'Immortals' rule the box office

By Sarah Sluis

The 3D swords-and-sandals epic Immortals outperformed industry expectations and finished with $32 million. Young filmgoers, who haven't been turning out in force lately, returned for the picture, which may have been perceived as offering more value with all its special effects. 3D, too, did well, accounting for 66% of the total. Distributor Relativity Media pulled off its biggest debut ever, but the expensive film will still have to do well in secondary markets in order to pull in a profit.

Eking out a second place finish, Jack and Jill debuted surprisingly high, to the tune of $26 million. Audiences who grew up with Sandler didn't abandon him. 52% of audiences were over 25. The PG-rated comedy also got 52% of its business from families, indicating that the all-ages rating was a savvy move.

Puss in Boots finished neck-and-neck with Jack and Jill, earning an estimated $25.5 million. In its third week, it dipped just 23%. Despite debuting to just $34 million, the CG-animated movie earned three times that much in three weeks. This is an unusual multiple to achieve, but one that DreamWorks Animation consistently pulls off for its titles. With over $100 million in the bank, Puss in Boots doesn't have a lot to worry about when Happy Feet 2 joins the animated fray this Friday.

Leonardo DiCaprio-starring J. Edgar had a respectable finish of $11.4 million. Releasing in less than 2,000 locations, the biopic's per-screen average of $6,000 strikes an optimistic note. However, this
specialty/awards title has an uphill battle ahead of it. Only 40% of critics rated the movie positive, compared to the 91% positive rating of this Friday's opener, The Descendants. Director Clint Eastwood appears to have hit another double or triple, not the home run it needs for a big Oscar presence.

Melancholia, the end-of-the-world meditation from director Lars von Trier, opened with a $14,000 per-screen average in nineteen locations. Given the large number of theatres showing the drama, the Kirsten Dunst starrer performed well. Werner Herzog's Into the Abyss came up with $4,200 per location in twelve theatres. The documentary, which focuses on the death penalty, may not be as enticing a subject as his 3D spelunking doc Cave of Forgotten Dreams. Paramount Vantage's Like Crazy picked up the pace in its third week, netting half a million and going up 97% from the previous week. Now playing in 70 theatres, the romance wrangled an impressive $7,500 per location.

This Wednesday, The Descendants will get a head start on the weekend. Starting Thursday at midnight The Twilight Saga: Breaking Dawn (Part One) will ravage audiences, and families will have another animated option, Happy Feet Two.

'Immortals' spars with 'Jack and Jill'

By Sarah Sluis

The swords-and-sandals epic Immortals (3,112 theatres) will have to fight a little in order to top the box office. Jack and Jill, Puss in Boots, and Immortals are all expected to land somewhere north of $20 million, but Immortals' 3D action should make it the biggest crowd-pleaser. 40% of Rotten Tomatoes critics rated the movie positively, and our Maitland McDonagh was one of them. She praised the "old-school epic entertainment dressed up with state-of-the-art effects." The driving force in the plot is the search for a bow that will allow a person to become a "one-man army." The bow sounds an awful lot like the "Macguffin" or "weenie" trope, but hey, at least it's an excuse for "deliriously bloody battle sequences and fetishistic fascination with lightly clad male flesh."

Adam Sandler cross-dresses in Jack and Jill (3,438 theatres), which may be the comedian's most groan-inducing premise yet. "Brains can be checked at the coatroom," critic Doris Toumarkine snipes, but acknowledges that some "Sandler fans may welcome the brainless diversion." After last year's Grown Ups, count me out--I'm a fallen Sandler fan. With an insanely low 2% positive Rotten Tomatoes rating, I doubt even those who count Happy Gilmore and Billy Madison as their favorite comedies will turn out. Ouch. Unlike most of the star's films, Jack and Jill is rated PG, so perhaps it will draw in family crowds and eleven-year-old boys who think Sandler is the funniest guy ever.

