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Back Seat Box Office Shows

Back Seat Box Office #161

Congrats to Jeff and Lena for their perfect 25s!

Thanks to Alter-Ego Nick, Nick and Tad for their voicemails (and my apologies for not having their pics while recording!)

Picks:

Jeff

  1. Gravity
  2. Carrie
  3. Captain Phillips
  4. Escape Plan
  5. Cloudy with a Chance of Meatballs 2

Lena

  1. Carrie
  2. Escape Plan (No, I wasn’t drinking!)
  3. Gravity
  4. Captain Phillips
  5. C loudy with a Chance of Meatballs 2

Art

  1. Gravity
  2. Carrie
  3. Captain Phillips
  4. Cloudy with a Chance of Meatballs 2
  5. Escape Plan

Art’s House Picks:

  • Jeff, Lena & Art – 12 Years a Slave
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Announcement

Weekend Box Office: Oct 11-Oct 13

#1 Gravity from Warner Bros. held at #1 with a gross of $43.2 million (-22.6%) in 3,660 theaters (+85).  Total gross to date is $122.3 million.  Budget was $100 million.

#2 Captain Phillips from Sony/Columbia opened at #2 with a gross of $25.7 million in 3,020 theaters.  Budget was $55 million.

#3 Cloudy with a Chance of Meatballs 2 from Sony/Columbia fell from #2 to #3 with a gross of $13.8 million (-34.3%) in 3,874 theaters (-127).  Total gross to date is $77.6 million.  Budget was $78 million.

#4 Machete Kills from Open Road Films opened at #4 with a gross of $3.83 million in 2,538 theaters.  Budget was unknown.

#5 Runner Runner from Fox fell from #3 to #5 with a gross of $3.77 million (-51.1%) in 3,026 theaters.  Total gross to date is $14.2 million.  Budget was $30 million.

#6 Prisoners from Warner Bros. fell from #6 to #6 with a gross of $3.6 million (-36.8%) in 2,855 theaters (-381).  Total gross to date is $53.6 million.  Budget was $46 million.

#7 Insidious Chapter 2 from FilmDistrict rose from #8 to #7 with a gross of $2.7 million (-30.2%) in 2,156 theaters (-451).  Total gross to date is $78.5 million.  Budget was $5 million.

#8 Rush from Universal fell from #5 to #8 with a gross of $2.38 million (-46.7%) in 2,130 theaters (-178).  Total gross to date is $22.2 million.  Budget was $38 million.

#9 Don Jon from Relativity fell from #6 to #9 with a gross of $2.36 million (-43%) in 1,996 theaters (-426).  Total gross to date is $20.2 million.  Budget was $6 million.

#10 Baggage Claim from Fox Searchlight fell from #7 to #10 with a gross of $2 million (-50.1%) in 1,320 theaters (-910).  Total gross to date is $18.2 million.  Budget was unknown.

#11 Enough Said from Fox Searchlight fell from #10 to #11 with a gross of $1.9 million (-12.8%) in 606 theaters (+169).  Total gross to date is $8.2 million.  Budget was unknown.

#12 Pulling Strings from Lionsgate fell from #9 to #12 with a gross of $1.3 million (-48.5%) in 428 theaters (+41).  Total gross to date is $4.2 million.  Budget was unknown.

The combined gross of the top 12 movies this weekend was $106.6  million.

Sources:
Box Office Mojo

 

Categories
Back Seat Producers Season 08 Shows

BSP Episode 291: Planet of the Apes

Sorry for the delay.

Blame the damned dirty apes.

