| |||||
 |  | ||||
 | Weekend Gross: | $44,979,319 | |||
| Gross To Date: | $44,979,319 | |||
| Last Week's Rank: | New | ||||
| Weeks In Release: | 1 | ||||
| Number of Theaters: | 3,269 | ||||
| Theatre Avg: | $13,759 | ||||
| Percent Change: | New | ||||
| Your Reviews:[Rate It] |  | ||||
| . | |||||
 | Weekend Gross: | $44,138,266 | |||
| Gross To Date: | $137,210,701 | |||
| Last Week's Rank: | 1 | ||||
| Weeks In Release: | 2 | ||||
| Number of Theaters: | 3,818 | ||||
| Theatre Avg: | $11,560 | ||||
| Percent Change: | 366132% | ||||
| Your Reviews:[Rate It] | | ||||
| . | |||||
 | Weekend Gross: | $18,837,350 | |||
| Gross To Date: | $18,837,350 | |||
| Last Week's Rank: | New | ||||
| Weeks In Release: | 1 | ||||
| Number of Theaters: | 3,521 | ||||
| Theatre Avg: | $5,350 | ||||
| Percent Change: | New | ||||
| Your Reviews:[Rate It] | No Votes | ||||
| . | |||||
 | Weekend Gross: | $14,634,988 | |||
| Gross To Date: | $127,326,188 | |||
| Last Week's Rank: | 2 | ||||
| Weeks In Release: | 3 | ||||
| Number of Theaters: | 3,807 | ||||
| Theatre Avg: | $3,844 | ||||
| Percent Change: | -40% | ||||
| Your Reviews:[Rate It] |  | ||||
| . | |||||
 | Weekend Gross: | $8,310,480 | |||
| Gross To Date: | $222,712,175 | |||
| Last Week's Rank: | 5 | ||||
| Weeks In Release: | 5 | ||||
| Number of Theaters: | 3,202 | ||||
| Theatre Avg: | $2,595 | ||||
| Percent Change: | -34% | ||||
| Your Reviews:[Rate It] |  | ||||
| . | |||||
 | Weekend Gross: | $8,248,387 | |||
| Gross To Date: | $105,568,008 | |||
| Last Week's Rank: | 3 | ||||
| Weeks In Release: | 3 | ||||
| Number of Theaters: | 3,304 | ||||
| Theatre Avg: | $2,496 | ||||
| Percent Change: | -50% | ||||
| Your Reviews:[Rate It] |  | ||||
| . | |||||
 | Weekend Gross: | $7,040,550 | |||
| Gross To Date: | $28,233,230 | |||
| Last Week's Rank: | 4 | ||||
| Weeks In Release: | 2 | ||||
| Number of Theaters: | 2,510 | ||||
| Theatre Avg: | $2,805 | ||||
| Percent Change: | -56% | ||||
| Your Reviews:[Rate It] | No Votes | ||||
| . | |||||
 | Weekend Gross: | $6,550,282 | |||
| Gross To Date: | $116,174,931 | |||
| Last Week's Rank: | 6 | ||||
| Weeks In Release: | 4 | ||||
| Number of Theaters: | 2,925 | ||||
| Theatre Avg: | $2,239 | ||||
| Percent Change: | -42% | ||||
| Your Reviews:[Rate It] |  | ||||
| . | |||||
 | Weekend Gross: | $3,223,161 | |||
| Gross To Date: | $3,223,161 | |||
| Last Week's Rank: | New | ||||
| Weeks In Release: | 1 | ||||
| Number of Theaters: | 1,164 | ||||
| Theatre Avg: | $2,769 | ||||
| Percent Change: | New | ||||
| Your Reviews:[Rate It] | No Votes | ||||
| . | |||||
 | Weekend Gross: | $1,958,725 | |||
| Gross To Date: | $22,625,733 | |||
| Last Week's Rank: | 7 | ||||
| Weeks In Release: | 3 | ||||
| Number of Theaters: | 1,707 | ||||
| Theatre Avg: | $1,147 | ||||
| Percent Change: | -59% | ||||
| Your Reviews:[Rate It] |  | ||||
| . | |||||
Wednesday, June 10, 2009
Weekend Box Office Top Ten for June 5-7,2009
TOP 100 AMERICAN FILMS
 | TOP 100 U.S. FILMS Unadjusted and Adjusted (through to mid-May, 2009) |
(Unadjusted)
|
Star Wars: Episode IV - A New Hope (1977)Tuesday, June 9, 2009
wanted
Wanted (James McAvoy, Angelina Jolie, Morgan Freeman)
MOVIE STORY
First things first, tattoed Angelina is sexy as ever! The movie begins with the cubicle life of Wesley Gibson (James McAvoy) who googles his name everyday to find out where his life is moving. Ofcourse, the search result was “No standard web pages containing all your search terms were found”
He is confused, like all of us and his life was taken f
or a ride by his boss, his girlfriend and his best friend. This is when he meets Fox (Angelina Jolie..hmmmm!) who changes his life completely. She is sent from the “Fraternity” to protect Wesley from the murdered who killed his father. Fraternity (group of assasins) is lead by Sloan (Morgan Freeman) who is in his coolest best as always. The F
raternity forces Wesley to take a series a tranining sessions. One interesting stuff was to bend a bullet – the movie should have been named “Bend it like Wesley!”
