victorian literature ever top the box office?). Mia Wasikowska (Alice in Wonderland, The Kids Are All right) and Michael Fassbender (X-Men: First Class, Inglourious Basterds) star as the titular character and Edward Rochester, respectively, in Cary Fukunaga’s (Sin Nombre) version of Jane Eyre, the famous novel by Charlotte Bronte. As the story goes, young Jane Eyre is raised in a boarding school after her parents die of typhus, and after turning 18 she becomes the governess of Thornfield Hall, where she falls in love with Edward Rochester. Backed by a stellar supporting cast that includes Jude Dench, Jamie Bell, Sally Hawkins, and more, Jane Eyre demonstrated Mia Waskikowska’s great talent, with some calling hers the best portrayal of the character yet. It’s Certified Fresh at 84% on the Tomatometer, and if you’re looking for an elegant period drama, you probably can’t go wrong with this one.

Hoodwinked Too! Hood vs. Evil


Well, now that we’ve gotten the good movie out of the way, let’s move back into Rotten territory, shall we? Back in 2006, after the wild success of the first two Shrek films, there came another irreverent take on fairy tales called Hoodwinked!. Unfortunately, that film had neither the wit nor the animation quality to compete in the rapidly growing CGI genre, so when its sequel, Hoodwinked Too! Hood vs. Evil opened earlier this year, many asked, “Why?” Sure enough, despite the addition of 3D (all the cool kids are doing it!), this second installment proved to be even worse than the original, which, at least, sported a modicum of low-budget charm. As a result, it currently sits at 11% on the Tomatometer and probably won’t serve to amuse anyone aside from young children whose only entertainment prerequisite is lots of brightly colored things moving quickly across the screen.

The Conspirator


Like The Conspirator, Hollywod icon Robert Redford’s last directorial outing, 2007’s Lions for Lambs, was an ensemble drama with a political focus; unfortunately, Lions was a critical and commercial disappointment. While The Conspirator marks a notable improvement over Lions, critics still found it less than stellar, despite its well-chosen cast. Robin Wright stars as Mary Surratt, the real-life boarding house owner who, in 1865, was arrested along with seven men in connection to the plot to assassinate Abraham Lincoln. James McAvoy plays Frederick Aiken, the attorney assigned to defend Surratt who comes to believe she is innocent and being used to draw out her son, who escaped the earlier manhunt. Critics felt the film was strongly acted, but also that Redford’s deliberate, stagebound approach to the material was tiresome and only worked against the film. As such, it currently sports a mediocre 56% on the Tomatometer, which means you may or may not like it, depending on your opinion of the cast and the director’s noted style.

John Carpenter’s The Ward


Aside from a couple of pieces for the Masters of Horror series on Showtime, horror legend John Carpenter (Halloween, The Thing) has been absent from the director’s chair since 2001’s Ghosts of Mars. So it was with some anticipation and much trepidation that fans awaited the release of his first film in a decade, The Ward. Unfortunately (that word’s being used a lot this week), The Ward was not to be Carpenter’s great comeback film, as it barely saw a theatrical release and received poor reviews. Amber Heard stars as Kristen, a young woman who is placed in a psychiatric hospital after burning down a house. While institutionalized, Kristen meets a handful of other young girls who occupy the same ward and soon finds that an unspeakable evil haunts the halls, eliminating each girl one by one. Critics were largely disappointed that Carpenter, who injected his early films with palpable dread, seemed to be mimicking the very films he inspired, rendering this film predictable and pedestrian. The Ward sports a 31% Tomatometer and probably won’t hold many surprises for experienced horror audiences. (For John Carpenter’s Five Favorite Films, click here.)

The Bang Bang Club


Published back in 2000, The Bang Bang Club was an autobiographical account of the experiences of four photographers active in South Africa during Apartheid, two of whom won Pulitzer Prizes for their work. The big screen adaptation that premiered Stateside earlier this year — which stars Ryan Phillippe, Taylor Kitsch, and Malin Akerman — generated some buzz at Tribeca, but as it turns out, the film simply doesn’t live up to its source material’s reputation. Director Steven Silver’s background in documentary work proves effective here in capturing the essence of the conflict’s harsh realities, but most critics found that the characterizations were somewhat shallow, especially considering the big picture issues at hand. This probably isn’t your film if you’re looking for a probing document of Apartheid-era South Africa, but if you don’t mind that setting as the backdrop for a story of four brave photographers struggling with each other while trying to make a difference, it might work for you.

