Box Office: Gravity Keeps Hold of Top Spot

It's Amir here, bringing you the weekend's box office report. The Film Experience is taking the revolutionary step of publishing box office headlines that feature no pun this week because Michael C. asked me to. It's a welcome move after last week's cheap shot but hey, we'll be back to normal business next time. Let's look at what the cinema gods have granted us this weekend.

It's October and you guessed it, there's a mediocre remake of a horror classic playing at a theatre near you. Having not seen Carrie, I technically have no right to judgement in public, but sometimes you just have to let your trusted critics speak for you and this film follows in the footsteps of many a mediocre horror remake. The third place debut - though at a not entirely awful $17m - means most of you haven't seen it either, but if it is better than reviews and numbers suggest, let me know in the comments and I'll make the trip.

BOX OFFICE
01 GRAVITY $31 (cum. $170.5) Cinematography Oscar & Sandy B??? & Review
02 CAPTAIN PHILLIPS $17.3 (cum. $53.3) Podcast & Tom Hanks For All Ages
03 CARRIE $17 *new* 
04 CLOUDY WITH CHANCE OF MEATBALLS $10.1 (cum. $93.1)
05 ESCAPE PLAN $9.8 *new*
06 PRISONERS $2 (cum. $57.2) Podcast & Review
07 ENOUGH SAID $1.8 (cum. $10.7) Podcast
08 THE FIFTH ESTATE $1.7 *new*
09 RUNNER RUNNER $1.6 (cum. $17.5)
10 INSIDIOUS CHAPTER 2 $1.5 (cum. $80.9)

Gravity is now the 10th biggest grosser of 2013

The real story here is that Gravity and Captain Phillips held on to the top two spots with very respectable small drops. Word of mouth is strong for both films so they will remain hovering around the top again next week. The real questions at this point are whether it is entirely impossible for Gravity to beat competition from The Counselor and Bad Grandpa to stay at number one, and whether Captain Phillips can cruise to above $100m - I'm sorry; just couldn't help it.

The weekend had two other wide releases: Escape Plan, which banked on aged muscle men with immense amounts of plastic surgery to appeal to younger men and understandably failed; and The Fifth Estate, which banked on the public's interest in a topic that remains too fresh and too painful to be dramatized, no matter how uncanny the resemblance of its star to the whistle blower in question; this one had an even rougher ride.

Those of you lucky enough to live near one of the 19 theaters playing the film had the chance to see Steve McQueen's superb new film, 12 Years a Slave, and judging by the per screen average ($50.5k), quite a lot of people took advantage of that opportunity before the film goes wide next week. In even more limited release, Robert Redford's All Is Lost and Daniel Radcliffe's Kill Your Darlings both opened to satisfactory per screen averages, though neither managed to sneak into the top twenty.

Anyway, enough about America now, and a bit about me. I caught up with the environment-themed documentary Watermark (GORGEOUS, well-intentioned and a bit dull), Iranian classic Kandahar (schematic, well-intentioned and a bit dull) and Captain Phillips (intense, Hanks on fire). Now enough about me and a bit about you: what did you watch this weekend?

Remember When... We Didn't Know Who Would Star in "Gravity"?

I've been spending a great deal of time thinking about Sandra Bullock in Gravity lately. It's only natural when an actress is headlining an unqualified blockbuster that I'd do that but some of the time spent making like a contemplative Rodin-statue is my disconnect with the performance. I didn't love it or dislike it. I fall right in the middle. She's up to the task but no more or less.... to me. It doesn't remotely feel like an actor's movie to me -- though in all honesty I actually expected it to be given its one character focus. As a result I've been rather at a loss for explaining all the performance raves that have flown 'round ever since. And I've been stubbornly reluctant to concede that she was an Oscar lock. [Updated Best Actress chart]

My disconnect was aggravated by the fact that on the day it premiered and the explosion of "give her a second Oscar!" tweeting began... I had such a hard time imagining Cate Blanchett's hurricane force work in Blue Jasmine as a runner-up in this "versus!" contest in terms of quality. What's more Sandra's star turn wasn't even among the five best performances I had seen that month... let alone the whole of the year. While everyone was enjoying Sandra's survivalism on opening weekend I was still: reeling from Luminita Gheorghiu's savage mom in Child's Pose which would be a film-carrying nomination threat if it were in English along the lines of a Anjelica Huston in The Grifters (...and if it were being released in time); marvelling at Marion Cotillard's technique in The Immigrant which would be a threat if Oscar had shown any interest in Marion post-Oscar win (...and if it were being released in time); and falling head over heels in love with Paulina Garcia in Chile's Oscar entry Gloria, a performance so good that it'd be a threat to win the statue if it were in English, and if Oscar loved leading ladies over 50 (they don't)... and, say it with me now... if it were being released in time. That's too many "if"s, I know. 