You could also get to see hollywoodish style Rajnikant movies, the 2 bullets killing each other & bullets travelling in a circular motion! all in all a flick you can sit back, relax and watch. Leave your brains and mind back home! The movie ends with a thought provoking dialogue (atleast for me) – “What the fuck have you been doing lately?”
P.S Guys – There is a 5 millisec tattoed back Angelina! Enjoyable butt just 5 millisecs!
I have been watching movies like a mad man over the last weekend and continue to do so. It’s been some fye food, cool movies and the much needed relaxation all past week. Close friends know that I am a crazy movie buff and for me movies need not leave a long lasting impression. If the movie manages to entertain me for that 133 mins, I would be a happiest person on the face of this earth! Read on – no spoilers!
Night Watch director Timur Bekmambetov helms his first English-language feature film with this big-screen adaptation of Mark Millar's action-packed graphic novel. Wesley Gibson (James McAvoy) is a cube-dwelling hypochondriac whose uneventful life has become a mundane blur of terminal boredom. Repeatedly humiliated by his boss and constantly cuckolded by his cheating girlfriend, weakling Wes seems to be living right down to everyone's expectations that he would never amount to anything in life. However, upon discovering that the father he never knew has been brutally murdered, the spineless, clock-punching pushover is recruited into a secret society of assassins known as the Fraternity. During the course of his training, the man who was once an office-bound wimp develops lightning-fast reflexes and superhuman dexterity courtesy of his skilled mentor Fox (Angelina Jolie). Upon completing his training, Wes is assigned the task of dealing out death to the mythological Fates, who possess the ability to alter the lifelines of mortal men. It isn't long before the nebbish nerd-turned-agile assassin is erasing the bad guys with surprising efficiency, yet as Wes begins to carry the mantle passed down to him by his father, he gradually begins to suspect that his wise tutors are not the crime-fighting enforcers they present themselves to be. Now, with everything he ever wanted in life finally within his grasp, Wes is about to find out that the only thing more difficult than ending the lives of others is summoning the courage to take control of his own. Jason Buchanan, All Movie Guide
Thursday, June 4, 2009
KNOWING
A wise man once said, "Don't go looking for disaster, it will find you soon enough." Apparently Nicolas Cage's astrophysicist, John Koestler, missed class that day because as soon as he discovers where and when upcoming disaste
rs will occur, he drops son Caleb off at his sister's place, furrows his brow and heads straight into the maelstrom.
But then, every disaster movie needs an unlikely hero and Knowing, a moody and sometimes ideologically provocative film, has just the hero it needs in the MIT professor who subscribes to the notion that everything
that happens i
n life is nothing more than a series of random events. Who better to face down a New Age-style Armageddon steeped in spirituality, numerology, alien visitors and end-of-days philosophy than a skeptic?
We start back in 1958, with the burial of a time capsule filled with letters from elementary school children, including one from a troubled young girl who feverishly fills both sides of her paper with a string of seemingly random numbers. Fifty years later, Caleb, played with soulful introspection by Chandler Canterbury, goes to that very same school and when the capsule is opened, he
's the kid who gets her letter. Coincidence? I think not.
There are forces and issues large and small at work here, with John struggling as much with the realities of single parenting as the dark clouds that are gathering, both literally and metaphorically, around him. He's a widower and we see his grief everywhere, in the sadness as he tries to care for Caleb and the bottle of booze he sloshes through each night. Where most of us would just curse that late-night whiskey spill on the letter from long ago, John instead begins to decipher its message. You'd think the secret of the numbers would be hard to unlock, but once John sees the sequence 09112001, despite his inebriated state, he quickly figures out that the numbers correlate with disasters -- natural and otherwise -- both past and future. And with that, the death match between professor and universe begins as John tries to change a course that seems, if the numbers are to be believed, predetermined.
Director Alex Proyas (The Crow, Dark City I, Robot) has long been drawn to otherness. He's definitely mucking around in that and more here, with Knowing his most overtly allegorical film yet.
Questions of what do you believe in -- God, other universes, other life forms -- crowd up against the men who appear in the swirling evening mists outside of John's house looking like silent Goths in trench coats. We get the religious debate via hints about the long broken relationship between John and his father, a preacher of the fire-and-brimstone sort. The are-there-other-life-forms thread is woven in courtesy of Caleb's hearing aid. He wears one not because he is deaf, but because sounds sometimes get scrambled (huh?), but it lets him communicate with the scary Goths, so let's not lose it. On the creation front, the film definitely pits the big-bang theory against the big-hand theory, though whether it is God behind the wheel is left up for debate.
Knowing has its grim moments -- and by that I mean the sort of cringe- (or laugh-) inducing lines of dialogue that have haunted disaster films through the ages. The ripped-from-the-headlines calamities are shot in a hyper-realized cinéma vérité style that puts you ground-level with the crash and burn. So visually arresting are the images that watching a deconstructing airliner or subway train becomes more mesmerizing than horrifying.