Cul-de-Sac – Criterion Collection


Roman Polanski remains a controversial figure, though few would deny his skill as a filmmaker. Specifically, no one makes psychological thrillers quite like Polanski; for a good example, check out Cul-de-sac, the follow-up to his masterful Repulsion. Donald Pleasence and Françoise Dorléac (Catherine Deneuve’s older sister) star as a married couple whose remote island castle is used as a hideout for two crooks on the lam. Soon, one of the criminals has held the couple hostage while waiting to be rescued by his boss, and a psychological game of cat-and-mouse ensues. The new director-approved Criterion release, available on DVD and Blu-ray, features a making-of doc, a 1967 interview with Polanski, and trailers.

The Killing – Criterion Collection


The Killing was Stanley Kubrick’s first masterpiece, and it’s a black-hearted crime picture that’s lost none of its visceral power over the years. Though it was a critical and commercial failure when it was released in 1956, The Killing provided ample evidence of Kubrick’s nascent genius and laid the groundwork for heist pictures to come — Point Break, Reservoir Dogs, and even The Dark Knight owe a debt to The Killing. Sterling Hayden (at his malevolent best) stars as the leader of a gang that’s conspiring to steal $2 million from a racetrack; though the robbery (staged virtuosically by Kubrick from the perspectives of various characters) is successful, the crew is undone by greed and their weaker natures. The Criterion disc features a sparkling transfer of the film, plus new and archival interviews from cast and crew members, as well as Killer’s Kiss, Kubrick’s previous feature, which displays some of the stylistic panache the director would later use to greater effect.

The super hero adventure Thor held firmly to the number one spot in its second weekend with a solid hold while the raunchy comedy Bridesmaids scored an impressive debut in second place. April’s Brazil-set blockbusters Fast Five and Rio both remained in the top five thanks to good legs while the new 3D thriller Priest debuted in fourth with moderate results. Overall ticket sales were only slightly off from last year’s red hot frame.

Dropping only 48% in its sophomore frame, Paramount’s comic hit Thor grossed an estimated $34.5M to lead the North American box office with what was an unusually low drop for a super hero flick. The critically-praised actioner has amassed $119.3M in its first ten days and now looks on course to possibly reach the $200M mark. Thor’s drop was equal to the decline that the well-liked Iron Man enjoyed in May 2008 so the road ahead could also be bright if good word-of-mouth continues to spread.

Competition will be tough though as this Friday Pirates of the Caribbean: On Stranger Tides launches in over 4,000 theaters followed six days later by high-profile sequels to The Hangover and Kung Fu Panda. Thor is playing well to kids with Saturday surging by an impressive 66% from Friday. Overseas, Thor commanded $27.5M this weekend from 60 territories, down 40%, putting the international take at $225M with the global tally climbing to $344.3M.

Kristin Wiig anchored the first of what could be many hit comedies as her raunchy wedding-themed film Bridesmaids opened better than expected with an estimated $24.4M taking the runnerup spot. The latest hit from resurgent Universal averaged a strong $8,365 from 2,918 locations and showed Hollywood that a quality female-dominated R-rated comedy could score with paying moviegoers. With strong reviews and a marketplace dominated by testosterone action movies, Bridesmaids was the right film at the right time and connected with an underserved audience. And with a healthy 36% Friday-to-Saturday jump, strong legs could kick in soon despite a moderate B+ CinemaScore grade.

The Judd Apatow production was not high on starpower but Wiig (who co-wrote and co-produced) and co-star Maya Rudolph have built up a sizable fan base from their years on Saturday Night Live. The unique wedding-themed premise and great title helped it to generate excitement with its target audience of adult women. Studio research showed that females made up 67% of the crowd while those over 30 were 63%. Bridesmaids now hopes that good buzz will help it reach a broader audience in the weeks ahead, though competition will be tough with Johnny Depp set to attack multiplexes next weekend stealing away audiences of all shapes and sizes. Still, with a cost of only $33M after production credits, Bridesmaids looks to be a profitable hit for Universal and could help greenlight more female-driven comedies and fill up Wiig’s work schedule for years to come.

