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Box Office Predictions: Will ‘MIB3′ Dethrone ‘The Avengers’?

Damon Houx — Thu, 24 May 2012 19:05:22 +0000

The Avengers has so dominated the box office – and we’re looking at a holiday weekend – that it’s possible that Men in Black III might not put The Avengers into second place. It’s also inevitable by weekend’s end that Avengers will be over half a billion domestic. That said, it’s also possible that MIB3 could do a hundred over the four-day weekend. There are variables at play.

With Men in Black, the question is: What is success? With all of its players, and a supposedly very expensive production, we could see the film do a half a billion worldwide and still not make money. When you’re talking about big studio tentpole releases the scales and measurements are different. Currently the film has no listed budget, but we’ve heard rumors that $300 Million or more is possible (even likely) because of its long shooting schedule and multiple re-shoots.

The film could open to $100 Million over the four day, and get over $200 domestic (maybe even $300 Million) and normally that would be a big hit. But the math says that the film will have to do over $600 Million worldwide to break even if it cost as much as it was rumored to. That’s a lot of money for a film that’s mostly a trifle.

And though we may see a near-$80 Million opening, does that even mean people care or wanted this film? Or is it just the new event movie? MIB is an odd franchise that lost a lot of goodwill with its second entry, and even if the film opens big, it may not be because of the name or the star. And if it opens to weak domestic numbers, expect Sony to pimp its international business.

Chernobyl Diaries is also opening. Yeah, no one’s going to even remember this film existed in two years.

So, numbers, what do they look like (for the three day)?

MIB3 – $58.3 Million
The Avengers - $32.8 Million
Battleship – $12 Million
Chernobyl Diaries – $9 Million
The Dictator – $8.5 Million

The big surprise would be a surge from the men in black. Which is possible, but unlikely.

What are you going to see this weekend?

Trailer Park: 10 Clichés of The Thriller Movie Trailer

Laura Aguirre — Wed, 16 May 2012 20:00:11 +0000

We watch a lot of movie trailers here at ScreenCrave, and, as we inch closer to summer with its ever-increasing torrent of new films, we’re seeing more and more previews with each passing day. As we do so, we can’t help but notice some similarities, repetitions, and clichés among them. Here at Trailer Park, we’ll be offering a rundown of those clichés, where they come from, and which trailers share them. This week, we’ll be breaking down: The Thriller Movie Trailer.

Thriller movie trailers are very similar. They start off slow, move into full-on montage mode with explosions, gun fights, sex scenes, car chases, and end with a bang (literally, they end with a gun shot). It can sometimes feel like what we’re watching is something we’ve watched before. We’ve gathered a list of clichés often seen in thriller movie trailers. Check it out.

10. The Facts

Used In: Taken, Man on Fire, Harry Brown

Thrillers love to feed us facts. Consider the Taken trailer below. It gives about six random facts about sex trafficking in Europe, and yet the story is about saving just one of those girls. The problem with facts is that they don’t always go along with the tone of the movie. They’re misleading and take up too much space.

As Seen In: Taken

9. The Black Bag

Used In: Inside Man, Safe House, Argo, Harry Brown, Law Abiding Citizen

We get it. If the movie is about holding a person or people hostage, then a black back over the head is essential. But I’ve noticed that it’s always used in the same manner. A hostage or prisoner walks in with police men on both sides. Then the bag comes off, in slow motion – which leads me to my next point…

As Seen In: Safe House

8. Slow Motion

Used in: From Paris With Love, Gangster Squad, Safe House, Rambo, Gone Baby Gone, Hitman, Shooter, The Departed, Fight Club, Man on Fire, Unbreakable, Collateral, Salt

For a genre that’s known for its speed and quick pace, the trailer always seems to move awfully slow. Explosions, fights, people walking – everything is in slow motion all the time.

As Seen In: Salt

7. The Final Gunshot

Used in: Smokin’ Aces, Hitman, Taken, The Disappearance of Alice Creed, Gangster Squad, Drive, Shooter

Thriller trailers like to end with a bang, usually a gun shot. The Gangster Squad trailer ends powerfully, with a low angle shot of Ryan Gosling and his gun. Unfortunately, we’ve seen this a thousand other times.

As Seen In: Gangster Squad

6. It’s Sexy Time

Used in: Once Upon A Time In Mexico, The Departed, Confessions Of A Dangerous Mind, Abduction, The Disappearance of Alice Creed, Gangster Squad, The Losers, The A Team, Disturbia, Hitman, Casino Royale, Max Payne

It never fails. In every single montage (usually filled with loads of violence), there’s one snippet from a sex scene. It just seems so random that there be only one bit that focuses on “love” while everything else is about violence.

As Seen In: The Departed

5. Explosions, Explosions, Explosions

Used In: Man On Fire, Deja Vu, Michael Clayton, Hitman, Death Proof, Valkyrie, Rambo, Law Abiding Citizen, Harry Brown, Gangster Squad, Fight Club

Thrillers seem to be defined by numerous Michael Bay-type explosions. The problem is that they serve no real purpose. Every second that’s spent blowing something up, is a second away from the story. And then we wonder why thrillers don’t get nominated for Oscars.

As Heard In: Law Abiding Citizen

4. Black And White

Used In: Man on Fire, Once Upon A Time In Mexico, Casino Royale, Argo, Abduction

What’s the point of switching to black and white? This isn’t The Artist. Man on Fire is a very entertaining movie, but the trailer is absolutely horrible. There are so many freeze frames and black and white shots that the story is barely understandable.

As Seen In: Man on Fire

3. Rap Music

Used In: Gangster Squad, Safe House, Lakeview Terrace, Smokin’ Aces, Limitless, Mission: Impossible – Ghost Protocol

Thrillers try to sell themselves as “badass”. That’s why they’re packed with blasts, guns, cars and half-naked women. Rap music is also in the mix. It sells a certain “attitude” that other music just doesn’t. Then again, when you throw a bunch of images over a rap song, the trailer feels lazy and clichéd.

As Seen In: Mission: Impossible – Ghost Protocol

2. Multiple Freeze Frames

Used In: Man on Fire, The Losers, The Next Three Days, Argo, Abduction, Death Proof, Hitman, Shooter, Gangster Squad

Freeze frames are very common. They’re used in all types of movie trailers, especially thriller ones. And they do add some drama to the trailer. The problem is when there’s multiple snapshots that it makes the trailer feel more like a slideshow.

