‘The Lego Movie’ enjoys awesome debut

The Lego Movie successfully built upon the popularity of the Lego toy brand to earn $69 million over the weekend, a stellar debut, and notable for this time of year. The film’s haul is the second highest for the month of February, just behind The Passion of the Christ, which raked in $83.8 million in 2004. The comedy from the team behind the acclaimed Cloudy with a Chance of Meatballs stacks up favorably against other animated original movies – those that are neither prequels nor sequels – as well. Fellow fiscal over-achievers include Up ($68.1 million), The Incredibles ($70.5 million) and reigning champion The Simpsons Movie ($74 million). In terms of a demographic breakdown, the kids flick found broad appeal among older viewers: 59% of attendees were over the age of 18 and were, unsurprisingly, majority male (55%). With strong reviews fueling positive word-of-mouth, The Lego Movie will likely enjoy a healthy theatrical life, one which may boast a cume of around $200 million by the time it has run its course.

As expected, The Monuments Men clocked in at No. 2 this weekend, with returns that were a little higher than predicted. George Clooney in fact enjoyed his most successful opening yet as a director: The Monuments Men earned $22.7 million. That’s even better than Oscar-winner Argo’s debut ($19.5 million) and places the film in good company alongside contemporary Captain Phillips ($25.7 million). However, the movie’s viewers – most of who were over the age of 35 (75%) – only gave Men a B+ Cinemascore grade, and reviews continue to be unfavorable, with the movie tracking 33% rotten on Rotten Tomatoes. Both these factors portend a steep dropoff this coming weekend, though it’s just as likely the movie’s megawatt cast will continue to draw a steady stream of curious viewers for a little while longer.

Ride Along’s comedic chops have and continue to lure audiences week after week. The film dropped just 22 percent to land the No. 3 spot at the box office, grossing $9.4 million. This weekend’s earnings have bumped Ride Along’s cume to $105.2 million, making it the first 2014 release to pass the $100 million mark.

Experiencing a similar slight downturn of only 23%, Frozen added another $6.9 million to its ridiculous total that now stands at $368.7 million. There’s really not much else to say about the animated hit, other than to reiterate widespread delight that the power of the Disney princess has been reinvigorated.

Female audiences were less enthused by the latest vampire offering, Vampire Academy, a disappointing showing from the once dependable director Mark Waters (Mean Girls, Freaky Friday). As predicted, amid poor reviews, a weak marketing campaign and general blood-sucker fatigue, Academy bombed with $4.1 million. Although a new release, the film did not manage to crack the weekend’s top 5. Instead, the No. 5 slot went to That Awkward Moment, which surprised some pundits with its steady hold. The Zac Efron vehicle eased 37% to gross $5.5 million. Both films target young women, though only one, it seems, is appealing enough for the demographic to really sink its teeth into.

Will the 3D Popeye preserve its cartoon-like look?

By Sarah Sluis

Variety brought news today that Popeye, the upcoming animated adaptation from Sony, will release in 3D. What struck me was the accompanying image, which showed a black-outlined, cartoon Popeye. Would it be possible to preserve that kind of look and pop it out in 3D? Most likely--but would the filmmakers choose that visual look?

The 3D movies I've seen over the past year have had astounding visuals. Up had a wonderful, softly rendered look with a unifying color palette. Avatar created luminous CG forests and floating mountains that looked more real in 3D than they did in the 2D images or clips that often accompanied news pieces about the story. Cloudy with a Chance of Meatballs, while having a more traditional look, had Muppets-inspired characters and visuals that tried to include power lines and machinery and the other things most animated towns leave out of their cities. The best of them all, How to Train Your Dragon (coming out this Friday), has a stunning chiaroscuro look. Fire-lit viking dwellings and caves give the movie a medieval feel.

3D and CG animation are a natural fit. Together, they've elevated animation and even allowed it to become more stylized. Famed live-action cinematographer Roger Deakins helped create the cinematography in How to Train Your Dragon, even warranting a profile at the New York Times. As I wrote a couple of months ago, lighting and animation departments typically don't talk to each other, something Deakins changed when he came in as a supervisor, to considerable effect. Dragon is setting a high standard for animated films that others will surely follow.

I hope Popeye preserves its cartoon look while bumping it out into three dimensions--giving it the feel of a pop-up book, perhaps. While it may be tempting to give the character smooth corners and a CG look, I would welcome the opportunity to see something more retro, much in the same way Disney's Lilo & Stitch brought back the watercolor backgrounds of Disney films fifty years before. (It's worth mentioning that Lilo & Stitch and How to Train Your Dragon share the same directing team--Chris Sanders and Dean DeBlois are animation directors to watch)

Right now Popeye has a producer (Avi Arad of Spider-Man) and a screenwriter (Mike Jones, a former trade reporter and self-proclaimed Popeye fan). It's far too soon to tell how Popeye will look, but hopefully it will join my list of animated films with an unusual, non-CG look--like Pixar's The Bear and the Bow , the next animated film I have my eye on.