Fast Five finished in third place for the session and became the year’s biggest global grosser in the process. The Universal action sequel dropped by a reasonable 40% in its third lap to an estimated $19.5M boosting the 17-day domestic cume to $168.8M. Breaking $200M now seems very likely. Overseas, Fast Five hauled in a hefty $58M this weekend – off only 33% – raising the international total to $271.7M and the global score to a stellar $440.5M. Five is now the top-grossing installment of the franchise domestically, internationally and worldwide. Look for the Rio-set hit to race past the $500M mark next weekend.

The 3D supernatural thriller Priest debuted in fourth place with a decent $14.5M, according to estimates. Sony’s stylish PG-13 vampire pic averaged $5,063 from 2,864 locations. Sales were flat from Friday to Saturday which was not bad since these types of thrillers often drop on the second day, plus the marketing campaign was specifically pushing the Friday the 13th opening day. Males made up 57% of the audience with those over 25 also coming in at 57%, according to studio research. Priest opened in the U.K. a week earlier and debuted in several other international markets for a $16.7M international take this weekend lifting the overseas total to $25.6M and the worldwide figure to $40.1M.

Posting the best hold by far of any film in the top ten was the 3D animated hit Rio which faced zero competition from new films and dipped a scant 6% to an estimated $8M in its fifth frame. Fox has collected a solid $125M thus far from North America.

Sophomore wedding comedies both lost about half of their audiences this weekend. Sony’s Jumping the Broom fell 52% to an estimated $7.3M for a ten-day total of $26M while the Warner Bros. release Something Borrowed grossed an estimated $7M, down 50%, for a similar $25.6M sum in ten days. Each should finish near the $40M mark even though Broom cost less to both produce and market.

Water for Elephants enjoyed another good hold despite the arrival of a rival pic aimed at adult women grossing an estimated $4.1M, down just 33%, for a $48.5M total for Fox. Madea’s Big Happy Family fell 50% to an estimated $2.2M giving Lionsgate $50.2M to date. Sony’s Soul Surfer rounded out the top ten dipping only 22% to an estimated $1.8M putting the PG-rated drama at $39.2M.

The top ten films grossed an estimated $123.3M which was down 5% from last year when Iron Man 2 stayed in the top spot with $52M; and off 4% from 2009 when Angels & Demons debuted at number one with $46.2M.

Author: Gitesh Pandya, Box Office Guru!

This week at the movies, we’ve got a vampire slayer (Priest, starring Paul Bettany and Karl Urban) and nuptial nuttiness (Bridesmaids, starring Kristen Wiig and Maya Rudolph). What do the critics have to say?



When the armies of evil are on the march, who you gonna call? A priest should do the trick, especially if his name is Priest, and is more adept at dishing out pain than serving communion. Too bad the critics find Priest to be less than heavenly; instead, they say it’s a middling assemblage of elements from better comic book adaptations that’s visually interesting but never delves any deeper than its slick surface. Paul Bettany stars as the title character, who gained fame as a fearless vampire killer and now lives a monastic existence. He springs into action, however, when his niece is kidnapped by a group of bloodsuckers. The pundits say Priest is a little too grim to be fun, and despite a game performance by Bettany, the actors are given little to do in this genre mashup. (Check out this week’s Total Recall, in which we count down Bettany’s best-reviewed movies.)



Kristen Wiig is a funny lady. Unfortunately for moviegoers, the Saturday Night Live star has largely been limited to a series of sharp cameos on the big screen. Well, now she’s got a vehicle for her comedic chops with Bridesmaids, and the critics say the result is one of the funniest, wildest movies of the year. Wiig stars as Annie, a single woman whose best friend Lillian (Maya Rudolph) has asked her to be the maid of honor at her forthcoming wedding. Unfortunately for Annie, she and her fellow bridesmaids must brave a series of colorful adventures before Lillian’s big day, and as a result, Annie’s life starts to spin out of control. The pundits say the Certified Fresh Bridesmaids is not just an inventive, raunchy laugh-fest, but also a smart look at the bonds of friendship, and definitive proof that Wiig is the real deal.