As Seen In: Argo

1. Broken Windows

Used In: Edge of Darkness, Gangster Squad, Argo, Harry Brown, Taken, Abduction, Shooter, Body of Lies, Fargo, Max Payne

There might not be car chases. There might not be a rap song by Jay-Z. There might not even be explosions. But by God, there will be shattered windows. Always, always and always.

As Seen In: Abduction

What are some of the clichés you see? What do you think of this list? Does it cover everything?

‘Dumb & Dumber 2′ and the Comedic Rebirth of Jim Carrey

Joseph Doherty — Wed, 16 May 2012 19:03:52 +0000

Since exploding onto the big-screen in 1994 with Ace Ventura: Pet Detective, The Mask, and Dumb & Dumber, Jim Carrey has been in a fierce battle against his own image. Much like the late Peter Sellers, Carrey is a brilliant comic actor who seems almost slightly ashamed of his craft. As a result, he has attempted to branch out into more dramatic, artsy fare in recent years, with middling results. Because of this, the announcement that Carrey had signed on for Dumb & Dumber 2 (only his second sequel) came as a pleasant surprise. Will the film mark the beginning of a comedic rebirth for Carrey?

While there are no sure bets as to where Dumb & Dumber 2 will lead Jim Carrey, you can easily think up some possible scenarios based on his past career choices. On one hand, the film could be just a gem, a film that helps remind audiences why they fell in love with Carrey and his brand of outrageous, physical comedy. It could also be a desperate money grab by filmmakers and Carrey, hoping to use one of their big hits as a chance to milk a nostalgic audience. This is Carrey’s chance to reengage with the audience in a way he didn’t with Yes Man, which could re-open doors.

If it works, Carrey could use the success of Dumb & Dumber 2 as leverage to seek out projects which will satisfy him artistically. This is something he has done numerous times, like going from Liar Liar to The Truman Show, Bruce Almighty to Eternal Sunshine of the Spotless Mind, and Yes Man to I Love You Phillip Morris.

Though this tactic has built a diverse resume, it has hurt Carrey’s bankability and led him to develop something of an identity crisis on screen. And when Carrey went for Oscars (Man in the Moon, The Majestic) neither audiences or the academy responded. While there is absolutely nothing wrong with actors wanting to expand their range, they must also retain some of their unique character traits. To his credit, Jim Carrey has managed to skate that fine line in films like Eternal Sunshine of the Spotless Mind. However, for everyone of those there is The Number 23.

Perhaps the best result from Dumb & Dumber 2 would be if it ignited a comedic fire within Carrey, which we haven’t seen in years. In his prime, Jim Carrey was a once-in-a-generation talent capable of crafting outrageous, manic characters which were as grotesque and crude as they were endearing. Unlike some of today’s comedic actors, who can be simply insufferable without decent material (i.e. Will Ferrell), Carrey could generate huge laughs simply through his wonderfully expressive face and body language. Carrey has always had some difficulty embracing that identity, hence his ventures into more dramatic fare.

Perhaps with Dumb & Dumber 2, Jim Carrey will rediscover that passion for comedy which led to his meteoric rise some two decades ago. It may also help him come to terms with who he is both as a performer and a personality. At least, that’s what we hope happens.

Do you think Dumb & Dumber 2 will mark the beginning of a comedic rebirth for Jim Carrey?

Will James Cameron Become the Next George Lucas?

Joseph Doherty — Wed, 09 May 2012 18:57:23 +0000

Love him or hate him, director James Cameron has never been one to play it safe. But Cameron just announced that he is not open to developing any projects, original or otherwise, in the near future. Instead he will focus entirely on directing sequels to his groundbreaking 3D epic Avatar. This is cause for concern. In the past, some directors opted to coast off huge successes and ended up irrevocably damaging their reputations. The most notable of these being George Lucas with his Star Wars franchise. Will James Cameron follow in his path?

In analyzing the careers of George Lucas and James Cameron, there are similarities, and it was Star Wars was the film that inspired Cameron to quit his truck driving job and go to work at Roger Corman Studios. Both are notorious gear-heads. The two men also hit tremendous creative highs after difficult first films with American Graffiti and The Terminator.

George Lucas’ second feature, American Graffiti, was and remains the director’s most personal endeavor, touching on many elements from his teenage years, including small town living, troubled relationships, and cruising. To tell his story, Lucas employed the use of several daring and innovative devices like crossing-cutting narratives, title cards, and a musical score comprised entirely of period rock songs. American Graffiti helped revive interest in the 50s era. After that, Lucas was viewed as being one of Hollywood’s brightest talents, a young artist of seemingly unlimited potential.

Like Lucas, James Cameron experienced overnight success with his second directorial effort. From its inception, everything about The Terminator screamed ‘B-movie trash’. After selling his original screenplay for $1 dollar and an agreement to direct, Cameron was able to muster a paltry $6.5.million budget and cast relative unknown Arnold Schwarzenegger in the lead. Against all expectations, Cameron came out on top. The Terminator was a taut, tense, and supremely intelligent thriller that was miles beyond most of the mindless action fare released in the mid 80s.

It was what George Lucas and James Cameron did after hitting it big where their careers diverged. For Lucas, America Graffiti was a revelation. Unfortunately, the film was swallowed up by the phenomenon of Star Wars. Many felt that Lucas reached new artistic peaks with Star Wars‘ elaborate costumes, creatures, and production design, but all those were cosmetic. In terms of storytelling, Star Wars was really a classic coming-of-age tale played against the backdrop of war. While the narrative was certainly well-structured, it lacked the originality and emotional resonance of Lucas’ earlier efforts. After Star Wars, Lucas was either unwilling or unable to recapture that ambition and creativity which led him to create American Graffiti. Instead, he milked the Star Wars brand for all it was worth, releasing an endless stream of toys, games, books, television series, inferior prequels, and a horrid holiday special. Today, the franchise has become something of a running gag even among the most loyal fans.

James Cameron took the high road after The Terminator, directing a series of epic, yet diverse, blockbusters that always managed to push the envelope in terms of visual storytelling. After a 12 year break from film-making, he returned in 2009 with Avatar, a film which was very much in the same vein as Star Wars, and there’s where they begin to interest again. Both were overly hyped sci-fi epics with young stars, groundbreaking visuals, and shopworn plots. In addition to becoming the highest-grossing films of their time, they were also wrongly praised as being their respective directors’ finest achievement.

Right out of the gate, James Cameron expressed a desire to helm an Avatar sequel. Evidently that desire has morphed into something else with Cameron’s proclamation that he will just be in the “Avatar business” from now on and is developing three more installments. But isn’t this creative wheel-spinning? Unfortunately, this may very well lead to his downfall based on George Lucas’ history with Star Wars. Currently James Cameron deserves some benefit of the doubt based on his body of work. However, the day he announces plans for an Avatar holiday special, I’m heading for the hills.