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Announcement

Theatrical Review: Captain Phillips

In 2009, Captain Richard Phillips and his crew of 20 began a routine transport job through international waters off the coast of Somalia. His ship, the Maersk Alabama is carrying valuable cargo and is soon the target of a crew of four armed Somali pirates, led by a young Somali named Muse. What follows is as tense a story as any you’ll see in film this year…

Captain Phillips is the latest film from director Paul Greengrass who’s certainly no stranger to presenting stories of both domestic and international tension having helmed two of the Jason Bourne films (The Bourne Supremacy and The Bourne Ultimatum), Bloody Sunday, and one of my personal favorites, United 93. Greengrass is back in fine form with Captain Phillips, a film that works as both an edge-of-your-seat thriller as well as a complicated picture of the various effects of globalization. Obviously this is based around true events, but having not read the book from which it’s adapted (Richard Phillips’ and Stephen Talty’s “A Captain’s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea”), I’m really not for sure how much here is totally accurate, though it certainly feels that nothing’s been let to question. Regardless of it’s accuracy, it’s still as good as a thriller of this sorts gets and is bound to stir conversation after viewing (or at least it certainly did with the group I saw it with).

Technically, well this is terrific filmmaking and certainly right in line with the other movies on Greengrass’ resumé. Greengrass’ use of handheld cameras is certainly evident and while their effect normally doesn’t bother me, for one scene here, I did have some slight issue. This scene involved the introduction of Muse and his crew. Basically the action and camera works is pretty swift here, the Somalis are speaking in their native tongue and subtitles are trying to keep up with the conversation. Because these actors aren’t really known to us, Greengrass’ handheld camera work makes it a little difficult to get a bead on who’s saying what, though eventually we do get past that. That’s my only complaint with the film and I’d categorize that in the “extremely moot” column when it comes to total enjoyment of Captain Philips.

One thing that came to mind to me while watching this was thinking about how a fictionalized version of these same events would be handled in another movie. A fictionalized version would call for the pirates to make their way aboard this ship and they’d manage it with some theatrical results. Here, the attention to real world detail certainly made me think about it in a different way- with the Somalis having to fight their way through violent waves from the wake of the Maersk Alabama and then just having to combat the high-pressure hoses that the ship uses for it’s defense. In addition, it’s certainly easy to think of the Somalis as the “bad guys” of this piece and yet there is a complexity to them, particularly with Muse who’s both filled with pride and yet a total result of the circumstances that he lives under. Yes, they are criminals and we want them to get what’s coming to them in the end, but still you can’t help but feel empathic to their situation.

Tom Hanks plays the titular part and this is right up there with the very best of Hanks’ past work and will certainly remind one that he’s still one of the finest of American actors. There’s nothing that’s theatrical about this performance, it’s a very lived-in part with Hanks playing this guy who was basically just going out to do his job. There’s certainly heroism on his part though again, it’s the type of heroism that you’d see in the real world and certainly way more relatable. Where Hanks really gets you though is in the film’s climactic scenes where he’s not only triumphant from what has just happened, but also extremely vulnerable. It’s very effective work on Hanks’ part and I wouldn’t be surprised in the slightest to see him at least get an Oscar nomination for this part.

I’ve also got to call out the work of Barkhad Abdi (Muse), Barkhad Abdirahman, Faysal Ahmed and Mahat M. Ali as the Somali pirates. From what I can tell, they’re all making their debuts with this movie and certainly holding their own with Tom Hanks. Abdi in particular plays this part as almost a counterpoint to Hanks as just another guy who’s going out to do his job, though he’s looking at this as his chance to get some respect from his leaders. There’s a real sense of inevitability to Muse, and yet his own pride has him always being assured.

Much like last week’s Gravity I have to close with this urging- don’t miss this! Captain Phillips is a totally engrossing thriller that just feels totally authentic. Both director Paul Greengrass and star Tom Hanks are at the top of their respective games here and though the outcome of this is already known, they certainly still make the ride getting to the end as compelling as can be. Highly, highly recommended.

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Announcement Back Seat Box Office Shows

Back Seat Box Office #160

CONGRATULATIONS TO BD FOR WINNING SEASON 5!

Congrats to Father & Mrs. Beast for their perfect 25s!

Thanks to Nick for his voice mail.

