Today's Film News: Sony Feels Venomous

By Katey Rich

Though it's still counting on getting a little extra mileage from the webslinger series by developing a Spider-Man 4, Sony is also trying to move ahead with a spinoff movie based on Venom, a.k.a. Eddie Brock, the villain played by Topher Grace in the most recent spider outing. The Hollywood Reporter says the studio isn't convinced that Grace can topline a big action movie, perhaps forgetting entirely how famous Tobey Maguire was when the first Spider-Man opened.

I had been under the impression that the Bill half of the Bill & Ted duo had disappeared from the face of the Earth after Keanu became famous, but apparently Alex Winter has been hard at work updating-- or perhaps tarnishing?-- the reputation of the Ramones from the 1979 movie Rock 'n Roll High School. Variety reports that Winter and Howard Stern will team up to remake the film, about a rock band helping a group of high schoolers strike back against the principal.

You'll probably never see zombies roaming around Disneyland, but Sam Raimi, the man who made a career on zombies, will be teaming up with Disney for The Transplants, described in the Reporter as "a four-quadrant ensemble superhero story with a comedic bent." Raimi is already a busy guy, and he even recently announced at Comic Con that he was starting work on an Evil Dead 4. Maybe he was just jealous of Guillermo del Toro for getting all the attention by taking on a ton of new projects, so now Raimi is just overcompensating.

And finally, The Hollywood Reporter's Risky Biz blog has some thoughts on the superhero genre, and where it can go from here after the one-two punch of The Dark Knight and Iron Man. They compare it to the Westerns genre, and if their analogy holds, we'll be getting a superhero version of Shane sometime soon. To quote the Nite Owl of the upcoming Watchmen, another superhero movie potentially poised to change the genre, God help us all.

Today's Film News: Marvin Returns

By Katey Rich

Remember Space Jam, the 1996 movie that blended animated Looney Tunes characters with live-action actors? Warner Bros. is revisiting the concept with a feature film based on Marvin the Martian, the alien character forever intent on blowing up the Earth. Variety reports that the idea is to make it a Christmas story, "with Marvin coming to Earth to destroy Christmas but being prevented from doing so when he's trapped in a gift box." I think stunned silence is the appropriate response here.

Guillermo del Toro clearly has been dabbling in human cloning, since there is no way he can actually be participating in all the projects he's signed up for recently. The Hollywood Reporter announced today that he and Miramax will produce a remake of Don't Be Afraid of the Dark, a 1973 TV horror movie. Del Toro is somehow adapting the screenplay, despite the fact that's supposedly holed up in New Zealand with a bunch of hobbits at this point. This whole secret clone thing would probably make a great horror movie, to be directed by del Toro #1 of course.

Quentin Tarantino's Inglorious Bastards screenplay has been leaked widely online, despite not even having a cast yet, and now it's already finding a studio home without a single foot of film being shot. Variety says Universal and The Weinstein Co. are in negotiations to team up and bring the film to theatres.

And finally, The Reporter has published the findings of an interesting survey by parent company Nielsen, which finds that comedies suffer most from getting an R rating as opposed to PG-13. Horror movies, on the other hand, make virtually no more money by being accessible to a wider audience with a lower rating. Not good news for the upcoming duo of R-rated comedies, Tropic Thunder and Pineapple Express.

Weekend Roundup: You Can't Kill the Batman

By Katey Rich

Despite the Joker's best efforts, pretty much nothing can kill the Batman. The Dark Knight dropped just over 50% in its second weekend, bringing in $75 million to set two records-- the highest-grossing second weekend ever, and the fastest film to reach $300 million. Optimistic prognosticators are now saying Dark Knight could break $500 million domestically, shooting past all films other than Titanic.

Unbelievably, Dark Knight wasn't the only movie to have a stellar weekend-- Step Brothers, the R-rated John C. Reilly & Will Ferrell comedy, opened to $30 million, despite aiming for the exact same young audience that was seeing Dark Knight a second and third time this weekend. X-Files: I Want to Believe, on the other hand, floundered in its debut, bringing in just $10 million and landing at #4.

In-between the newcomers was Mamma Mia!, which fell just 35% in its second weekend and made another $17 million. It has a partner in solid performance with Journey to the Center of the Earth, dropping just 23% in its second weekend to come in at #5 with $9 million.