Academy's expanded Best Picture category rewards 'top 10' films

By Sarah Sluis

When the Academy of Motion Picture Arts and Sciences announced that it was expanding the number of Best Picture nominees from five to ten, most people speculated two things would happen: 1) crowd-pleasing, high-grossing movies would receive nominations. 2) smaller, independent movies would receive nominations. Well, the answers are in: the first thing happened, and the second not so much.

Three of the ten Oscar nominees for Best Picture were in the 2009 box-office top ten. Avatar is currently #1 for 2009, Up is #4, and The Blind Side is #8. If any movie was a long shot for Best Picture, The Blind Side was it. Many critics would have preferred to see Bright Star, a tiny but well-reviewed film, in that spot.

The last time a top ten film was even nominated was at the 76th Academy Awards, when Lord of the Rings: Return of the King (the #1 film of the year) swept the awards in Titanic-like fashion. That means that before this year, five years passed where no movie in the top ten received a Best Picture nomination. If the goal of expanding the number of nominees is to boost ratings and make more average, non-eclectic moviegoers feel the Academy Awards reflect their own "Best Films," it appears the Academy has succeeded.

That's not to say these movies are bad or don't deserve to be nominated. Last year seemed to be a particularly strong one for blockbusters. I'm right there with Avatar and Up. District 9 (#27) was good, but it didn't make my top ten and I don't think it's quite original enough (beyond its opening sequence) to deserve the nomination. But with a heavy-handed look at racism a la Crash, I guess I shouldn't be surprised it was nominated.

On the other hand, movies at the other end of the spectrum haven't entirely been neglected. The Hurt Locker (#130), A Serious Man (#142) and An Education (#144) all received nominations. Last year, the lowest-ranked film was #120 (Frost/Nixon), so not only are these films a bit lower on the list, there are also three of them instead of the expected two you would get when you double the amount of nominees.

Overall, I think the inclusion of ten nominees better reflects the amount of quality movies out there, and does allow for more commercial (to a greater extent) or more specialized (to a lesser extent) films to receive nominations. At least when a so-so movie squeezes in, there are nine, instead of four, other movies there to balance it out.

Studios stacking the deck to create 5 nominees for Best Animated Feature

By Sarah Sluis

This year will be the ninth year of the Motion Picture Academy's "Best Animated Feature" category. Between computer animation, 3D premiums, and the incredible quality of films produced by studios like Pixar, the field will be as competitive as ever this year. Because of the volume of submissions this year, the Academy will likely boost the number of nominees from three to five. The bump in nominees happened once before, in 2002, and occurs when the number of eligible films is greater than 16. To be eligible, the movie must have a qualifying release and an Academy-produced average score of 7.5 (but on the odd scale of 6-10).

The 20 submitted features, along with my predictions, are below. The locks for nominations are bolded and underlined. Films with strong chances of being nominated are bolded.

• Alvin and the Chipmunks: The Squeakquel: The first one made a surprising amount of money, though it did not secure a nomination. Don't count on the squeakquel receiving one either.



• Astro Boy: Without making a splash at the box office, a critical assent would come as a surprise.



• Battle for Terra: A clunker several years in the making. My guess to be excluded from the running.



• Cloudy with a Chance of Meatballs: The crowd-pleaser could surprise with a nomination



• Coraline: A lock for a nomination. Incredible story, visuals, and stop-motion technique. Read the review here.



• Disney's A Christmas Carol: Potential nominee, which would be a first for a film using director Robert Zemeckis' performance-capture technique.



• The Dolphin - Story of a Dreamer: A straight-to-DVD film given a qualifying run to boost the amount of eligible films.



• Fantastic Mr. Fox: Potential nominee. Wes Anderson received an Oscar nomination in 2001 for his screenplay of The Royal Tenenbaums.



• Ice Age: Dawn of the Dinosaurs: The first Ice Age was nominated, but the sequel was not. The third probably won't either, despite its status as the third highest-grossing film in international box-office history..



• Mary and Max: This adult indie film has Philip Seymour Hoffman and the winners of an Oscar-winning short behind it, but it might be too low-profile.



• The Missing Lynx: a small, Spanish film unlikely to receive a nod.



• Monsters vs. Aliens: If Cloudy with a Chance of Meatballs is nomination-worthy, then so is this film.