Picks:

Jeff, Lena

  1. Gravity
  2. Captain Phillips
  3. Cloudy with A Chance of Meatballs 2
  4. Machete Kills
  5. Runner Runner

Art

  1. Gravity
  2. Captain Phillips
  3. Machete Kills
  4. Cloudy With A Chance of Meatballs 2
  5. Runner Runner

Art’s House picks:

  • Jeff, Art, Lena – Zero Charisma

 

Categories
Announcement

Weekend Box Office: Oct 4-Oct 6

#1 Gravity from Warner Bros. opened at #1 with a gross of $55.8 million in 3,575 theaters.  Budget was $100 million.

#2 Cloudy with a Chance of Meatballs 2 from Sony/Columbia fell from #1 to #2 with a gross of $21 million (-38.4%) in 4,001 theaters.  Total gross to date is $60 million.  Budget was $78 million.

#3 Runner Runner from Fox opened at #3 with a gross of $7.7 million in 3,026 theater.  Budget was $30 million.

#4 Prisoners from Warner Bros. fell from #2 to #4 with a gross of $5.7 million (-47.1%) in 3,236 theaters (-54).  Total gross to date is $47.9 million.  Budget was $46 million.

#5 Rush from Universal fell from #3 to #5 with a gross of $ 4.5 million (-55.3%) in 2,308 theaters (+11).  Total gross to date is $18.2 million.  Budget was $38 million.

#6 Don Jon from Relativity fell from #5 to #6 with a gross of $4.2 million (-52.1%) in 2,422 theaters.  Total gross to date is $16.1 million.  Budget was $6 million.

#7 Baggage Claim from Fox Searchlight fell from #4 to #7 with a gross of $4.1 million (-54.9%) in 2,230 theaters (+203).  Budget was unknown.

#8 Insidious Chapter 2 from FilmDistrict fell from #6 to #8 with a gross of $3.9 million (-40.5%) in 2,607 theaters (-513).  Total gross to date is $74.8 million.  Budget was $5 million.

#9 Pulling Strings from Lionsgate opened at #9 with a gross of $2.5 million in 387 theaters.  Budget was unknown.

#10 Enough Said from Fox Searchlight rose from #11 to #10 with a gross of $2.2 million (+4.5%) in 437 theaters (+210).  Total gross to date is $5.4 million.  Budget was unknown.

#11 Instructions Not Included from Lionsgate fell from #8 to #11 with a gross of $1.8 million (-46.8%) in 858 theaters (-90).  Total gross to date is $41.3 million.  Budget was unknown.

#12 We’re The Millers from Warner Bros. fell from #9 to #12 with a gross of $1.6 million (-42.8%) in 1,606 theaters (-799).  Total gross to date is $144.9 million.  Budget was $37 million.

 

The combined gross of the top 12 movies this weekend was $114.9  million.

Sources:
Box Office Mojo

Categories
Back Seat Producers Season 08 Shows

BSP Episode 290: Clue

Show notes soon.. maybe after we recover from Archon and Sausagefest.

Categories
Announcement

Theatrical Review: Gravity

The crew of the space shuttle Explorer are on a mission in orbit over the Earth to add a new component to the Hubble telescope. Everything is going by the book with Dr. Ryan Stone installing the component, with some uneasy feelings about being in space, as astronaut Matt Kowalski fly around trying out his jet pack and keeping tabs on the mission. Word reaches the crew of Explorer that due to an accident with a Russian satellite, debris is speeding their way. They’re ordered to abandon their mission and get back to Explorer as quickly as they can but to no avail; the debris is already upon them. The Explorer is damaged beyond repair and all of the crew, except for Stone and Kowalski, are killed. With the International Space Station nearby, now the two must work together to survive while still adrift in space.