So I asked on Twitter, Guy Lodge thought too aggressively!, what people saw in Sandy's performance that I was missing. Why were they so enthused? (And I probably should have asked the lot of you as well!)

The most common answers I received were for 'selling the illusion' and for her 'game physicality'... both of which are valid points, I concede. But I find that the performance is lacking in vocal nuance and in the eyes (beyond terror). I just didn't feel like it transcended the simplistic characterization in the screenplay in any way and when you're talking FIVE BEST OF THE YEAR you'd better transcend! Otherwise just enjoy solid respectable "we love you, you superstar" reviews and leave it at that. Joe Reid was teasing me earlier today with the internet's binary thinking that this makes me a Sandra hater and no one should ever believe that i've ever enjoyed her in anything. But I have! I've just never though she was a "great" actor, only -- and this is not an insult -- a super likeable and talented one. She's the kind of star for whom global popularity and bottomless coffers of gold coin feel like just rewards. 

This is all a long way of saying that I'm happy for Sandra's success since she seems like such a good person and she's so likeable, but that I still don't get why she's now an "Oscar Actress" as opposed to a Beloved Movie Star. Sometimes those things should go totally hand in hand of course, don't misunderstand. But in this case...?

Why am I bringing this up now, three weeks after Gravity has conquered the world and has the loudest Oscar fanbase this year?

Well, while looking for something else entirely in the Vaults of The Film Experience I came across this old post about the casting of Gravity after Angelina Jolie passed in 2010 and this strange "what if" visual detail...

actual reported studio interest when they were trying to find Gravity's female lead in 2010

IT'S SUCH A TIME CAPSULE.

These women were all actually mentioned in the trades as viable Angelina Jolie replacements!  It's hard to imagine Gravity with most of these girls (if not quite all of them) in the role. Funny, right, that the studio were so invested in the futures of Blake Lively, Abbie Cornish, and Sienna Miller... or that they thought Scarlett or Natalie were old enough to play a scientist with expertise that the space program needed, or that they allowed for the possibility that Naomi Watts or Marion Cotillard might be bankable enough?

Now that Gravity has settled in as our possible nomination leader, how are you feeling about it? And Sandra's place in the Best Actress race? Whether you think I'm crazy or only half-agree, do chime in. 

Shutdown Movie-Thon (Week Two!)

The Government Shutdown is Over! But our previously furloughed friend Lynn Lee (once reader spotlighted) was kind enough to complete her movie binge diary for us. - Nathaniel

"Filmgoing Adventures of a Furloughed Federal Employee"

Previously on Part 1: Gravity (in 2D), Rush, and Mr Smith fantasies

DAY 8: Museum Hours is the film that’s been eluding me for the past month, and the only place it’s still playing at locally is the Avalon, on the border between D.C. and Maryland.  The Avalon is one of those old-school theaters with a balcony in the main theater but creaky, decidedly non-stadium seats, and a more cramped secondary theater that can only be reached by a set of steep, narrow stairs.  Still, the place has a certain rickety charm, and offers my last chance of catching this movie before it leaves theaters altogether.  So there I go, feeling more than ever like I’m playing hooky because this time I’m solo.  It’s just me, one older woman, and two senior, clearly retired couples who I’m pained to watch ascending those awful stairs with difficulty.

I can’t speak for them, but for me the film turns out to be well worth the trip.  Ostensibly about two strangers who meet and forge a platonic connection at an art museum in Vienna, at its heart it’s about the connection between art and life, and the human instinct to capture the fleeting beauty of ordinary people going about their lives—whether as an observer, an artist, or both.  It makes me suddenly aware of how little we see of random passers-by just doing their thing in most movies; whenever our attention is drawn to a person, it’s for a very specific, plot-driven purpose.  Museum Hours lacks that narrative compulsion, and while it may feel aimless to some, to me it feels like a revelation.  I walk down the arthritis-baiting stairs in a strangely exalted state of mind. 

DAY 9: Lazy day after a late night out.  Ponder on Museum Hours and decide it’s on the short list for favorite film of the year so far.  Also ponder whether to see Gravity again in 3D.