Do you think James Cameron will become the next George Lucas?

Trailer Park: 10 Clichés Of The Bromance Movie Trailer

Laura Aguirre — Wed, 02 May 2012 18:10:38 +0000

We watch a lot of movie trailers here at ScreenCrave, and, as we inch closer to summer with its ever-increasing torrent of new films, we’re seeing more and more previews with each passing day. As we do so, we can’t help but notice some similarities, repetitions, and clichés among them. Here at Trailer Park, we’ll be offering a rundown of those clichés, where they come from, and which trailers share them. For our first installment, we’ll be breaking down one of summer’s most ever-present previews: The Bromance Movie Trailer.

Throughout the years of bromances, bro flicks and buddy films, we have come to expect certain things from these types of movies like men acting like boys or odd couple pairings. Unfortunately many of these genre expectations are nothing more but genre clichés. It’s that time of the week again. Here’s a list of 10 Clichés of the Bromance Movie Trailer.

10. Real Men Don’t Cry

Used in: All except Funny People

With the exception of Funny People, most Bromance trailers don’t include scenes of men crying. Is there a vendetta against seeing a couple of men shed a few tears? We always see women falling to pieces, but when it comes to men – nope, not happening.

As Seen In: Funny People

9. Boys Vs. Girls

Used In: Superbad, Waiting, Year One, Pineapple Express, Big Daddy, Old School, Dazed And Confused

Bromances are anti-girl. These trailers always show guys hitting or yelling at girls. Whether it’s Evan of Superbad punching Becca on her breast, or Sal of Pineapple Express punching the lady cop across the face, these scenes always make it unto the trailer.

As Seen In: Superbad

8. Three Little Words

Used in: Humpday, 21 Jump Street, Superbad

And those three little words are, “I love you.” Not even couple in romantic comedies or girlfriends in chick flicks exchange the words “I love you” as much as bros do.

As Seen In: Humpday

7. A Man’s Best Friend

Used in: 50/50, I Love You Man, Toy Story 2, Old Joy

This is a man’s world and to prove that to you, we’ll add a dog. Nothing says BRO-mance like a man’s best friend.

As Seen In: 50/50

6. Boys Becoming Men

Used in: Big Daddy, Role Models, A Night At The Roxbury, Step Brothers

Bromances aren’t necessarily coming-of-age stories. Most of these men are well past their 30s. However, it always ends up being a story of men becoming boys. This is usually narrated by creepy voice over guy.

As Seen In: Role Models

5. The Punch Across The Face

Used In: The Hangover, Funny People, Pineapple Express, Step Brothers, Waiting, Superbad, Beerfest, Wedding Crashers, Rush Hour

There’s an episode in Arrested Development where Buster begs his brothers to “have the decency” to punch him in the face. It’s like he needs that to feel like a man. It seems like bromance movie trailers also need that validation.

As Heard In: The Hangover

4. Blaze It Up

Used In: Pineapple Express, 50/50, Dazed and Confused

It would appear that only men smoke pot. Well at least the men in Seth Rogen movies.

As Seen In: Pineapple Express

3. Free Hugs

Used In: Funny People, Get Him To The Greek, Humpday, 21 Jump Street, 50/50

Political issues aside, it seems like our culture is becoming more comfortable about male bonding, at least in movies. Bromance trailers usually include a brief shot of the two protagonists embracing each other.

As Seen In: Get Him To The Greek

2. The Guy Who Can’t Talk To Girls

Used In: Superbad, Step Brothers, Year One, A Night At The Roxbury, Swingers, 50/50, Grumpy Old Men

There’s always one guy who can’t seem to figure it out when it comes to girls/women. His buddy is a ladies man, a real charmer, but he’s completely lost. In the trailer there’s this brief clip where we see one of the guys in an awkward conversation with a girl. He’s just trying to ask her out on a date, but ends up completely tongue tied.

As Seen In: A Night At The Roxbury

1. The Grumpy Men

Used In: She’s The Man (2006), The Sisterhood of the Traveling Pants (2005), The Proposal (2009), Twilight: New Moon (2009), Love Wedding Marriage (2011), Crazy, Stupid, Love. (2011)

We are somewhat responsible for this cliché. We like to see two men bicker at each other because it’s funny. Seeing Jack Lemmon and Walter Matthau exchange insults in Grumpy Old Men is undeniably entertaining. But this is something we see over and over, both in the trailer and the movie. There’s two bickering figures that, by the end, develop a grudging respect for each other.

As Seen In: Grumpy Old Men

These clichés aren’t the worst thing in the world. They are just part of a set of rules that filmmakers use to fit them into a genre. The bad thing is when these clichés actually start feeling like clichés.

What are some of the clichés you see? And which do you think should disappear?

Is ‘Iron Man’ Wearing Out His Welcome?

Joseph Doherty — Mon, 30 Apr 2012 17:30:00 +0000

Since exploding onto the screen in 2008, Marvel’s Iron Man has imbedded himself into the pop culture. In addition to headlining two Hollywood blockbusters, the character made a scene stealing cameo appearance in 2008′s The Incredible Hulk and will be featured prominently in The Avengers, which hits theaters Friday. But with Iron Man 3 well in the works, it begs the question – “Is the character wearing out his welcome?”

Looking back at the first Iron Man, it’s a minor miracle that the character became so big – it seemed poised to fail. Iron Man was a second tier superhero that lacked the mythic nature and pathos of a Superman, Batman, or Spider-Man. And Robert Downey Jr. – while being an enormously talented actor – never had to shoulder this sort of big-budget motion picture before, and a lot was riding on his metal outfit.

Behind the camera, you had Jon Favreau, who was known to bring an independent sensibility – including lots of improvisation – to any project he worked on. Arming him with a $140 million budget was a gamble for studio bosses. In the end, Favreau and Downey had the last laugh, crafting a well-rounded and occasionally riveting film. Iron Man had arrived and fans rejoiced.

But this has proven to be a blessing and a curse for both the character and star. Landing the role of Tony Stark gave Robert Downey Jr. a huge outlet to showcase his talents. and his Stark is one of the most debonair superheroes to ever grace the screen. Downey rocketed to the top of the A-list, becoming one of the highest paid actors in Hollywood. However, his performance as Tony Stark is so iconic that Downey has become imprisoned by it. With the exception of Tropic Thunder (which was filmed before Iron Man was released), Downey has played a series of characters much in the same vein as Stark – his Sherlock Holmes is Stark with a British accent Though he can sell a one-liner with the best of them, Downey is capable of so much more.

