Second week at the top for 'Hop'

By Sarah Sluis

The animated Easter bunny picture Hop enjoyed its second week in first place, dropping 42% to $21.7 million. Its performance is on par with March's Rango, but Hop will probably do better financially due to the live-action/CG hybrid's lower budget. With two more weekends until Easter, Hop should continue to play well but will have tough competition next week when Rio, which opened #1 in a number of international markets this weekend, debuts in the U.S. this Friday.

Russell Brand provides the voice of the bunny in Hop, but his other new release, Arthur, opened to a disappointing $12.6 million. In comparison, Get Him to the Greek, which featured Brand as a co-star, opened to $17 million last year. Critics were not kind to the tale of a lovable billionaire alcoholic, giving it just 25% positive Rotten Tomatoes rating. Brand, a beloved U.K. star, has been trying to break out in America for several years. If the movie plays well in the U.K., Arthur's flat performance stateside will confirm that Brand just can't cross over in a live-action vehicle--although I don't understand why, because I find him extremely funny.

Hanna opened third with $12.3 million, an impressive opening for an assassin film intended for a more arty, indie crowd. Focus Features went for the same auteur action formula with last fall's The American, which opened to $13.1 million with a considerably bigger star on the marquee, George Clooney. Teen star Saoirse Ronan will be seen next in The Hobbit, if you believe what you see on IMDB (she hasn't been confirmed in the role yet).

Following closely in fourth place, Soul Surfer rode in with $11.1 million. The largely young, female audience raved about the film, giving the religious-themed sports picture an A+ CinemaScore rating. The areas in the U.S. farthest from the coasts did the best, including Nashville and Oklahoma City.

The loser of this week's quartet of new releases was Your Highness, which finished with $9.5 million. The stoner adventure film underperformed, earning just a fraction of the $23 million opening weekend attained by director David Gordon Green's last comedy, Pineapple Express.

One spot above Your Highness, haunted house movie Insidious did what horror movies almost never do. Instead of dropping 50-70%, the movie's audience went down just 27% to $9.7 million, another win for distributor FilmDistrict, which picked up the movie for a song and spent heavily on marketing.

Among specialty releases, IMAX film Born to be Wild made the biggest splash, earning $850,000 from 206 locations. The well-reviewed Meek's Cutoff proved to be more of a critic's gem than an audience favorite, settling with just $11,000 per screen on two theatres, a modest debut for a film with a 86% positive Rotten Tomatoes rating among critics.

This Friday, American audiences will be able to catch Rio, which had the highest international debut of the year. Horror fans can white-knuckle it for Scream 4, and historical drama The Conspirator will open in select theatres.

'Hop' provides tough competition for 'Arthur,' 'Soul Surfer,' 'Hanna'

By Sarah Sluis

Four new movies will be hitting theatres this weekend, but last week's Hop is a near-lock for grabbing first place again. The Easter-themed CG/live-action film earned $37 million last weekend, and will likely drop less than 50% this weekend, standard for animated, family-driven movies.

The remake of the 1981 comedy Arthur (3,276 theatres) should approach $20 million but fall short of beating Hop. Russell Brand, who also lends his voice for the bunny tale, stars as a rich alcoholic who finds love just as he's being pushed into a marriage to a cold high-achiever. While the first Arthur was a word-of-mouth hit, the remake fails "to recapture the magic," according to critic Kevin Lally. One highlight is Greta Gerwig as Arthur's love interest. She goes from "Mumblecore darling" to "very endearing and natural as the down-to-earth Naomi," the role originally played by Liza Minnelli.

Soul Surfer (2,214 theatres) is my pick for an overperformer. Based on the true story of teen surfing star Bethany Hamilton, who lost her arm in a shark attack, the drama also incorporates Hamilton's faith strongly, a surefire way to attract the religious crowd that helped make The Blind Side a hit. One problem the movie will have to overcome is the 127 Hours curse--people that don't want to see a movie with a gruesome amputation. However, I saw one of those "test screening" television commercials this week that featured enthusiastic pre-teens raving about the movie. I was a convert, and critic Doris Toumarkine confirms that the movie is "paradoxically, remarkably uplifting."