Also opening this week in limited release:

Paul Bettany

Over the course of his relatively brief film career, Paul Bettany has played a wide variety of roles — tennis pro, legendary poet, albino monk, and the voice of a supercomputer, to name a few — but he’s never carried a movie about a vampire-slaying priest with a cross on his face. Until now, that is, and the release of this weekend’s Priest, which adapts the Korean comic about a centuries-long war between humanity and legions of undead bloodsuckers. To celebrate this career milestone, we decided now would be the perfect time to take a look back at the highlights of his filmography. It’s time for Total Recall!


10. Creation

Just in time for Charles Darwin’s 200th birthday, director Jon Amiel gave filmgoers Creation, a dramatized account of the events leading up to Darwin’s long-delayed publication of On the Origin of the Species. An adaptation of Annie’s Box, a biography based on family letters (and written by Darwin’s great-grandson), it gave Bettany a chance to work opposite his real-life wife, Jennifer Connelly, who co-starred as Mrs. Darwin. Unfortunately, the pair’s offscreen chemistry wasn’t enough to keep critics from dismissing Creation as dull and maudlin (News of the World’s Robbie Collin called it “108 minutes of drizzle, scarlet fever and weeping in bonnets”), although for some scribes, the importance of the film’s subject was enough to make the melodrama worthwhile. Kerry Lengel of the Arizona Republic was among Creation‘s supporters, calling it “An intriguing portrait of a man and a time that changed everything.”


9. The Heart of Me

Stiff upper lips! Meaningful glances! Choked-back sobs of repressed longing and regret! Yes, it’s a British period picture! An adaptation of Rosamund Lehmann’s The Echoing Grove, The Heart of Me follows the doomed secret love that blooms between a married man (Bettany) and his sister-in-law (Helena Bonham Carter) during the World War II era. Featuring bombings, a pair of nervous breakdowns, and plenty of tragic death, Heart is the kind of movie that, if not handled delicately, can easily tilt into “soapy melodrama” territory — and unfortunately, that’s exactly where most critics said it ended up, although most of them were quick to point out that its shortcomings didn’t have much to do with the acting. As Peter Keough wrote for the Boston Phoenix, “By the time Bettany walks through the blitzed streets of London, defeated and transcendent, he’s put in one of the more affecting performances of the year.”


8. The Secret Life of Bees

Bettany is a pro at doing the “rakishly charming” thing, but he can also be supremely creepy when it’s called for. Case in point: his performance as T-Ray, the widowed single father whose ever-boiling rage drives his 14-year-old daughter Lily (Dakota Fanning) to run away in search of the truth about her mother. An adaptation of Sue Monk Kidd’s bestselling novel, The Secret Life of Bees wasn’t able to manage much (cough) buzz at the box office, and it was a little too sentimental for most critics — but some were powerless to resist its soft-hued depiction of the struggle for love and equality in the 1960s South. As Dana Stevens wrote for Slate, “It’s hard to roll your eyes when they’re full of tears.”


7. A Knight’s Tale

Offering an imagined peek into the writing of Geoffrey Chaucer’s The Canterbury Tales — with a classic rock soundtrack, plenty of jousting action, and a heaping stack of anachronisms in the bargain — A Knight’s Tale brought Bettany to Hollywood after he rose through the ranks of British television and cinema. Starring Heath Ledger as a knight’s squire who refuses to let his lack of noble blood keep him from jousting — and Bettany as the hard-living Chaucer, who helps him pull off a false identity — Tale was a splashy $117 million hit despite largely lukewarm reviews from critics who didn’t appreciate the modern lingo and pop culture references. For some scribes, though, all that medieval action made this a Tale worth telling: “The movie promises to rock you,” wrote the Washington Post’s Rita Kempley, “and much of the time it does.”


6. Wimbledon

After a number of supporting and co-starring roles in high-profile films, Bettany earned his first shot at leading man status with 2004’s Wimbledon, which uses the world of professional tennis as the backdrop for a love story between a cynical pro (Bettany) and the fresh-eyed ingenue he takes under his embittered wing (Kirsten Dunst). Adding tennis to the mix was something of a twist for the rom-com genre; sadly, it was a twist most filmgoers weren’t terribly interested in seeing, and Wimbledon limped to a $41 million finish at the box office. On the bright side, most critics liked it well enough — including Andrew Sarris of the New York Observer, who mused that it was “A pleasant enough entertainment at a time when movies either pleasant or entertaining are in short supply.”