The rest of the top 10 was filled with a few blockbusters and a few not-so-blockbusters. Hancock came in at #6 with $8.2 million, good enough to cross the $200 million mark. Right behind it was Wall-E, with $6 million for the weekend and looking poised to cross $200 million itself. Hellboy II: The Golden Army, on the other hand, is experiencing a far-faster box-office death than it deserved; it made $4.9 million this weekend as it starts dropping theatres.

Wrapping things up, Space Chimps continues to fail to make an impression on moviegoers, bringing in $4.3 million. And making its last appearance in the top 10, Wanted earned $2.7 million, bringing its total to a healthy $128 million.

Outside the top 10, and even the top 20, there were a whole lot of interesting specialty debuts, so we'll include them courtesy of Box Office Mojo. Brideshead Revisited, another adaptation of Evelyn Waugh's novel, debuted strong with a $10,000 per-theatre average from 33 locations. Man on Wire was an even stronger contender, becoming the only movie to beat Dark Knight's per-theatre average for the weekend with $48,000 from two theatres. American Teen was right behind it but notably less competitive, with just $42,800 from five theatres. And CSNY: Deja Vu, which sounds more like another "CSI" spinoff than the Crosby, Stills, Nash and Young documentary it actually is, made a meager $36,100 from 24 theatres.

TW	LW	Title (click to view)	Studio	Weekend Gross	% Change	Theater Count / Change		Average	Total Gross	Budget*	Week #
1	1	The Dark Knight	WB	$75,630,000	-52.3%	4,366	-	$17,322	$314,245,000	$185	2
2	N	Step Brothers	Sony	$30,000,000	-	3,094	-	$9,696	$30,000,000	$65	1
3	2	Mamma Mia!	Uni.	$17,865,000	-35.6%	2,990	+14	$5,974	$62,714,000	$52	2
4	N	The X-Files: I Want to Believe	Fox	$10,200,000	-	3,185	-	$3,202	$10,200,000	$30	1
5	4	Journey to the Center of the Earth	NL	$9,415,000	-23.7%	2,688	-142	$3,502	$60,185,000	$60	3
6	3	Hancock	Sony	$8,200,000	-41.6%	3,309	-467	$2,478	$206,371,000	$150	4
7	6	Wall-E	BV	$6,349,000	-37.0%	3,044	-266	$2,085	$195,235,000	$180	5
8	5	Hellboy II: The Golden Army	Uni.	$4,934,000	-51.2%	3,018	-194	$1,634	$65,894,000	$85	3
9	7	Space Chimps	Fox	$4,375,000	-39.1%	2,538	+27	$1,723	$16,006,000	$37	2
10	8	Wanted	Uni.	$2,727,000	-46.2%	1,754	-679	$1,554	$128,616,000	$75	5
11	9	Get Smart	WB	$2,300,000	-44.2%	1,420	-715	$1,619	$124,214,000	$80	6
12	10	Kung Fu Panda	P/DW	$1,030,000	-44.6%	917	-588	$1,123	$208,972,000	$130	8
13	13	Kit Kittredge: An American Girl	PicH	$593,000	-37.7%	535	-234	$1,108	$15,267,000	-	6
14	12	Indiana Jones and the Kingdom of the Crystal Skull	Par.	$550,000	-42.5%	477	-280	$1,153	$313,626,000	$185	10
15	14	Sex and the City	NL	$460,000	-36.2%	347	-168	$1,325	$150,854,000	$65	9
16	17	Tell No One	MBox	$430,000	+7.2%	77	+22	$5,584	$1,661,000	-	4
17	15	The Incredible Hulk	Uni.	$425,000	-32.2%	403	-253	$1,054	$132,543,000	$150	7
18	11	Meet Dave	Fox	$375,000	-77.4%	503	-2,508	$745	$10,833,000	$60	3
19	N	Brideshead Revisited	Mira.	$332,000	-	33	-	$10,060	$332,000	-	1
20	16	Iron Man	Par.	$289,000	-36.0%	274	-101	$1,054	$314,905,000	$140	13
21	25	The Wackness	SPC	$241,000	+59.9%	120	+86	$2,008	$1,072,000	-	4
-	20	Mongol	PicH	$165,000	-35.9%	144	-51	$1,145	$5,174,000	$18	8
-	31	Brick Lane	SPC	$62,200	-25.4%	49	+1	$1,269	$653,000	-	6
-	N	Man on Wire	Magn.	$48,000	-	2	-	$24,000	$48,000	-	1
-	N	American Teen	ParV	$42,800	-	5	-	$8,560	$42,800	-	1
-	N	CSNY: Deja Vu	RAtt.	$36,100	-	24	-	$1,504	$36,100	-	1
-	30	The Love Guru	Par.	$36,000	-58.4%	107	-76	$336	$31,891,000	$62	6
-	48	Before the Rains	RAtt.	$32,850	+10.9%	16	-6	$2,053	$910,000	-	12
-	46	Transsiberian	First	$26,500	-23.4%	2	-	$13,250	$80,000	-	2
-	44	The Fall	RAtt.	$19,500	-45.8%	30	-8	$650	$2,140,000	-	12
-	61	War, Inc.	First	$17,400	+42.6%	25	+5	$696	$566,000	-	10
-	109	Baghead	SPC	$17,200	+2,023.5%	7	+5	$2,457	$49,200	-	7
-	N	Boy A	Wein.	$11,400	-	2	-	$5,700	$13,100	-	1
-	68	Lou Reed's Berlin	TRR	$4,070	-50.8%	2	-	$2,035	$19,000	-	2