Director Clint Eastwood's J. Edgar (expanding to 1,910 theatres) opened in limited release on Wednesday, posting a $7,500 per-screen average. Leonardo DiCaprio stars as famed FBI head J. Edgar Hoover in the biopic. This is the kind of film that thrives on good reviews, but not many are coming. Sure, DiCaprio delivers a "committed performance," according to critic Kevin Lally, but there's also the "old-age makeup [that] isn't always convincing" and a speechy setup. "As agent Clyde Tolson, Armie Hammer says more with a knowing smile than any line of [screenwriter Dustin Lance] Black's wordy dialogue," Lally concludes. Sounds like a classic case of not following "show don't tell." Since the filmmakers can only speculate on certain things--like the exact nature of Hoover's relationship with Tolson, to whom he left his entire estate and spent a lot of close time with--it's often unsatisfying. The scope, too, is so large Black often just brushes the surface. Count this one out of the major Oscar races. At least, I hope there are better films out there this season.

On the specialty front, there's a tiny release of Elite Squad: The Enemy Within (1 theatre), a sequel to the smash Brazilian cops and gangsters hit that's "as intelligent as it is entertaining," according to critic Doris Toumarkine. Also in the mix is director Lars von Trier's Melancholia. Kirsten Dunst stars as a bride who marries just as a planet inches closer to destroying Earth. Critic Chris Barsanti felt the movie amounts to a "trite apocalypse," though he's in the minority of reviewers. Finally, director Werner Herzog mulls over the death penalty by focusing on one heinous crime in Texas in Into the Abyss (10 theatres). Barsanti had kinder words for the documentary, praising it as "essayistic yet visceral"

On Monday, we'll see if Immortals, Jack and Jill, and Puss in Boots all landed above the $20 million mark and if J. Edgar debuts higher than its middling reviews suggest.

'J. Edgar': Is this the trailer of an Oscar contender?

By Sarah Sluis

I love early fall. As the weather changes, all the trailers for the hotly anticipated holiday releases drop, hinting at what's in store for audiences. I've already been disappointed by We Bought a Zoo's maudlin sell and shocked by The Twilight Saga: Breaking Dawn's racy content. Now comes the trailer for director Clint Eastwood's J. Edgar, a biopic of J. Edgar Hoover, the longtime head of the FBI. This is the kind of movie that has "Oscar" written all over it, but execution is everything. The trailer raised expectations for me, with plenty of surprises and interesting facts to pique my interest and make me want to learn more about this man's political impact.

Here are some of the surprises and highlights from the trailer:

1. The biopic will cover his childhood. Judi Dench plays Hoover's mother, and their close relationship is definitely going to be used to explain his hunger for power. Say hello to Freudian mother issues.

2. Star spotting. Shirley Temple pops up in the trailer, as does another starlet with a platinum perm. When it comes to the D.C. elite, I'm pretty sure all the major leaders and power players will be represented.

3. Hoover goes to the front lines! I pictured the movie being more of an office drama, but Hoover appears to be present during certain raids. Explosions, machine guns, wiretapping and mob arrests will help amp up the drama of the picture.

4. Corruption! Hoover's known for abusing his power throughout his decades-long reign, so what to focus on? The trailer includes some illegal peeking at the file of Eleanor Roosevelt (suspected of having trysts with other women), and second, there's implications of blackmailing of the Kennedy clan. Newsreel footage of Martin Luther King Jr.'s and JFK's assassination also figured into the trailer, so Hoover's response to those events should also show up.

5. Homoeroticism? Hoover was suspected of being gay, and screenwriter Dustin Lance Black (Milk) isn't the type of person to be shy about exploring that aspect of his life. In the trailer, there's a look and an emotional exchange between his "number two" Clyde Tolson (Armie Hammer from The Social Network) and Hoover, but it appears to be more on Tolson's side than Hoover's. Based on the trailer alone, it appears that Hoover's too tightly wound to come out of the closet.

Before watching the preview, I was thinking to myself "Another biopic?" Didn't Leonardo DiCaprio already do the aging thing with The Aviator? And hasn't Clint Eastwood done enough serious historical dramas? Now that I've watched the trailer, I'm sold, and excited to learn more about Hoover beyond what's on his already juicy Wikipedia page.