As for Iron Man, Marvel has certainly done their job in saturating the market with toys, video games, and film appearances of the character in recent years. While Downey’s cameo in The Incredible Hulk provided a much needed jolt to an otherwise tame motion picture, cracks in the franchise began to show with the release of Iron Man 2. Though it had all the effects and action money could buy, the memorable characters got lost in the mix, including Tony Stark. Iron Man did a wonderful job of laying the groundwork for Stark as a three dimensional character and the sequel failed to build on that. It failed, period.

It looks as though the character’s appearance in the upcoming Avengers film will offer more of the same. Sure, Downey will deliver his characteristic rock-solid performance and The Avengers should go on to become one of the highest grossing films of the year, but is it a sin to ask for a little more substance? There is no question that Iron Man is still at his zenith commercially., but there could be a backlash if the films don’t become more artistically ambitious.

In December 2010, it was announced that Jon Favreau passed on directing Iron Man 3 and writer/director Shane Black would be stepping in. Having only helmed the action-comedy Kiss Kiss Bang Bang (though famous for his scripts for Lethal Weapon and The Last Boy Scout) it is hard to get a read on where Black will take the franchise. Last week at CinemaCon, he dropped a few subtle hints saying the film will be a thriller and incorporate elements of war and terrorism. More intriguing was that Black said the Tony Stark character will be seriously tested by these elements. Hopefully, Shane Black remains true to his word and gets back to the kind of deep-rooted character development featured in the first Iron Man. The last thing we want is Iron Man becoming the next Pirates of the Caribbean, another once-innovative franchise that was drowned in a sea of greed and repetition.

Do you think ‘Iron Man’ is wearing out his welcome?

To the Point: Summer Box Office Predictions

Damon Houx — Fri, 27 Apr 2012 20:23:10 +0000

The summer season is a week away at this point, so it’s time to start making predictions about the biggest movies of the summer. These predictions are always going to be a just little off, but that’s the fun of making wildly inaccurate guesses months before we’ve even seen a film – sometimes you’re right. So here are the top ten films that are going to be trying to make more than $200 Million when they hit.

Top Five (The Easy Lay-ups):

1. The Dark Knight Rises (7/20):

The low on this film would be $400 Million, because this is looking to have somewhere around a $200 Million opening weekend. There is nothing that could stop this film, and all the footage presentations so far have suggested this is going to be a home run. This is the easiest prediction of the lot.

Grand Total: $500 Million

2. The Avengers (5/4):

The film is already tracking to do open bigger than The Hunger Games, so even though there’s a little bit of negative word, that’s not going to stop anyone from going to see this opening weekend. The question is if it’s going to be a little stunted by other films, but at this point nothing opening in the two weeks after looks like a challenger. So let’s say it gets to $400 Million.

Grand Total: $420 Million

3. Madagascar 3: Europe’s Most Wanted (6/8):

The last two films made nearly $200 million, this one is in good shape to do a little more because of the 3-D boost. It’s going to be the safe kids’ movie of the summer.

Grand Total: $210

4. Snow White and the Huntsman (6/1):

Everything coming out on this film says it’s going to be big. Kristen Stewart may or may not bring her Twilight fans with her, but that trailer (and following Men in Black III) should be great for the movie.

Grand Total: $200 Million

5. Prometheus (6/8):

The biggest question with the film is whether it will be rated R or PG-13. The former might hurt the gross some (and possibly help Madagascar), but everything so far has been a big wow. The biggest strike against the film is that its predescessors haven’t been out of the park blockbusters, but this feels like the right time and right place.

Grand Total: $190 (but much bigger internationally)

Question Mark Wins:

6. Brave (6/22):

Though it may be one of the weakest performers in Pixar’s filmography since A Bug’s Life, that’s not going to stop this from doing well over $150 Million. Even if the film isn’t that great – or even if it is great – it feels like it’s time for Pixar to take a couple lumps. Such is the business.

Grand Total: $175 Million

7. The Bourne Legacy (8/3);

The lack of Matt Damon could hurt this film, but star Jeremy Renner is coming off of The Avengers and Ghost Protocol. Add late summer and lack of competition, and this looks to do great business.

Grand Total: $170 Million

8. G.I. Joe: Retaliation (6/29):

I’d beg this higher if the last trailer didn’t install some doubts, but the combination of The Rock and Bruce Willis makes me think this is going to be huge regardless. And it’ll have the fourth of July as a second weekend buffer.

Grand Total: $170 Million

9. The Amazing Spider-Man(7/3):

If the reboot turns people off it’ll be after a couple of days. It is still Spider-Man, but the numbers will probably be lower domestically because of two factors: the rebooting, and The Dark Knight Rises right on its tail. They’ve got two weeks to make their money.

Grand Total: $160 Million

10. MIB3 (5/25):

This has a holiday weekend all to itself and a less than two hour run time. How quick could people turn against it? Perhaps it’s better than its rumored to be (and it’s rumored to be really bad). But even if it was great, it’s coming so late after the fact. The film will surely make $100 Million, the question is with a project this expensive if that’s a win.

Grand Total: $160 Million

Outliers (possible spoilers):

Ice Age: Continental Drift (7/13):

This franchise is much bigger internationally, and the last one showed a drop in numbers domestically. Still, it should do around $150 domestic with the 3-D bump.

Grand Total: $150 Million

Battleship (5/18):

It’s already playing well internationally, the question is how it does here. It should open to big-ish numbers, but the concept (that is: adapting a board game) may work against it more here than abroad.

Grand Total: $140 Million

Total Recall (8/3):

A question mark if there ever was one. There looks to be spectacle, but if this does way more business internationally, don’t be surprised. Still, it should get to a hundred million here.

Grand Total: $120 Million

Dark Shadows (5/11):

Are Johnny Depp and Tim Burton enough to do over $100 Million? Survey says: Maybe. This is an odd project, and Warner’s lack of hype (at least as a summer movie) suggests that they’re not going full press on this one. Still, the duo are formidable.

Grand Total: $100 Million

The Dictator (5/16), Neighborhood Watch (7/27), The Campaign (8/10):

One or more of these comedies is likely to do over $100 Million. I’d bet on The Campaign, but we haven’t seen much of it yet. Word out of CinemaCon is that The Dictator is funny – which the adds gave mixed signals about. Watch has already engendered some controversy, while The Campaign pairs Zach Galifianakis and Will Ferrell, so I wouldn’t bet against it.

That’s my picks for the biggies, what do you think?