5. Dogville

The debate over whether humans are inherently good or evil has waged for years. Director Lars von Trier is firmly in the latter camp, as evidenced by just about every entry in his filmography — including 2003’s Dogville, which follows the steady fraying of the social compact in a small town after a mysterious woman (Nicole Kidman) arrives seeking shelter from murderous gangsters. As Tom, the aspiring writer who serves as the audience’s guide to Dogville, Bettany helps establish the warped framework for the slowly unfolding horrors in a profoundly disquieting film that earned honors from many critics’ circles — as well as the praise of writers like Tom Long of the Detroit News, who wrote, “Dogville is in no way a standard film and likely won’t appeal to many. But Von Trier is so inventive, so outlandish and so filled with energy he has to at least be admired.”


4. Gangster No. 1

Bettany had booked a few film and television roles by the turn of the century, but 2000’s Gangster No. 1 served as his true cinematic coming-out party, giving him the chance to play the younger version of a bloodthirsty criminal (played by Malcolm McDowell in segments that open and close the film) who uses treachery, deceit, and good old-fashioned torture to rise from mob enforcer to London gangster kingpin. It was barely released here in the States, only landing on a single screen during its limited run in 2002, but Gangster No. 1 still received a warm critical reception; as Ella Taylor wrote for the L.A. Weekly, it’s a “Clever, brutal and strangely soulful movie.”


3. The Young Victoria

When you can marry your first cousin in front of the entire world and still be awesome enough to have an entire era named after you, you deserve a solid biopic — and that’s what Queen Victoria got with 2009’s The Young Victoria, starring Emily Blunt as the young monarch and Rupert Friend as her eventual king. As the reform-minded Prime Minister (and one of the Queen’s earliest close advisers) Lord Melbourne, Bettany took a supporting role among a solid cast that included Miranda Richardson and Jim Broadbent, helping Victoria earn the praise of critics like Christopher Kelly of the Dallas Morning News, who wrote, “If The Young Victoria never transcends its fussy trappings — it’s still a familiar costume drama — it remains brisk and intelligent.”


2. A Beautiful Mind

Before they sailed the seven seas in Master and Commander: The Far Side of the World, Bettany and Russell Crowe co-starred in the Oscar-winning adaptation of Sylvia Nasar’s book about the life of Nobel-winning mathematician John Nash. As Nash’s college roommate Charles Herman, Bettany provided a sunny ray of well-adjusted light amidst Nash’s increasingly clouded, paranoid judgment, helping ground the hit drama that Variety’s Todd McCarthy lauded as “Consistently engrossing as an unusual character study and as a trip to the mysterious border-crossing between rarified brilliance and madness.”


1. Master and Commander: The Far Side of the World

Patrick O’Brian’s long-running Aubrey-Maturin series of books, about the friendship between a pair of officers in the British Royal Navy during the Napoleonic War, reached American screens with this 2003 epic, which distilled storylines from a number of the books to create a two-hour-plus epic. Master and Commander: The Far Side of the World finds Captain Jack Aubrey (Russell Crowe) and Dr. Stephen Maturin (Bettany) piloting the HMS Surprise in pursuit of the French privateer craft Acheron — a mission far more dangerous, and more grueling, than anyone expected. At 138 minutes, Commander could have been a tough slog too, but under Peter Weir’s direction — and with Crowe and Bettany holding the spotlight — it was smooth sailing for most critics. “Even if you can’t tell a mizzenmast from a gangplank,” wrote Jami Bernard of the New York Daily News, “Master and Commander will take your breath away.”

In case you were wondering, here are Bettany’s top 10 movies according RT users’ scores:

1. A Beautiful Mind — 91%
2. Dogville — 88%
3. A Knight’s Tale — 80%
4. The Secret Life of Bees — 79%
5. Gangster No. 1 — 76%
6. Master and Commander: The Far Side of the World — 75%
7. The Young Victoria — 66%
8. The Da Vinci Code — 64%
9. The Heart of Me — 60%
10. The Reckoning — 59%

Take a look through Bettany’s complete filmography, as well as the rest of our Total Recall archives. And don’t forget to check out the reviews for Priest.

Finally, here’s Bettany in the trailer for 2011’s Margin Call, co-starring Kevin Spacey and Demi Moore:

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