What Did You See This Weekend: Wolvie or Jasmine?

Amir here, bringing you this weekend’s box office report. Hit by superhero fatigue (more specifically ‘X-Men fatigue’ or even more specifically ‘Hugh Jackman as Wolverine’ fatigue) and feeling generally uninterested in most of the weekend’s leftover offerings, I spent the past couple of days at home catching up with some classics. The rest of North America felt differently, rushing to see Jackman’s sixth outing as the adamantium-clawed hero to help it to a total gross of 55 million dollars. Box office analysts suggest this number is well below the expectations but considering that with the international gross, The Wolverine has already surpassed its entire production budget in three days, it is well beyond the limits of my understanding how that is not considered a success.

BOX OFFICE

01 THE WOLVERINE $55 *NEW* 
02 THE CONJURING $22.1 (cum. $83.8)
03 DESPICABLE ME 2 $16 (cum. $306.4) 
04 TURBO $13.3 (cum. $55.7)
05 GROWN UPS 2 $11.5 ($101.6)
06 RED 2 $9.4 (cum. $35)
07 PACIFIC RIM $7.5 (cum. $84) 
08 THE HEAT $6.8 (cum. $141.2) Review
09 R.I.P.D. $5.8 (cum. $24.3)
10 FRUITVALE STATION $4.6 (cum. $6.3) Review
11 THE WAY WAY BACK $3.3 (cum. $8.9)
12 WORLD WAR Z $2.7 (cum. $192.6) Review

The weekend’s other wide release is the virginity comedy called The To-Do List. Not helped by the generally negative critical response, Aubrey Plaza and co. sold less than two million dollars worth of tickets and debuted outside the top ten, surely a failure by all measures. On the other hand, The Conjuring continued its strong run and proved once again that horror films are the most consistently profitable genre in today’s cinema. Meanwhile, Fruitvale Station added more than 1000 screens and The Way, Way Back nearly 600, and they were both rewarded with strong returns, allowing them to finish at 10th and 11th respectively.

The real story of the weekend, however, was in the tiny release of Blue Jasmine. Those of us not lucky enough to live in NY and LA will have to wait at least a week to see it, but Woody Allen’s latest opened to an astonishing 102k/screen average on six screens, surpassing the screen average of the widely successful Midnight in Paris. It’s probably a bit much to expect a similar final tally for Jasmine, but the signs are all good so far.

What did you see this weekend? (If you are as uninspired by the top ten as I am, may I suggest the acclaimed documentary The Act of Killing or Computer Chess? See them if they’re open near you!)

Updated Oscar Predix: Saving Blue Jasmine Station

It was time to check back in with our popular charts, clean off the dust and rearrange the furniture. But, that said, the Oscar year has been off to a slow start since the blockbusters have had little in the way of Oscar contending elements (beyond visual effects) and the best films so far have been tiny (Frances Ha, Before Midnight, Mud) and Oscar is a size queen.

PICTURE & DIRECTOR
Before you say anything, no, I do not think Fruitvale Station will win Best Picture. I've placed it at #1 on the charts this week merely because it's the only film I'm certain will be nominated at this point. When you start getting grabby media headlines like  "Can a movie heal the nation?" people are already making your case for you. And, as rankings go, one should always remember that the charts are about nominations (until the actual nominations take place 178 days from now) rather than wins. I'm not one of those pundits that cares about who will win before we even have a nominee list; the nomination competition is the best part! I'd love to believe that Before Midnight had also already sealed up a nomination but I've never been convinced that AMPAS is really watching that intimate talky ephemeral once-a-decade brilliance. If they were they're crazy for not nominating the second film for Best Picture & Best Actress in 2004 (Million Dollar Baby's got nothing on Before Sunset in either category).

In other chart-shifting I've boosted Saving Mr Banks way way up (I know people were down on the trailer but Oscar predictions are about Academy taste rather than internet taste) and lost a bit of faith in Foxcatcher, though only really because its release plan is either nonexistent or very shy. [more]

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'Yes, No, Maybe So' Blow-Out Special

Trailers everywhere! At the movies and at home this weekend I saw a whole slew of trailers and realized I hadn't written about any of them. So let's catch up with super quick trifurcated thoughts on five forthcoming features (The Grandmaster, Blue Jasmine, Out of the Furnace, Oldboy, and Runner Runner) via their current trailers.