Today's Film News: Robo-Reboot

By Katey Rich

A director who has made his name with mind-bending independent films is taking on a beloved character from the past who has suffered from some not-so-great movies in recent years. No, not Christopher Nolan, silly! It's Darren Aronofsky, signing on to direct MGM's reboot of RoboCop. Variety adds that David Self, who wrote Road to Perdition and 13 Days, will be adding a little more prestige to the whole thing. Well, even if it doesn't work out, the paycheck should fund at least one or two more movies about Rachel Weisz traveling through time and turning into a tree.

This Hollywood Reporter item points out something interesting about "The Twilight Zone" that had never actually occurred to me. Even decades after the show went off the air, it's a palpable part of pop culture, more so than probably any show of its time period. And now Leonardo DiCaprio is aiming to make it even more ever-present, acquiring the rights along with Warner Bros. to many of the show's episodes. The idea is to make a movie that's one long story, rather than a series of vignettes like those in the 1983 Twilight Zone movie.

Harold and Kumar may have finally made it to White Castle and even escaped from Guantanamo Bay, but they're not done having adventures. Stars John Cho and Kal Penn have signed on for a third movie, as have writers and directors Hayden Schlossberg and Jon Hurwitz. Variety says that Warner Bros. will likely distribute the film, taking over for the now-shuttered New Line.

And finally, prognosticators say The Dark Knight could very well bring its total domestic grosses to $300 million this weekend. That would be record time for a movie to reach that mark. Will The Dark Knight and Titanic go down as the two biggest movies of all time, some weird black-white allegory for the things that Americans love most?

Box Office Outlook: The X-Factor

By Katey Rich

It looks like this weekend may be only the third of the summer to produce a two-time #1 movie. The Dark Knight has continued its hot winning streak throughout the week, setting all-time records for best Monday and Tuesday grosses, and looks to be a powerhouse come Friday as well. Luckily there are no more superheroes to try to grab the crown; Step Brothers and The X-Files: I Want to Believe are both reasonable counter-programming, though X-Files seems likely to suffer in the vast Bat shadow. Plus, only one of the new releases has gotten good reviews-- see if you can guess whether or not it's the one that features Will Ferrell beating John C. Reilly with a shovel.

THE X-FILES: I WANT TO BELIEVE. Opening in 3,100 theatres. Mulder and Scully are back, 10 years after their last on-screen adventure and six years after the TV show "The X-Files" went off the air. The plot of the new film has been kept top-secret, but seems to involve a missing FBI agent who Mulder (David Duchovny) and Scully (Gillian Anderson) have to track down. The supernatural presumably plays a role somehow. Series creator Chris Carter is back as director, writer and producer on the new film.

The truth is probably still out there, but most critics don't seem to be interested in hearing it. Our Frank Lovece goes pun-crazy and calls it an "X-cruciatingly un-X-ceptional X-ercise," and Time remarks that "so much has changed that [Mulder and Scully] seem the aliens." "In searching for a great X-Files movie, that truth remains out there," scoffs Variety. Newsday, on the other hand, was perfectly satisfied: "The way the film marries its subplots will keep audiences off balance, which is exactly right for an X-Files movie." And Roger Ebert particularly appreciated the lack of whiz-bang CGI effects: "There was a tangible quality to the film that made the suspense more effective because it involved the physical world."