This is the premise to Gravity the latest film from visionary director Alfonso Cuarón as well as written by Cuarón and his son, Jonás Cuarón. Cuarón is best known for movies like Children of Men and Harry Potter and the Prisoner of Azkaban. While I’ve not seen the Potter film, I’ve definitely seen Children of Men and just get more taken with the movie every time I see it. When I first saw the trailer for Gravity, I was just blown away by it and couldn’t wait to see it. Mentioning this to other people at the time, they were more indifferent about it and just had no interest at all in it. I get that, you see this extravagant trailer, hear that it’s in 3D (which automatically reduces interest for most people these days), and just get the general premise and you think that there’s really nowhere to go with it. Well, for me anyway, my excitement for the movie is justified as I think Alfonso Cuarón has crafted one of the best movies of the year and certainly goes far out of his way to show you that 3D can greatly add to the experience of the film.

Right off the bat, this is some of the best 3D that’s been produced yet for movies. Cuarón has stated in some interviews that most 3D movies are crap, especially those that tack it on as an afterthought, and he was determined to use it in a way that truly added to the experience, basically also saying that if you only see the movie in 2D, you’re only going to get about 30% of what he wants you to get out of it. I believe that to be the case as well. The danger that Stone and Kowalski faces here is certainly stunning in 2D, but with 3D, you actually feel the experience to great effect making the circumstances even more dire. There’s way more to say about the 3D here, but to say too much would be to spoil it and I certainly don’t want to do that. Regardless, even if you absolutely hate 3D, it’s still the best way to experience this film.

Along with that, the visual style and effects of the film are as first rate as it gets. In Children of Men, Cuarón amazed me with some of his scenes that suggest the idea of a massive single take and he does the same thing here as well with the film’s spectacular opening sequence which runs about 12-13 minutes in length. Right there, with just technique alone, Cuarón sucks you into his premise and he keeps you there through the rest of the film. The survival tale here will certain bring to mind things like Cast Away for most, though for me, I get a sense out of it more from movies like Open Water or 2010’s Frozen (this is not the upcoming animated film, but a terrific little survival suspense movie with three people trapped aboard a ski lift)- situations that seemed even more hopeless than what Tom Hanks faced on an island (though don’t get me wrong, I think Cast Away is a terrific movie). The trick here is making your characters either likable or identifiable and I tend to think that the Cuaróns have done both with their script, as well as giving you this extraordinary thrill ride. In addition, the sound design and Scott Price’s excellent score punctuates everything in just the right way and further adds to the uneasiness of the entire situation.

Sandra Bullock plays Ryan Stone and George Clooney plays Matt Kowalski and both deliver terrific work especially when you consider the fact that they’re working in a special effects film that they have no idea of what the final piece will look like in the end. I mentioned above about making your characters either likable or identifiable, and that’s split between the two actors with Bullock playing the identifiable part and Clooney having the more likable part. Clooney’s Kowalski seems more like an extension of who Clooney is in real life, whereas Bullock is the one that’s more got to find a way to inhabit a part, and while the two may be diametrically opposed points of view, they still manage to find a way to have real chemistry, especially with a scene late in the film (can’t say much more about this scene other than at first it will have you thinking that there’s no way this could happen- but trust in the Cuaróns on this one). This is terrific work from two of the top stars of the day… but still, the real star here is Alfonso Cuarón with an amazing visual sense and pacing that keeps you on the edge of your seat throughout the entire movie.

Don’t miss this! Gravity is just amazing entertainment from start to finish and I cannot wait to see what director Alfonso Cuarón has next on his plate. He’s taken a premise that most would see as being thin at best and has turned it into completely compelling storytelling with some of the best visual effects of the year as well as totally re-defining what a 3D film experience should be. Highly, highly recommended and if you choose to see this, definitely see it in 3D.