Are you aching to see any of these movies, eager to avoid them, or withholding judgment until you see reviews? Don't be shy, lurkers. Speak your three-part thoughts in the comments.

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After Link: Blue Jasmine, Red Wedding, Emerald City

Stranger Than Most encourages you to see these 20 underseen masterpieces. Lot of great films mentioned though I shall limit my "seconded!" shouting to Summer Hours, Three Women and [safe] today
Guardian Joss Whedon "I kept telling my mom that reading comic books would pay off"
Gawker volcanic imagery aside, After Earth is not scientology propaganda, just a crap movie
Hollywood & Swine after After Earth's rough opening weekend, Sony cancels "take your kid to work day" LOL
The Atlantic when did men -- other than George Clooney of course -- lose their charm?
Cinema Blend pages from Heath Ledger's Joker diary. CB claims this is from a German tv series but the narration is in French so I'm not sure what's going on

WSJ Speakeasy Interesting... turns out Woody Allen's Blue Jasmine is a riff on the Bernie Madoff scandal and Speakeasy claims that Alec Baldwin's performance will be talked about. (Perhaps I should change that supporting actor chart?)
Salon The internet is losing its collective mind over Game of Thrones. As I said on twitter, I am more and more convinced that fans are victims and George R R Martin and the HBO series are their abusive lover. FWIW I quit reading the books after the Red Wedding. It's just not for me. Don't need the gore and the abuse!
Playbill sings the praises of Broadway breakthrough Annaleigh Ashford from Kinky Boots. Is she the next Goldie Hawn? 
Cinema Blend The Wizard of Oz (1939) is converting to 3D and IMAX for its 75th anniversary next week.
/Film ruh roh. The screenwriter of Green Lantern is signing on to the Blade Runner sequel. It was already a bad enough idea, lightning rarely striking twice.

Watch & Listens
YouTube Patrick Stewart speaks out on domestic violence and mental health awareness - lovely
KCRW - The Business interviews (literally) naked Mitchell Hurwitz on the challenges of continuing the Bluth story for a 4th season of Arrested Development

And did you see this fun video tribute above to Cyndi Lauper whose show Kinky Boots (just discussed) has a ton of Tony nominations? Various morning shows and current Broadway casts contributed for the 30th Anniversary of her classic hit "Girls Just Wanna Have Fun"

Random Thoughts on Upcoming "Best Supporting Actress" Race

Being a month late to my usual "April Fool's" predictions has caused me a lot of behind-the-scenes strife. Trying to stare into the open future through a crystal ball when things are actually happening in the present overseas (i.e. Cannes) is incredibly ineffective. Next year I must be more prompt and buy a plane ticket. I have made a few adjustments on the charts mostly in regards to more research on American Hustle and Saving Mr Banks but also in regards to Cannes hits like All is Lost and Philomena (I know, I know -- it didn't show but it still had a great week!).

Carey sings in "Inside Lleywn Davis". The last time she sang onscreen ("Shame") critics fell madly in love but mysteriously zero awards traction happened. 

Cannes buzz
A note of caution to everyone taking each word out of Cannes like its holy scrit. Cannes can be like a magician's misdirect in regards to the Oscar race because for every Jean Dujardin and The Artist there are ten films and performances that get people hot and bothered there under those very special circumstances that don't go anywhere in the real world or, for our purposes, don't excite the mainstream sensibility of Oscar. And quite a few films each decade see their critical fates changed once they leave the festival circuit with its foolishly instant pronouncements of grandeurs and foibles. Take it all with a grain of salt or at least a whiff of the ocean-scented air. Especially if a new Coen Bros' film takes the Palme D'Or. Cannes always loves them so it's like Michael Haneke or the Dardenne Brothers taking a prize. What else did you expect?

But on to this afternoon's topic... 

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