Reviewing Ebert’s ‘Greatest Films’: Ace in the Hole (1951)

Jaime Lopez — Fri, 27 Apr 2012 15:35:11 +0000

Years ago, ScreenCrave contributor Jaime Lopez privately began tackling Roger Ebert’s “Greatest Films” list, an ever-expanding monolith of celluloid currently comprised of 354 films. With 254 under his belt and less than 100 films left to go, Lopez has set himself to put these remaining films’ “Greatness” to the test–reviewing both the movies themselves and Ebert’s response. This week, he takes on Billy Wilder’s Ace in the Hole.

This week’s film features a journalist with the opportunity to save the life of a man trapped in a cave. In order to gain recognition and make headlines, a rescue effort is deviously delayed, risking the life of the trapped man in the process. As TV Guide once noted, “more than 50 years after the film’s release, when magazines compete to giddily celebrate the demise of celebrity relationships for big money, Ace in the Hole feels more relevant than ever”

The Players

Director: Billy Wilder
Writer: Billy Wilder, Lesser Samuels, Walter Newman, Victor Desney
Cast: Kirk Douglas, Jan Sterling, Richard Benedict, Ray Teal

The Plot

[Warning--Spoilers Ahead!!]

With Chuck Tatum’s career is on the ropes, he winds up at the Albuquerque Sun-Bulletin, looking for a reporting job and hoping to revive his career. To accomplish his goal, Mr. Tatum needs a game-changing story, “something the wires will garble up”, and he will stop at nothing to find his way. When he learns about Leo Minosa, a local man trapped in a cave, Mr. Tatum sees his big moment and proceeds to orchestrate what eventually becomes a media frenzy. Meanwhile, Leo’s life hangs in the balance as the clock runs down.

The Good:

The Human Interest Element: As Tatum explains, a story has more human interest when it’s about one person, “you want to know all about him, as was the case with Floyd Collins”(see below for more on Floyd Collins). The idea that the most compelling news stories are those involving the tragedy of one man as opposed to hundreds or thousands is one I had never thought of before. The anatomy of this film is interesting in how it allows us to see how the details of one person’s life gradually stir a national interest.
The Performances: Kirk Douglas’ crazed ambition is electric and theatrical. I could see his performance being just as captivating on stage, as it showcases his raw energy as an actor. Some of the most dramatic scenes involve Jan Sterling’s portrayal of Lorraine Minosa, Leo’s wife. Her cynicism nearly matches Tatum’s and her romantic interest in Tatum adds to the tension.
Historical Significance in Film History: After achieving great success, Billy Wilder was given much creative freedom with Ace in the Hole. During the postwar years, at a time when certain portrayals of authority figures were viewed as un-American, Wilder gave us flawed characters that represented the corrupt and dark side of law enforcement and media. For Wilder, this was also his first time as a writer, producer, and director, his first film without long-time writing partner Charles Brackett, with whom he had collaborated on The Lost Weekend and Sunset Boulevard, and his first critical and commercial failure. Originally, this film was titled The Human Interest Story. Later, Paramount Pictures executives had changed the title to The Big Carnival just prior to its release. As you may be able to sense, people had a hard time knowing what to make of this film.

The Bad:

The Plot: While compelling for the themes it explores, the plot lacks a true antagonist, although in film noir, the protagonists are sometimes viewed as representing their own antagonist. However, without a stronger central opposing figure its impact is somewhat diminished. Leo’s wife, competing journalists, and Tatum’s boss all stand against Tatum’s selfish scheming to varying degrees, but the impact of such tension seems dispersed.

Ace in the Hole Trivia: When Floyd Collins, a celebrated pioneer cave explorer, became trapped in a cave during the 1920’s, it ended up being quite a sensation on the radio, drawing crowds of more than ten thousand tourists to the cave site. Ace in the Hole explores the development of a similar, yet fictional, circus-like atmosphere. Historically, the Floyd Collins incident is said to be the third-biggest media event between the two world wars . The top 2 media events of that time involved Charles Lindbergh—his trans-Atlantic flight and his son’s kidnapping. Interestingly, Lindbergh was actually hired to fly and help capture photographic negatives from the Collins-rescue scene for a newspaper.

Brief Words for Mr. Ebert: Yes, this film has a hard edge and portrays the greedy motivation of its protagonist with an unflinching cynicism that packs a good punch. I definitely agree that in this movie, “no one is left off the hook”. Essentially, we are forced to equally indict a blood-thirsty media and a public that feeds into it. The only thing that keeps this film from being great is the lack of a more focused resistance to Tatum’s relentless manipulation. Just as the story itself demonstrates how there is often more human interest to a story about one person as opposed to large groups, as when hundred or thousands die in a natural disaster, Tatum could have used a more fleshed-out antagonist to really cut at his soul and expose more of his demons. Nevertheless, Mr. Ebert, as an all out demonstration of opportunism and greed, this film nails its intent with great ferocity.

Good, Bad or Great Movie: GOOD

Do you consider Ace in the Hole to be Good, Bad or Great?

Next week’s review: Persona

Trailer Park: 10 Clichés Of The Chick Flick Movie Trailer

Laura Aguirre — Wed, 25 Apr 2012 16:55:45 +0000

We watch a lot of movie trailers here at ScreenCrave, and, as we inch closer to summer with its ever-increasing torrent of new films, we’re seeing more and more previews with each passing day. As we do so, we can’t help but notice some similarities, repetitions, and clichés among them. Here at Trailer Park, we’ll be offering a rundown of those clichés, where they come from, and which trailers share them. For our first installment, we’ll be breaking down one of summer’s most ever-present previews: The Chick Flick Movie Trailer.

This is the general reaction after watching chick flick trailers: “Oh no, not another boring formulaic chick flick!” At this point, women must hate chick flicks as much as men do. Women, no matter how successful, always have to be shown being the biggest dummies about relationships. Chick flicks are loaded with clichés of makeover montages, gay friends, butt jokes, etc. We don’t really need to watch the actual movie at this point because the trailer shows us that we’ve seen this movie before, just with different faces (and sometimes the same faces). Here’s a list of 10 Clichés we see in Chick Flick Movie Trailers.

10. Makeover Montage

Used in: 13 Going On 30 (2004), The Princess Diaries (2001), The Devil Wears Prada (2006), The House Bunny (2008), Clueless (1995), The Clique (2008), Easy A (2010)

The movie makeover montage is still a living and breathing cliché. I’ll admit that’s it’s always fun to see someone go from ugly duckling to beautiful swan, but it’s tired. The makeover montage needs to be reinvented because it’s always done in the same manner and to the same nerdy, dull looking character.