Your Highness (2,769 theatres) is an "earnest, messy and often quite funny" spoof of "'80s-era medieval romps," according to critic Ethan Alter. That's a nice way of saying "stoner Princess Bride comedy." Oddly populated with both an Oscar nominee (James Franco) and a winner (Natalie Portman) from this year, Your Highness also stars Danny McBride and Zooey Deschanel in "one of the oddest comedies to emerge from a major Hollywood studio in recent years." The only R-rated film of the week, this fantasy-comedy-adventure should at least top $10 million.

Rounding out the bunch is Hanna (2,535 theatres), which stars Saoirse Ronan as a teen assassin. Director Joe Wright fills the film with stylistic and musical flourishes, but critic Rex Roberts bemoaned that the actioner "starts out edgy and fresh, but runs out of steam and imagination." I predict that young film buffs will be entranced with the movie's showy use of sound, long takes, and other cinephile big-ticket items. Unlike Sucker Punch, this girl-driven action movie is far from being a purely male fantasy, which should broaden appeal.

The most notable specialty release is Meek's Cutoff (2 theatres), which comes from director Kelly Reichardt (Wendy and Lucy). Set on the Oregon Trail, the story centers on three families lost on a difficult route. Alter praised Reichardt for "telling an epic story in an astonishingly intimate fashion." She "immerses you in a way of life long since vanished without feeling like a dry history lesson."

On Monday, I'll see where the quartet of new releases landed in the top ten, and which films drew moviegoers.

Trailer review: 'Crazy, Stupid, Love'

By Sarah Sluis

Steve Carell nailed the sexually innocent, romantically awkward character in The 40-Year-Old Virgin, and it appears that he's returning to the same territory in Crazy, Stupid, Love. The romantic comedy has a well-known cast: Ryan Gosling, Julianne Moore, Marisa Tomei, Emma Stone, and Kevin Bacon play supporting roles. The trailer for Crazy, Stupid, Love just came out, and it exceeded my expectations.

First, Crazy, Stupid, Love appears to put story first, comedy second, which for me is more likely to result in appreciative laughter. Unfortunately, I know the movie puts story first because the trailer all but gives away the ending. Oh well. Carell plays a husband who just found out his high school sweetheart wife (Moore) cheated on him. He ends up meeting a player (Gosling), who helps him up his game enough to snag a cute woman (Tomei). But Carell still loves his wife! And Gosling just fell in love, not lust, with another woman (Stone)! It seems like the story will end with Carell back in the arms of his wife and Gosling learning from Carell how to commit. It's really too bad that the trailer had to give that story arc away--I think the idea of the player learning from the longtime husband is really sweet, and unexpected. In a lot of these movies, only the main character undergoes a transformation.

Of all the performances, I was most surprised by Gosling's take on a ladies' man. I know him mainly for his dramatic role in Blue Valentine, so seeing him as a slick, fast-talking guy was something of a surprise. The rest of the cast plays versions of their already established star personas. For the second year in a row, Moore is playing a likeable cheater (The Kids Are All Right). Stone again plays a smart girl skeptical of male intentions (Easy A), and Tomei is doing her sexually assertive thing.

The trailer cuts out some of the more suggestive punchlines, so I'm going to bet this movie is going for a PG-13 vibe, especially because the movie also includes teen romance, Carell and Moore's son's lusting after his babysitter. Back in December, Warner Bros. moved the comedy from April 22 to July 29, the surest sign that this romantic comedy can stand up to the heat of summer.

Release spotlight: 'Meek's Cutoff' brings indie sensibility to the Western

By Sarah Sluis

I was more than a little surprised to find out that director Kelly Reichardt's next film would be set in 1845. On the Oregon Trail. Like her previous film, Wendy and Lucy, the movie takes place in Oregon and centers on a journey, but all those bonnets and wagons in Meek's Cutoff threw me for a loop. The film centers on three families traversing the Oregon Trail in the route's early days. They have enlisted a wilderness man as a guide, but he has them lost in the middle of the desert without water. One of the settlers (Michelle Williams) spots an Indian, and fights against having him killed. She wants him as a guide. But will he be able to get them to water in time?