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Announcement

Theatrical Review: Runner Runner

Richie Furst is a Princeton student who’s having huge problems paying his tuition. He gets by by acting as an affiliate for an online gambling site called Midnight Black and turning on other college students to the site. Now, Richie’s in trouble with the school and in a last ditch effort to gather the funds that he needs, he banks it all into the site and attempts to use his skills to raise enough money to set himself up. Richie loses all of his money on the site and discovers that there is something shady going on in the programming of the system. Rather than going to the authorities, Richie takes it directly to the owner and founder of Midnight Black, Ivan Block. Since the United States put a clampdown on online gambling, Block has relocated to Costa Rica and so Richie gathers whatever money he has left and makes his own sort of pilgrimage.

Once there, Richie manages to get Block’s attention and impresses him enough to become part of Block’s operation. Things are going fantastically well for Richie including catching the eye of Rebecca Shafran, who’s a former lover and high-up associate of Block’s in Midnight Black. But that’s not the only eye on Richie as he’s also soon discovered by an FBI agent, Shavers and is pressured into giving Block up. Richie refuses but soon discovers that Block has a few more nefarious plans in store for him.

Runner Runner is the latest film from director Brad Furman (previously known for movies like The Lincoln Lawyer and The Take, neither of which I’ve seen) and written by the writing duo of Brian Koppelman and David Levien. Now I do know Koppleman and Levien’s previous work as they were the writing team behind the movie Rounders and the creators of the ESPN short run dramatic series Tilt, both of which I enjoyed quite a bit. Their knowledge oft the gambling world is certainly evident in this movie and for the most part, Runner Runner is certainly a watchable, but predictable film. This tends to lay it’s events out in a pretty much by-the-numbers way as Richie tries to get himself ahead of Block, before Block can set Richie up to take an even bigger fall. It’s nothing that you haven’t seen before, but I do think it’s well executed, looks great, and certainly if you have an interest in this sort of thing, and I do, then it’s still a pretty decent time.

The strongest cards that director Furman has in his deck are his lead actors, Justin Timberlake and Ben Affleck who play Richie Furst and Ivan Block respectively. There’s a magnetism to both characters that makes them fun to watch. While I’m not for sure about Timberlake, I do know that Ben Affleck has some serious street cred in the poker world and so it’s definitely something that he’s drawing from for this performance. These are solid performances though both have certainly had better work in more memorable films and that can be said for the rest of the cast as well. The gorgeous Gemma Arterton plays Rebecca and Anthony Mackie plays FBI Agent Shavers, and again it’s solid work that moves this familiar story forward but not much else.

Runner Runner (the title here refers to a term in poker for needing two cards to fall in successive order to produce a winning hand- which is how Block looks at Richie from their first meeting) is basic light-pulp storytelling that’s more the kind of movie you might can enjoy as it’s running on background on your home TV than the sort of thing that you need to run right out and see immediately. If you’re familiar with either Rounders or Tilt, then it certainly fits comfortably right in line with those types of stories, though it’s a far lighter and less memorable experience. I had a good time with it and would certainly recommend it, but maybe hold off on it and wait for it to hit cable before investing the money for a trip to the theatre.

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Back Seat Book Club Shows

Back Seat Book Club – Book Thirteen: From a Buick 8

Author: Stephen King

Published: 2002

Scribner

Plot Summary – The story begins in western Pennsylvania in 1979, when a mysterious figure parks a vintage Buick Roadmaster at a local gas station, then disappears forever. The police discover that the Buick isn’t a car at all but rather a Buick-shaped enigma: self-healing; impregnable to dents, dirt, and scratches; composed of unidentifiable materials; and containing a completely nonfunctional engine. Confronted with a mystery of unprecedented proportions, the troopers of Barracks D claim the Buick for themselves and spend 20 years attempting to understand its nature, purpose, and provenance.

Quick Thoughts

  • [forthcoming]

It’s funny how close the past is, sometimes. Sometimes it seems as if you could almost reach out and touch it. Only who really wants to?

Your Hosts

  • Lena
  • Scott

Recorded: 08/29/13

Next Time: Heroes Die by Matthew Woodring Stover