As Seen In: The Princess Diaries

9. Jokes About Being Single

Used In: Happy-Go-Lucky (2008), 27 Dresses (2007), My Best Friend’s Wedding (1997), The First Wives Club (1996), He’s Just Not That Into You (2010), Bridesmaids (2011), How Stella Got Her Groove Back (1998)

It doesn’t matter if you own your own business or graduated from law school, if you’re single, the jokes will keep on coming. Take the trailer for Bridesmaids, as good as the movie may be, the trailer exhausts the fact that Kristen Wigg‘s characters is such a loser because she’s single.

As Seen In: Bridesmaids

8. Supportive Gay Friends

Used in: He’s Just Not That Into You (2010), Mean Girls (2004), Easy A (2010), My Best Friend’s Wedding (1994), Sex and the City 2 (2010)

From Julia Roberts in My Best Friend’s Wedding to Emma Stone in Easy A, most chick flicks include a gay best friend. What’s unfortunate is that they are usually flat, secondary characters who’ve taken over the role of the sassy or quirky best friend.

As Seen In: Sex and the City 2

7. Butt Jokes

Used in: Sleepless In Seattle (1993), Confessions Of A Teenage Drama Queen (2004), She’s The Man (2006), Thelma And Louise (2006)

Oh, women and their butt jokes. No, men aren’t the only ones who do it, ladies love to stare right back and chick flick trailers love to showcase a nice round butt with a closeup.

As Seen In: Confessions Of A Teenage Drama Queen

6. Single & Happy

Used in: Happy-Go-Lucky (2000), 27 Dresses (2007), Never Been Kissed (2008), The Holiday (1996)

Most chick flick trailers start out by letting us know that the female protagonist is both single and happy. The Happy-Go-Lucky trailer is a perfect example of this because we see Poppy cheerful at work and very optimistic about life, but then she’s asked about her love life. The idea rapidly starts to build in our heads that Poppy can’t really be happy because she’s a single girl.

As Seen In: Happy-Go-Lucky

5. Sing-Along (And Into Combs)

Used In: My Best Friend’s Wedding (1997), The First Wives Club (1996), Riding In Cars With Boys (2001), 13 Going On 30 (2004), 10 Things I Hate About You (1999), Stepmom (1998), Mama Mia! (2008)

Sometimes the singing involves random objects like combs and home telephones, but mostly women are just shown singing. A moment like this is immediately a turn off because it’s been used so many times.

As Heard In: Stepmom

4. Pratfalls & Other Clumsy Things

Used In: In Her Shoes (2005), (2003), The First Wives Club (1996), My Best Friend’s Wedding (1996), The Sisterhood of the Traveling Pants 2 (2005), Twilight (2008), The Princess Diaries (2001), Whip It! (2009)

It wouldn’t be a chick flick without chicks falling, now would it? Everyone knows that chick flicks are formulaic and insanely similar these days, but why doesn’t anyone reinvent the genre or at least the trailer? We always see at least one moment of women falling off a trees, running into windows or falling into a trashcan. I don’t remember Audrey Hepburn falling in Breakfast At Tiffany’s or Sharon Tate getting hit in Valley of the Dolls (and she was a dummy).

As Seen In: In Her Shoes

3. Elderly Folks Saying Inappropriate Things

Used In: Easy A (2010), 50 First Dates (2004), The Proposal (2009), 27 Dresses (2007)

Old folks are used to fill in those inappropriate remarks that peer friends wouldn’t dare say, like telling you your boobs are too small or your butt is too big. They also love sharing stories about their youth, letting you know that they were once young, wild and free.

As Seen/Heard In: The Proposal

2. Getting Drunk

Used In: It’s Complicated (2009), The First Wives Club (1996), 27 Dresses (2007), The Accidental Husband (2008), Labor Pains (2009), 13 Going On 30 (2004)

The misery of being single makes women get drunk and act like fools (because women only get drunk when they’re depressed… not!). In trailers, we’re shown a glimpse of women bonding with their friends over cocktails, acting all crazy and obsessing about their ex-husbands/boyfriends. Once we see the actual movie, we see that these women are a lot more than just drunken dummies, but in the trailer this is what is chosen to be shown.

As Seen In: 27 Dresses

1. Too Sexy For A Shirt

I don’t know about you, but I seldom run into shirtless men (maybe at the gym or the beach). Chick flicks, however, make it seem like women are living in a universe where men are always walking around shirtless, and they’re sort of idiots about it. It’s like their brain stops working because a six pack is in front of them.

As Seen In: Twilight: New Moon

These are just a few of the clichés we find in chick flick trailers. Feel free to contribute your own!

What are some of the clichés you see? And which do you think should disappear?

Reviewing Ebert’s ‘Greatest Films’: ‘A Woman Under the Influence’ (1974)

Jaime Lopez — Fri, 20 Apr 2012 17:45:10 +0000

This week’s film presents a middle-aged housewife progressively losing her mind, to the point where her husband must send her away to a mental institute. One of the most unconventionally moving love stories you’ll ever see, A Woman Under the Influence is about people, and a reminder that when movies are done right, you don’t need much else.

The Players

Director: John Cassavetes
Writer: John Cassavetes
Cast: Gena Rowlands, Peter Falk

The Plot

[Warning--Spoilers Ahead!!]

Mabel Longhetti gets restless one night when her husband Nick calls to say he’ll be working all night. Mabel’s frustration pushes her to go out drinking, eventually going home with another man, although it is unclear whether she does anything with him. As her strange behavior intensifies, particularly in the company of others, Nick is left without a choice and commits her to an institution for several months of treatment. During this time, Nick struggles to raise three kids, at times bringing his own parental abilities into question.

The Good:

Dinner Table Scene: Mabel’s deteriorating mental state begins to show when she and Nick host a large group of construction workers for lunch. The inappropriateness is riveting, her unpredictable interaction with the various men at the table is captivating. While in most movies characters always speak with cleverness, the dialogue here is amazingly natural and refreshingly entertaining, damn near like witnessing interaction in real life.
The Psychiatrist Visit Scene: While domestic violence accounts for some of the disturbing moments in this film, one of the toughest scenes to watch is a psychiatrist visit seeking to take Mabel away. With Nick’s mother vocalizing her disapproval of Mabel staying in the house and Mabel acting out defiantly, heart-wrenching madness ensues. Her crazed and sporadic behavior in the presence of her family and the doctor is chilling, you watch and you just wouldn’t want to be in that room.
Directing Style and Performances: After about 20 or 30 minutes into the film, I was saying to myself, “this film doesn’t feel over-produced….why?” I learned later about how Cassavetes approached actors, often not revealing to a particular actor the motivations and dialogue of other characters. In fact, actors were not even allowed to talk to each other during the entire production. The result?….exquisitely natural performances!…with Cassavetes and Gena Rowlands being nominated for an Oscars in directing and for best actress, respectively.
Historical Significance in Film History: After being unable to find a distributor, Cassavetes personally called theater owners, asking them to run his film, perhaps the first time in film history that an independent film was distributed without the use of a nationwide system of sub-distributors. In 1990, A Woman Under the Influence was selected for preservation in the United States National Film Registry as being “culturally, historically, or aesthetically significant”, one of the first fifty films to be so honored.