DAY 10: Another day, another schlep to Maryland—this time Bethesda, to see Short Term 12, about a temporary group home for troubled kids and the barely-older adults who work there.  It’s a dreary rainy day, Bethesda is far, and I’m tempted to wait for the DVD.  But I resist the urge, and once again, the film rewards my journey.  It isn’t perfect; some of the character arcs feel a little overdetermined, and the conclusion just a little too neat.  Yet emotionally, it feels completely organic, thanks in large part to the terrific acting, and it may be the only movie I’ve seen all year that actually deserves to be called “heartwarming.”  My fellow audience members—another smattering of older couples—seem to agree, even the man who kept asking his wife in what he probably thought was a whisper what the characters were saying.

DAY 11: Lunch with four fellow furloughed work friends—aka Ladies Who (Normally Don’t) Lunch—at which Congress gets thoroughly skewered, followed by a matinee show of Enough Said, the Nicole Holofcener rom-com in which a fortysomething divorced woman (Julia Louis-Dreyfus) strikes up a relationship with a nice, age-appropriate divorced man (the late James Gandolfini) only to discover that he’s the ex-husband of her new client and BFF (Catherine Keener). 

The film’s less screwball comedy and more a ruefully funny, surprisingly poignant look at the difficulties of moving on to a new stage of life.  I find myself tearing up towards the end, and am glad to find my friends similarly afflicted.

DAY 12: The AMC theater two blocks from my place was recently refitted with cushy reclining seats - perfect for watching a movie as tense as Captain Phillips, Paul Greengrass's white-knuckle take on the true story of the hijacking of the Maersk Alabama by four Somali pirates in 2009. Tom Hanks is his usual capable Everyman self as the captain, though he's nearly upstaged by the actors playing the hijackers. Turns out all of them are friends and first-time actors from a Somali community in Minneapolis, but they fully inhabit the fierce, desperate lives of the pirates; Barkaad Abdi is the standout as their diminutive but strong-willed leader. Last third of the movie could have been shortened up a bit, but the prolonged waiting does underscore the agony for everyone involved.

DAY 14: I finally see Gravity in 3D IMAX. Verdict: you should see it that way if you can; but if you can't or have already seen it in 2D, don't worry, it's the same essential movie. It's not so much the big, scary action set pieces that benefit from the 3D as little touches like Sandra Bullock's tears, instead of falling down, rolling up into a bubble and floating towards you. I still find the last scene with her and Clooney kind of clunky; but the one right before that, when she's about to give up, is one of the best scenes I've seen in any movie all year. It loses no punch the second time around, even knowing what follows.  

BACK TO WORK: Gravity turns out to be the last film I see in theaters before Congress finally does what it should have done two weeks ago and passes an appropriations bill that reopens the federal government. I can't say I'm sorry to go back to work, but I also can't help thinking a little wistfully of how much I enjoyed all those afternoons at the movies. Of course, given that the current bill only funds the government through mid-January and the ongoing dysfunctionality of Congress, I may well be back in the movie theaters a few months from now, getting a head start on all the Oscar contenders. Here's hoping it doesn't come to that - but I know what to do if it does! 

Shutdown Movie-Thon (Week One!)

Reader Takeover Day! The Reader Spotlight is coming back soon but as a special triple treat a few posts over the next 24 hours written by you, the reader. (Well, not you literally). Here is Lynn Lee -- previously reader spotlighted so you'll want to check that out -- who is currently on a tv/movie binge while on furlough.- Nathaniel

 Lynn here, taking Nathaniel up on his kind invitation to recount the...

"Filmgoing Adventures of a Furloughed Federal Employee"

There's no question the ongoing federal government shutdown is a disaster for this country, and it's affected federal workers more directly than most. A good chunk of us, including yours truly, have been indefinitely furloughed. Those who think this just means extra vacation time clearly don't understand that (1) most of us *want* to be at work, but it's against the law for us to work and (2) we currently aren't getting paid! There's not much we can do, though, other than find ways to pass the time.

For those of us more fortunate furloughed feds who aren't dealing with more pressing concerns, the main question each morning has been "What do I do today?"

In my case, the default answer is a no-brainer: go to the movies!  These past couple of weeks I’ve trekked to movie theaters of all sizes and stripes all over the D.C. area, and seen some of the best films I’ve seen all year—at least two of which I’d have missed otherwise.  So for me there’s definitely been a bright side to my forced idleness.