Against the backdrop of a world coming apart at the seams, Proyas takes time to tease out a tender father-son relationship between Cage and Canterbury. It's nice to see Cage pushed to create a more nuanced character, despite moments when his anguish becomes comically overwrought, drawing laughs where you would never want them. That same condition taunts Rose Byrne's Diana, whose mother wrote the mystery letter and whose daughter, like Caleb, finds those otherworldly men comforting.
Hollywood filmmakers have long grappled with the inherent conflict between belief systems and science, as Jodie Foster's scientist-atheist did in 1997's Contact. Those themes are certainly echoed again, and left equally unresolved, here. Whatever else Proyas has done in Knowing, he has created an ending that is sure to divide audiences into camps of love it or hate it, deeming its message either hopeful or hopelessly heavy-handed. For me, it doesn't quite work; still I'm glad he took the risk.
Tuesday, June 2, 2009
Monsters vs. Aliens
Monsters vs. Aliens
Ginormica is a great name for a woman, regardless of her size. As it happens, the California girl so designated in the ginormically showy but super-average 3-D animated entertainment Monsters vs. Aliens grows into her moniker the old-fashioned sci-fi way: Born plain old Susan Murphy (and voiced by Reese Witherspoon), she's hit on her wedding day with outer-space crud from a falling meteor, causing her to expand to 49 feet 11 inches tall. And although at first she's understandably flummoxed by the transformation, and really steamed when military types lock her up at a top secret government compound with a hidden society of other mutated freaks, the no-longer-plain-old Susan is actually in luck. For one thing, she's now got the figure to carry the skinny-leg-jeans look. For another, the sudden growth spurt saves her from an ?ill-advised marriage to a self-involved boob. (The doltish groom-to-be, voiced by busy Paul Rudd, holds the classic punchline job of local TV weatherman.) Shed of her small ways, this wonder woman embraces her sky-high feminine power; she becomes a female role model to, yes, look up to. Monsters vs. Aliens is pitched to families; the cuddly drawing style is safely, un-scarily kid-friendly. (Never mind that kids, with their steel-trap memories, haven't forgotten that Pixar already covered the whole disgruntled ogre thing excellently well eight years ago in Monsters, Inc.) But like so many animated projects welded in the DreamWorks Factory, the movie works hard — desperately hard — to be all things to all audience segments. And the visible effort erodes the sense of gaiety, of unfettered fun.
The portion of the adult audience with moviegoing memories that ?extend back before R2-D2 roamed the galaxy will easily calculate that Ginormica is exactly one inch shorter than the giant femme who sought revenge on a loutish husband in the wonderfully awful 1958 sci-fi specimen Attack of the 50 Foot Woman. This same crowd will also note similarities to plenty of other famous 1950s and '60s-style B movies featuring monsters (irradiated and otherwise), aliens, and rudimentary 3-D effects. Ginormica makes friends with her fellow inmates, including the brainy bug-eyed Dr. Cockroach (Hugh Laurie); a half-ape, half-fish Darwinian oddity dubbed the Missing Link (Will Arnett); and a one-eyed splotch of Blob-like blue goo called B.O.B. (Seth Rogen, happily recognizable even disguised as a...thing). There's also a wordlessly braying 350-foot grub from the school of Mothra called Insectosaurus. Soon, the prisoners of this cartoon gulag are conscripted to battle an onslaught of Earth-attacking aliens, led by a cranky multi-eyed overlord (Rainn Wilson).
Monsters vs. Aliens is trumpeted in promotional material as the first animated feature ''wholly conceived, developed, and authored in 3-D.'' (A team of three-dimensional humans wrote the script, which was directed by Shark Tale's Rob Letterman and Shrek 2's Conrad Vernon.) But the 3-D accomplishment is, in truth, a minor selling point. Is the plastic-glasses experience really any more engrossing or serious now than it was in the 1950s with novelties like It Came From Outer Space? These eyes say no. The filmmakers will inevitably have more luck enticing Gen-X, Gen-Y, and Gen-Whatever ticket buyers — young adults who swear by Stephen Colbert and Pineapple Express. After all, this iPhone crowd gets to watch Rogen in genial, stoned-stupid Pineapple Express mode, and Colbert himself — he voices President Hathaway, an American Commander-in-Chief who blends all the weak DNA of George W. Bush, Dr. Strangelove's President Merkin Muffley, and, indeed, the blowhard host of The Colbert Report.No one, though, is spared the film's constant ingratiating gobbling and repurposing of ?humor, attitudes, and pop cultural references better appreciated in their original forms — and this is the smudgy DreamWorks fingerprint left on every animated comedy from Shrek to Shark Tale to Over the Hedge. ?Monsters vs. Aliens sacrifices soul and edge for safety and bland blue goo. Witherspoon's ? willowy Ginormica would do well to make a break for freedom, leaving more than an ?unworthy fiancé far behind. C+
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