The Bad:

Runs a bit long: For those who like faster paced movies, this movie may seem too slow and boring. Not helping its case, this film is about 20 minutes longer than it needs to be. With a little patience, the payoff can be very rewarding.

A Woman Under the Influence trivia: Cassavetes was inspired to write this film when wife Gena Rowlands was looking for a stage role exploring the difficulties faced by contemporary women. The intensity and emotional weight of this role was so great that performing it daily on stage would be too exhausting. Faced with little financing and often told that, “No one wants to see a crazy, middle-aged dame”, Cassavetes mortgaged his house and borrowed from family and friends, including Peter Falk!

Brief Words for Mr. Ebert: While I generally refute the “auteur theory”, I agree with you, Mr. Ebert, that John Cassavetes may just qualify as one of VERY few “auteurs”, as his characters are distinctive enough, revealed with a harsh yet tender vulnerability. Your review pays beautiful tribute to all the things that make this film work and I stand in awe of its power with you, as its emotional grip unleashed my compassion and left me pensive, sad, somewhat fearful, and yet hopeful. I agree with you that “dysfunctional” families do not necessarily indicate at state of being non-functional, but instead they may still be functional, albeit in their own screwy fashion, each holding a nuanced method to its own madness. Effortlessly, I felt a renewed sense of appreciation for the complexity that human behavior exhibits, and unlike other pieces of entertainment to which we’ve become accustomed, this film doesn’t treat mentally unbalanced human beings superficially, as though they were freaks at a circus.

Good, Bad or Great Movie: GREAT

Do you consider A Woman Under the Influence to be Good, Bad or Great?

Next Week’s Film: Ace in the Hole

Trailer Park: 10 Clichés Of The Heist Movie Trailer

Laura Aguirre — Wed, 18 Apr 2012 14:55:06 +0000

We watch a lot of movie trailers here at ScreenCrave, and, as we inch closer to summer with its ever-increasing torrent of new films, we’re seeing more and more previews with each passing day. As we do so, we can’t help but notice some similarities, repetitions, and clichés among them. Here at Trailer Park, we’ll be offering a rundown of those clichés, where they come from, and which trailers share them. For our first installment, we’ll be breaking down one of summer’s most ever-present previews: The Heist Movie Trailer.

Heist films always follow a certain formula, and because of that they fall victim to a list of endless clichés. This is how it goes: a team is assembled to come together and do ‘one last job’ that is described as ‘easy’ with a ‘huge payoff’, but something always goes wrong, igniting car chases, gun fire, sex, etc. What makes it onto the movie trailer is just as formulaic as what we see in the final product: a team comes together, someone makes a snarky comment about robbing a bank/painting/diamond, and then a lengthy montage filled with images of car chases, sex scenes, gun fire follows, finished off by a shot of the whole cast walking side-by-side in slow motion. Sound familiar? Let’s go over the Top 10 Clichés Of The Heist Movie Trailer.

10. Walking Side-By-Side

Used in: Reservoir Dogs (1992), Fast Five (2011), Heat (1995), The Italian Job (2003), 21 (2008), Takers (2010)

This Fast Five shot is no where near as bad as the one in The Takers trailer, where you see Idris Elba & Co. walking side-by-side, in slow motion, as a helicopter explodes behind them. It’s a great cinematic moment (yeah, right).

As Seen In: Fast Five

9. Disguises/Costumes

Used In: The Town (2010), Contraband (2012), Inside Man (2006), Quick Change (1990), 3000 Miles To Graceland (2001), Reindeer Games (2000), Point Break (1991), Set It Off (1996)

Why are we being shown numerous costumes like it’s some sort of Fall Fashion Halloween Preview? We didn’t sign up for a fashion show. Plus, the disguises that are often used don’t help thieves blend in, instead they’re calling more attention to themselves.

As Seen In: The Town

8. Damsel In Distress Moment

Used in: The Town (2010), Contraband (2012), Enemy of the State (1998), The Getaway (1994)

The Damsel in Distress is always a wife or girlfriend; she’s a secondary yet gorgeous-looking character who is always the subject of threats and blackmail (at least that’s how it appears in the trailer). Her husband/boyfriend has to ‘get the goods’ or she’s a goner.

As Seen In: Contraband

7. Sexy Time

Used in: 3000 Miles To Graceland (2001), Reindeer Games (2000), Point Break (1991), Set It Off (1996), The Rock (1981), A Fish Called Wanda (1988), Sneakers (1992), Sexy Beast (2000), The Bank Job (2008)

Almost all heist movie trailers include a brief glimpse of a sex scene. It’s right there, intertwined with the explosions, gun fire and car chases. It’s always between two very sexy looking people, too.

As Seen In: After The Sunset

6. The Loony Character

Used in: Gone In 60 Seconds (2000), The Italian Job (2000), 21 (2008), The Rock (1996), Contraband (2012), RocknRolla (2008), 3000 Miles To Graceland (2001)

In a every group, there’s always a quirky, loony character (who probably likes playing with fire a little too much). The trailer is letting us know that not only will this movie be a fest of gun fire, sexy babes and explosions, but there will also be some funny moments (courtesy of the loony character).

As Seen In: 21

5. The Car Chase (Helicopters Are Often Included)

Used In: Thief (1981), Reservoir Dogs (1992), Quick Change (1990), Ronin (1998), The Italian Job (2003), Gone In 60 Seconds (2000), Fast Five (2011), 3000 Miles To Graceland (2001)

Car chases are extremely cliché. It’s always the same thing: a fancy car chasing another fancy car, closeup of the car logo (product placement at its best, folks), helicopters getting too close to the ground and eventually exploding.