Meek's Cutoff touches on certain aspects of the Western genre, but lightly. Reichardt isn't trying to make an anti-Western, but rather provide a window into the day-to-day life of settlers. The days on the trail unfold with the precision, detail, and quiet of an Italian neorealist film. You feel the significance and tedium of the daily chores as if you were a settler yourself. Meek's Cutoff is also unique for its portrayal of women. Williams displays some of the spunk and initiative of the young Mattie Ross in True Grit, but Reichardt takes care to point out how customs exclude the women from decision-making. In more than one scene, the men discuss what to do next, while the women stand back a distance, unconsulted. Instead they listen, but with the concentration of someone calculating their next chess move.

As with Wendy and Lucy, watching Meek's Cutoff can feel a little tedious, since the movie focuses so much on minute details. While the tension builds, the ending is abrupt, which I kind of expected. There were no signs that the narrative would end up tied in a bow. Meek's Cutoff is best viewed as an experience, a museum exhibit with a point-of-view. While I was unclear on the historical background at the time, the title refers to a "shortcut" that guide Stephen Meek took 200 wagons and one thousand people through. Though they eventually navigated through the treacherous terrain, over twenty people died. I assume that the movie limited itself to three wagons for budgetary reasons, but it ends up providing added dramatic impact. With just nine people on the screen, it's easier to see how alone and lost these settlers are. In the desert, I'm sure the settlers felt alone even with a thousand people, which registers as a giant crowd on screen.

The Oscilloscope Laboratories release premiered at Sundance, where the wild landscape of the surrounding area must have provided a pause--how the West has changed in the past 150 years. The movie will release this Friday in New York City, with additional cities to follow.

Will Smith and son Jaden to star in M. Night Shyamalan's latest

By Sarah Sluis

M. Night Shyamalan seems to be forever chasing the success of his first film, The Sixth Sense. Sometimes I wonder if all his twists are really getting worse, or if audiences have simply come to expect the unexpected, ruining the surprise. After striking out last year with The Last Airbender, which he directed but did not write, he's again chosen to direct a project that he did not write--wisely, I might add. Once titled One Thousand A.E., the futuristic sci-fi movie has been extensively reworked. What's more, the project originally had Bruce Willis, Bradley Cooper, and Gwyneth Paltrow attached. Now it has Will Smith and his son Jaden signed on for the starring roles. It must have taken a few rewrites to incorporate these casting changes, unless Bradley Cooper was playing Bruce Willis' son, which is only plausible if Willis were a teen father.

Jaden will star as a kid who must traverse an abandoned (post-apocalyptic?) Earth after a spaceship crash, in search of his father (Will Smith). Will Smith's role would be considerably smaller. In this project's favor is Will Smith's successful run of sci-fi movies, including his turn as a post-apocalyptic hero in I Am Legend. Father and son have also starred together in The Pursuit of Happyness, and Jaden held his own in the remake of The Karate Kid last year, a surprise hit. The negatives? From a publicity standpoint, the idea of family working together is endearing, but there have also been rants in the blogosphere that Will Smith is pushing both of his children (daughter Willow is a budding pop star) into the limelight. Then there's M. Night. He's gone from being a budding auteur to someone who's been pigeonholed as a "suspense & twist" director, and just hasn't been able to deliver that effectively in his subsequent films. The Last Airbender was an attempt to branch out, and that didn't work so well. In fact, The Karate Kid outperformed Airbender, with just a third of the budget. Columbia Pictures, which produced Karate Kid and is taking over this sci-fi project from sister label Sony, must be betting that Jaden's rising star power and M. Night's talent will result in a home run.

'Hop' skips and jumps to first place

By Sarah Sluis

Families turned out en masse for Hop, earning the Easter Bunny flick $38.1 million, the highest opening weekend of the year. A number in the high $20 millions was expected, so this opening was leaps and bounds ahead of projections. Critics may have sniffed and grimaced, but the CG/live-action hybrid appears to be a winning genre at the box office, not to mention more economical and quicker to produce than an animation-only movie. Hop opened above CG/live-action mixes G-Force and Beverly Hills Chihuahua, but failed to outperform the holy grail of the medium, Alvin and the Chipmunks. Easter is the last Sunday of April, giving Hop three more weekends to take advantage of its holiday tie-in.