• 9: An adult-oriented movie that could receive a nomination



• Planet 51: More likely to be a box-office winner than nominee.



• Ponyo: Disney-released Spirited Away, an anime film, won in 2002, and Howl's Moving Castle was nominated in 2005. Both were directed by Hayao Miyazaki. But some felt Ponyo fell flat.



• The Princess and the Frog: If this movie resonates with viewers and Oscar voters, I predict it will be nominated.



• The Secret of Kells: The trailer animation looks uneven and not up to snuff.



• Tinker Bell and the Lost Treasure: Disney's straight-to-DVD release given a qualifying run to boost the chance on the nominees going to five.



• A Town Called Panic: The trailer looks cute, but only Sony Pictures Classics (The Triplets of Belleville and Persepolis) and the aforementioned Miyazaki films have has ever successfully secured a nomination for a foreign animated film.



• Up: a lock for nomination, and in all likelihood the winner. Read the rave review here.

Having an Academy-nominated film can certainly help boost DVD sales and rentals from inquisitive Oscar ceremony viewers (although with the DVD market tanking, maybe not so much). But this year, Up seems like a lock on the Animated Feature category. Press attention could be drawn away from the category as a whole, making nominee status not as valuable. Coraline, to me, is the only likely upset. Plus, with the Academy skewing older, the hero of Up, the old man, is one of their own. What's not to love? Even with five nominees, Pixar shows all signs of continuing their winning streak.

Choose heavenly 'Up,' or 'Drag Me to Hell'

By Sarah Sluis

The must-see movie of this weekend is Pixar's Up (3,700 screens). The opening night selection at Cannes, the PG-rated film will appeal to all ages, and rack up box-office dollars from audiences of every demographic. Pixar usually keeps its plots mysterious--our Executive Editor Kevin Lally points out that "the subject matter...might seem a dubious bet until you see what's been rendered on-screen," so I'll be sparing with the exposition. Ellie and Carl meet each other play-acting adventurers in an old house, reminiscent of the one in It's A Wonderful Life. They fall in love, marry, fix up the house, and, in a touching montage, share life's joys and disappointments, namely their inability to have children or visit Paradise Falls, where they planned on following the footsteps of famous adventurer Charles F. Muntz. Ellie dies (a fact whispered in clarification to a younger sister during the screening I attended), and as you wipe your eyes from under your 3D glasses you realize that the beautiful house they've fixed up is now surrounded by high rises, in an image first drawn in The Little House (a Caldecott winner by famous children's book author Virginia Lee Burton).

While it's taken me a paragraph to explain the moments leading up to Carl's balloon-aided escape from urbanism, Up astounds with its economy: it trusts its (young) audience, and isn't afraid to give them quiet moments. The moments it returns to and repeats, like peeks in the scrapbook Ellie kept of her life, are raps, not hammering reminders. Its creatures (especially the talking dogs) are humorous, and the eight-year-old Wilderness Explorer stowaway, a non-acting child that director Pete Docter said they would tickle or ask to do jumping jacks before reciting his lines, to coax out the best reading, is a charming complement to Carl's stodgy shtick. Up will almost certainly win opening weekend, and make strong showings at the box office weeks after its release.

Sam Raimi, who launched his career with the Evil Dead series and revived it by helming three Spider-Man films, has returned to horror with Drag Me To Hell (2,400 screens), which has received overwhelmingly positive reviews from critics, who tend to recoil from the genre. The "diabolically entertaining" film, according to critic Michael Rechtshaffen, contains an allusion to the mortgage crisis. Alison Lohman plays a bank officer who denies a loan extension to a woman, who in turn places a curse on her. As she tries to avoid being dragged off to hell, she enlists the help of her boyfriend, Justin Long. With "old-school puppetry and prosthetic makeup combined with some judiciously used CGI," Raimi appears to have created a horror film with broad appeal, that will provide counterprogramming to those who'd rather not go Up.

On the specialty side, the film to check out is Departures, the Japanese-language picture that won the Oscar for Best Foreign Language Film. Our critic Maggie Lee called it a "popular gem�thematically respectable, technically hard to fault, and artfully scripted to entertain and touch audiences." The movie follows an unemployed cellist who signs up to be a "journey assistant," preparing dead bodies for their funerals. Delving into the world of death reminds him of his opposite: "The scene of him wolfing down fried chicken suggests his appetite for life is eventually whetted by confronting mortality daily�a reconnection with nature's cycle."

On Monday, I'll check up on just how high-flying Up was at the box office, and how much money Drag Me to Hell could scare up, so circle back as summer movie season moves into full swing.