As Heard In: The Italian Job

4. Heist Goes Wrong

Used In: Man On A Ledge (2012), The Italian Job (2003), Takers (2010), Quick Change (1990), Entrapment (1999)

Tensions are always high when people are trying to pull off a job; whether or not the heist goes wrong is beside the point. My problem with this cliche is that we’re always told about it in the trailer. It’s a giant spoiler that should be kept a secret until we watch the movie (Man On A Ledge is a perfect example of this).

As Seen In: Man On A Ledge

3. Girls With Guns

Used In: Reindeer Games (2000), Set It Off (1996), Out of Sight (1998), Dead Presidents (1995), Happiness (1998), Point Break (1991)

Even though the movie is about a group of guys pulling a job, a brief clip of a girl with a gun always manages to make it into the trailer. It’s amazing how fast these girls learn to handle a gun. It’s so amazing, it’s unbelievable.

As Seen/Heard In: Out Of Sight

2. The Hammer

Used In: Contraband (2012), Out Of Sight (1998), The Usual Suspects (1995), The Gataway (1994), Fast Five (2011), The Talking of Pelham 123 (2009), RocknRolla (2008), Heat (1995), Bandits (2001), Reindeer Games (2000), Point Break (1991), Set It Off (1996)

You hear this all the time, in between actor introductions and the planning of the heist – the ‘click-clack’ otherwise known as The Hammer’. It’s main purpose is for dramatic effect, like an exclamation point at the end of a sentence. But like exclamation points, The Hammer isn’t necessary unless we’re about to see/hear some real gun fire (because that’s what the ‘click-clack’ means in real life, that you’re about to shoot fire), which we know is never the case in movie trailers or movies.

As Seen In: The Getaway

1. Show Me The Cash!

Used In: The Town (2010), Contraband (2012), Takers (2010), 21 (2008), The Getaway (1994), 3000 Miles To Graceland (2001), The Town (2010), Contraband (2012), Takers (2010), 21 (2008), The Getaway (1994), 3000 Miles To Graceland (2001), Reindeer Games (2000), Set It Off (1996)

These days, grand theft can be/should be done via laptop, but these thieves still prefer to go the old fashion way by robbing banks for stacks of cash. Looks like no one sent them the memo that cash is basically useless.

As Seen In: Takers

These are just some of the clichés that should disappear from heist movie trailers.

What are some of the clichés you see? And which do you think should disappear?

Reviewing Ebert’s Greatest Films: The Terrorist (1998)

Jaime Lopez — Fri, 13 Apr 2012 15:03:30 +0000

Years ago, ScreenCrave contributor Jaime Lopez began tackling Roger Ebert’s “Greatest Films” list, an ever-expanding monolith of celluloid currently comprised of 354 films. With 254 under his belt and 100 films left to go, Lopez has set himself to put these films’ “Greatness” to the test–reviewing both the movies themselves and Ebert’s response. Our second film in the series, The Terrorist, explores terrorism through the eyes of a suicide bomber.

It is not every day that we see the world of terror from this perspective, and The Terrorist is refreshing in this respect, preceding 9/11, and definitely preceding any claims of Katniss Everdeen being the first female facing a non-sexualized cinematic fight to the death.

The Players:

Director: Santosh Sivan
Writer: Santosh Sivan
Cast: Malli (Ayesha Dharkar), Thyagu (Vishnu Vardhan), Permua (Bhanu Prakash)

The Plot:

[Warning--Spoilers Ahead!]

A suicide bombing is being planned and the search for a person who can pull it off begins. Malli is the girl selected to “fight for her people”. Selecting Malli seems especially appropriate upon the realization that her brother had previously achieved an honored death. To prepare for her mission, Malli is sent to a remote location where she is trained, concealing her purpose from the people with whom she stays. As the training comes to an end and conflicting discoveries are made, suspense builds and Malli must soon face her mission.

The Good:

Human Value –Similar to the movie’s hard look at the motivations guiding the actions of a terrorist, Malli’s eyes are cold and determined, and yet there is always a hint of life in them. Malli’s value for human life is tested, allowing her to think things through to the very end. After all, this is a human being and not a T1000 being programmed to kill. Her descent into cold murder is convincing, blended with moments of subtle doubt, although the script doesn’t allow her to go further down this path.
Imagery and Composition: I was not surprised to learn that Sivan is the most “awarded” cinematographer in India. You can tell the budget was limited. You don’t get the wide shots you’d get in a blockbuster, but there are several beautifully composed shots that stick with you.
Violence, as a theme: There are films that romanticize war, adding beautiful music and lush scenery, treating the real consequences of violence almost as an afterthought. As director Sivan notes, “Most of the films that deal with violence end up showing a great deal of it and then say, at the end, ‘No, it’s not right.’” The Terrorist takes its own path, avoiding references to any specific political group, war or country. Many films dealing with the same subject matter would conveniently exploit the use of gratuitous violence to make a point. Here, we are clearly more focused on how all these events affect one person’s view on life. A life is first, and any thought given to violence feels secondary as a result.
Historical Significance in Film History: Filmed before 9-11, this film is ahead of its time and definitely feels relevant still today. The film is inspired by the assassination of Rajiv Gandhi, India’s 6^thPrime Minister and the grandson of India’s 1^st Prime Minister. Rajiv Gandhi had entered office after his mother’s assassination in 1984. (Despite the same surname, there is no relation to Mahatma Gandhi.)

The Bad:

The Second Act – Things get interesting when Malli begins having doubts, but the second act drags a bit. Malli makes a discovery about herself that carries interesting implications for her mission, but it doesn’t get explored enough. There are also some light moments and introspection, mostly involving a good natured man providing her with shelter, but the overall momentum of the film loses some steam. A more accessible relationship between them would have brought her doubts more to the surface.

Brief Words for Mr. Ebert: As you state in your review, the idea “that a human imagination could be so limited that it sees its own extinction as a victory”, is indeed a sad realization. The film’s decision to leave out all ideology allows it to speak to terrorism in the purest sense. Your review mentions a suggestion that Malli’s close-ups are meant to function “as if we might be able to find our way into Malli’s mind through her pores”. The film was made for $50,000, and I suspect this is just as responsible for the constant use of close-ups. I don’t agree that this film is a great film, mainly because it doesn’t hold well enough in the second act. However, the fact that a film of this quality was made with such a low budget is definitely something that I would considered great, though not the film altogether.

Good, Bad or Great Movie: GOOD

Do you consider The Terrorist to be Good, Bad, or Great?

Next week’s review: A Woman Under the Influence

ScreenCrave.com » Editorial

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The Good:

The Bad:

Good, Bad or Great Movie: GOOD

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The Good:

The Bad:

Good, Bad or Great Movie: GREAT

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