Sci-fi actioner Source Code debuted in second place with $15 million. Similarly sci-fi infused titles The Adjustment Bureau and Limitless both opened at $18 million, so Summit probably had higher hopes for the "Groundhog Day on an exploding train" flick.

Haunted house movie Insidious finished with $13.4 million. With 500 fewer theatres than Source Code, the horror pic actually had a higher per-screen average than the action movie. According to Variety, Insidious cost less than $1 million to produce but had $20 million of marketing behind it. The release is the first for distributor FilmDistrict, which is starting out strong with an unusual budget/marketing ratio.

The PG-13 version of The King's Speech didn't seem to revive the box office. The picture dropped 23% to $1.1 million, the same drop as the previous week. Given the millions The Weinstein Co. spend on new prints and publicity, the re-rated version doesn't seem to be an (instant) success, although the distributor noted that more conservative markets like Salt Lake City, Utah, showed the greatest improvements.

The movers and shakers in the specialty market were Win Win and Jane Eyre. Both films have increased week-over-week since they opened three and four weeks ago, respectively. Jane Eyre went up 27% to $1.2 million, doubling the amount of theatres in its release. Win Win skyrocketed 153% to $1.1 million, increasing the theatres in its release by a factor of six. The Oscar-winning Best Foreign Language Film In a Better World opened to an $8,800 per-screen average. The Danish movie debuted lower than last year's winner, The Secret in Their Eyes.

This Friday 80s comedy remake Arthur will open widest, followed by stoner comedy Your Highness, girl assassin pic Hanna, and Soul Surfer, the tale of a teen surfer who survived a shark attack.

'Hop' poised to jump straight to the top

By Sarah Sluis

Releasing well in advance of the Easter holiday, Hop will spring into 3,577 theatres and shows all signs of landing in first place. Critic Frank Lovece rated it a "Santa Clause 2.6," which is pretty close to the terrible Santa Clause 3. He also bristled at the movie's message of nepotism, since a lazy heir triumphs over the underdog hard worker. The film's mix of live action and CG historically results in a very kid-specific following, with poor reviews having no effect on the great box office (See director Tim Hill's Garfield: A Tail of Two Kitties and Alvin and the Chipmunks 1&2). Hop should accrue at least $25 million in its opening weekend.

In retrospect, it's surprising someone didn't turn Groundhog's Day into an action film sooner. In Source Code (2,961 theatres), Jake Gyllenhaal plays an army operative who must relive over and over the final minutes before a terrorist attack explodes a train. The exercise is supposed to give him time to figure out what went wrong, but he also finds time to fall in love with a girl, too. Could love save the day? Critic Maitland McDonagh pronounces the sci-fi actioner a "good ride" that's "slick, shiny, sweetly gratifying and clever enough that you don't have to feel dumb for enjoying it." Adult fare has been lacking in recent weeks, so Source Code should do well, perhaps in the high teen millions.

An F-word free The King's Speech will make its PG-13 debut in 1,011 theatres. Will the change in rating make much of a difference? I haven't seen any ads proclaiming the movie's toned-down rating, but maybe I'm just the wrong audience. Currently, the Oscar-winning drama is hovering just outside of the top ten, so the rating change and added marketing could be enough to launch it back onto the box-office radar screen.

A back-to-basics haunted-house movie, Insidious (2,408 theatres) comes from Saw creators James Wan and Leigh Whannell. Their "trust in human emotion" and focus on "two ordinary parents [taking] their stand against God only knows to save their child" pays off, according to McDonagh. Though it's not a perfect example of the haunted-house film, she gives the duo credit for "keeping the atmosphere thick with menace as long as they do."

The Oscar winner for Best Foreign Language Film, In a Better World, will open in 4 theatres. The drama juxtaposes violence among Danish schoolboys with violence in Kenya, which critic Erica Abeel sums up as "a deeply involving film unafraid of raw, visceral emotion, a film that for once thinks almost too big."

On Monday, we'll measure Hop's leaps and see how close Source Code followed. Insidious may surprise, given horror films' strong opening weekends, and it will also be the first test for newbie distributor FilmDistrict. Perhaps the biggest surprise will be The King's Speech, which has already grossed $138 million with its R rating. Are there any more viewers out there?