STEP BROTHERS. Opening in 2,800 theatres. Talladega Nights co-stars John C. Reilly and Will Ferrell are together again in Step Brothers as the siblings of the title-- 40-year-olds who have been happily living at home with their single parents until mom and dad decide to marry. The two handle it about as well as your average 12-year-olds would, playing pranks on each other and squabbling until they decide the great enemy is a younger brother (Adam Scott) who is both a bully and a real grown-up. Yes, the plot really is that simple. Adam McKay directs.

People cool to Ferrell and Reilly's previous efforts may not be amused, but I, for one, had a ball. "Enjoying Step Brothers may require regressing to an adolescent sense of humor, but why resist?" I wrote. "There's something in all of us that wants to laugh when two grown men don matching Chewbacca masks in their treehouse." Owen Gleiberman at Entertainment Weekly liked it, writing, "It's not just an idiot revel: It's nutty, profane, and caustically heartless." But The Chicago Tribune complains "enough with the 40-year-old teenagers for a while," and The San Francisco Chronicle calls it "essentially a throwaway film, one that might have gone straight-to-video if Apatow had not had such a hot hand."

Today's Film News: More Ultra-Clutch Please!

By Katey Rich

Remakes are hot, but sequels of remakes of movies that were turned into Broadway musicals first? Now that's where the real money is. New Line has gathered together the director/choreographer, producers and lyricists from last summer's hit Hairspray, as well as the director of the original film, John Waters, and talked them all into doing a sequel. Variety said none of the actors signed contracts for a sequel, but they're hoping to bring the whole cast back onboard in time for a summer 2010 release. You can't stop the beat, indeed.

Journalist-turned-screenwriter Evan Wright knows a thing or two about the Iraq War, so it's time to see how he can translate that knowledge to something a wee bit different-- the Florida drug trade in the 1980s. Mark Wahlberg has signed on to play Jon Roberts, who rose to be a drug kingpin in Miami and eventually served 10 years in prison. The Hollywood Reporter also notes that Peter Berg is set to direct.

Back in the 1930s, it was possible for a movie called Captain Blood to get nominated for a Best Picture. And while Philip Noyce's planned remake of the swashbuckling epic, announced by the Reporter today, may not aim for the gold statue, it might be a fun take on the high seas that involves no pirates wearing eyeliner. Errol Flynn starred in the original, so Noyce had better get to work immediately with the difficult job of filling those shoes.

And finally, Tyler Perry shows no sign of stopping his string of box-office hits; he's signed a three-year, first-look deal with Lionsgate, and the studio intends to distribute at least three more of his films following the two planned for this fall and winter, The Family That Preys and Madea Goes to Jail. Variety says that Lionsgate will also handle Perry's DVD releases.

Replacing Ebert & Roeper Won't Win New Audiences

By Katey Rich

When something like thyroid cancer and even the death of his co-host didn't keep Roger Ebert away from the TV show he founded, it seemed nothing could separate Ebert and "At the Movies." But now Disney's television unit has decided to take the show "in a new direction," and Ebert, along with his current sideman Richard Roper, will be leaving the show. Presumably they'll be taking their thumbs with them, which are almost certainly pointing down.

Ebert, who hasn't been in the show in some time due to his illness, only quit after Roeper's contract was not renewed, and it appears that there's some bad blood involved. And now that the replacement hosts, Ben Lyons and Ben Mankiewicz, have been chosen, it seems clear that the new direction is "about 30 years younger." Roger Ebert may be beloved almost universally, but he certainly isn't hip with the kids.

But will Disney's move, equivalent to treason in some circles, actually pay off? Does anyone actually turn on their television for their movie information these days? I know we're in an era when CNN covers Brad and Angelina, but I'm not sure that same prurient interest translates to discussion of actual movies. For kids these days who are into movies, they can head to IMDB and spout off about whatever they like, or, without too much effort, get their own movie blog. (See! Look how easy it is!) On the Internet, as they say, no one knows you're not a movie critic.

It seems maybe a better plan would have been to take Ebert & Roeper online, which they already were to some extent, and reach out to the connected Internet users who know and trust Ebert's opinions. Mankiewicz and Lyons already have their own followings in their work so far, but I imagine it'll take a while to build up the same kind of reputation Ebert has had for years. Movie criticism is struggling in some ways to stay relevant given the rise of "everyone's a critic" online culture, but this seems like one particularly hysterical example of throwing out the baby with the bathwater.