DAY 1: The only day of the shutdown I was “excepted,” i.e., required to work, so no movies for me today.  Unless you count the imaginary reenactment of Mr. Smith Goes to Washington, with me in the Jimmy Stewart role, playing in my mind.  Not that an epic filibuster would do anyone any good in the current situation.

DAY 2: My first furlough day!  What better way to spend it than to watch Thor race cars against Frederik Zoller?  I head out to my favorite movie theater in northern Virginia to see Rush, Ron Howard’s flick about the 1970s rivalry between two Formula One drivers, British daredevil James Hunt and hyper-focused Austrian Niki Lauda.  Solid entertainment, and Chris Hemsworth and Daniel Brühl are good foils, even if the script overplays the contrast between Hunt’s impulsive, hedonistic recklessness and Lauda’s relentlessly austere, Germanic precision.  Best line of the movie, from Lauda:

Happiness is the enemy.” 

Oh those Austrians. 

DAYS 3-4: No movies, but a discussion with my boyfriend about whether to see Gravity in 2D or 3D.  Although I normally hate 3D, this seems to be one of the few movies that really should be seen that way.  But boyfriend hates putting on those clunky 3D glasses over his glasses, so I do not insist – especially since I’m skeptical that any movie “needs” to be seen in 3D.  This decision will come back to haunt me in the days to come…

DAY 5: …though not on the day we actually see Gravity, which is still beautiful and harrowing and impressive in 2D.  Not quite transcendent; I find the score a bit overbearing, and can’t help wondering if George Clooney would be so cool and humorous under pressure in real life.  Probably not under that kind of pressure, I decide; Sandra Bullock, on the other hand, reacted more like I’d expect Sandra Bullock would.  Also decide that I would never under any circumstances want to be an astronaut.  But I already knew that since childhood, when everyone but me wanted to go to Space Camp.    

DAYS 6-7: No movies in theaters, though I discover that everyone in the world has apparently seen Gravity, too – and seen it in 3D.  And people are raving about how “immersive” it was!  I begin to worry that I’ve made a terrible mistake.  

TO BE CONTINUED...

Box Office: Gravity Hurtles At Full Speed

It's Amir here, bringing you the weekend box office report.

one more worry for the good Captain

The biggest news this week is Gravity's ridiculously small drop in sales. Anyone who has seen the film would tell you to watch it in 3D to truly experience it, and it's no surprise that with aid of those hiked up prices, Alfonso Cuaron's visual masterpiece topped the charts again by a wide margin. That's one extra problem Captain Richard Phillips didn't need to deal with, but as it turns out, Astronaut Sandra Bullock is even mightier than Muse. Although Captain Phillips's 26m opening is impressive enough, one can't help but imagine what it would have done without a direct competitor eating into its demographic.

Click for more cool Gravity postersWeekend's Top Ten
Gravity $44.2m
Captain Phillips $26m
Cloudy With a Chance of Meatballs 2 $14.2m
Machete Kills $3.8m
Runner Runner $3.7m
Prisoners $3.6m
Insidious Chapter 2 $2.6m
Rush $2.3m
Don Jon $2.3m
Baggage Claim $2m

The weekend's other wide release was Machete Kills, opening to an embarrassing 3m, proving to you, dear reader, that you're not the only one who didn't even know this film exists. This flop is all the more curious because the franchise - oh god, it's a franchise now! - added proven box office draw Lady Gaga and current audience magnet Mel Gibson to its cast. Further down the top ten list, Runner Runner continues to fizzle out with 3m, proving to you, dear reader, that Justin Timberlake will never ever be a move star - though the film's international sales have already recouped its budget.

In limited release, Romeo and Juliet opened to less than a million dollars on nearly 500 screens. Perhaps the Oscar nominated Hailee Steinfeld is not ready to be a romantic lead yet, but the more likely reason behind the film's failure is that the world absolutely doesn't need another adaptation of Romeo and Juliet. Other notable limited releases this weekend were the quirky horror film Escape From Tomorrow, which was secretly filmed in Disneyland, God Loves Uganda - I reviewed it at Hot Docs; see it! - and James Franco's As I Lay Dying. None of them did particularly strong business but at least two of them are worth your time. Finally, Saudi Arabia's first ever Oscar submission, Wadjda, is playing on 47 screens and if you haven't seen it yet, you must correct that immediately. It's bloody marvelous.

What did you see this weekend? Share your thoughts on the weekend's offering with us!