MAY, 31


MIDNIGHT

Horror
Cast: Colin Farrell, Deborah Ann Woll, Gabriel Macht, Ginnifer Goodwin, Bill Murray, Imogen Poots, Angelica Huston
Director: Brad Anderson
Screenwriter: D.R. Cobb

Box Office: 32 mill.
Net Losses: 16 mill.

Stark’s Reaction:
Ouch! The Studio made a wrong bet here. Definitely, horror films and thrillers are not called to become blockbusters in CMP’s world. Both are genres where you cannot invest too much money if you don’t want to go through disappointing experiences like this one.

FAMILY REUNION

Comedy / Adult
Cast: Ben Stiller, Zach Braff, Jennifer Aniston, Harrison Ford, Helen Mirren, Christopher Mintz-Plasse, Lindsay Fonseca. Cameo by Brad Pitt.
Director: Jay Roach
Producer: Silver Lining Entertainment
Screenwriter: Chad Taylor

Box Office: 50 mill.
Net Gains: 23 mill.

Stark’s Reaction:
Numbers way below expectations. It would be unfair to call this 'a flop'. But I thought Stiller, Braff and the rest would be able to turn this comedy into a much more successful release.

AMERICAN WAY

Thriller / Drama
Cast: Christian Bale, Keri Russell, Chris Cooper, Marcia Gay Harden, Jeff Bridges
Director: Sam Mendes
Producer: Grand Island Movies
Screenwriter: Josh Collins

Box Office: 47 mill.
Net Gains: 29 mill.

Stark’s Reaction:
Yes, surprisingly this one has turned to be the most profitable release of the week even making a slightly lower box office than ‘Family Reunion’. All in all, a pretty disappointing week for me, as I thought this trio of releases would make it much better at box office.


MIDNIGHT

‘A shame. A big shame. Audiences have not understood this creative proposal. ‘Midnight’ is everything ‘Prince Of Darkness’ – the other horror film written by D.R.Cobb – wanted to be but never was. ‘Midnight’ is an inspired recreation of the old way of making horror movies, long before the explosion of gore definitely ruined the genre. This movie directly connects with the visual and narrative style of the classic Hammer Studios and even with the expressionism and visual concepts of even older horror films in black and white (being completely different, I can’t help thinking here on ‘Nosferatu’). In that sense, the most interesting thing about this movie is not the story it tells as much as the wonderful cinematography that creates an unreal and disturbing atmosphere and a daring directional style that deliberately recreates an old way of filming, making it look so modern and contemporary at the same time.’
-Charlie Kiggs

‘Colin Farell has perfectly understood what was expected from him in this movie. His creation of the evil Coffin Joe is a deliberated overacted work that turns him in something more than the usual crazed murderer of any horror movie. Farell has understood that this wasn’t meant to be a realistic movie but a gothic horror tale based on an unrealistic obsessed character. It is a shame that – same way it recently happened with ‘Short On Time’ – Cobb has not built up a powerful cast to accompany the lead star (with the exception of the nice surprise of Bill Murray). All the star appeal of the movie is based on the screen presence of Farell. And, although he succeeds in that challenge, I missed a cast at his same height.’
-Anne Roman

‘Can a horror movie be also an artsy movie? The answer is a big yes. Brad Anderson has built up a brilliant gothic film. Baroque, excessive, sophisticated but also disturbing and intriguing. ‘Midnight’ does not pretend to be a realistic story but a gothic tale with reminiscences of Edgar Allan Poe and Guy de Maupassant’s short stories. Brad Anderson has shown here a directing talent I honestly didn’t know he had. He definitely has surpassed his best work so far, CMP’s ‘Silent Hill’, and also he has made us to forgive him for the horrendous ‘Silent Hill: The Return’. ‘Midnight’ is much more than just the story of a sick serial killer. It is a visionary and visually superb work that gives back to the horror genre part of the dignity that some out of CMP’s films and sagas have taken away from it lately.’
-Vic Carter

FAMILY REUNION

‘Jay Roach and Ben Stiller have teamed up again to retake the spirit of their successful collaboration in ‘Meet The Parents’ (forget here the two lousy sequels of it). ‘Family Reunion’ very much reproduces the kind of sense of humor of that one. Even some of the situations and sequences are close to be copycats of the ones there. And, as it happened with ‘Meet The Parents’, the jokes in the movie work at a different level turning it into a pretty irregular comedy. While there are quite funny moments (i.e.: the family dinner where Ford and Mirren tell the real reasons of their divorce), other presumed to be funny sequences fall into a gross humor that does not completely work (i.e.: Helen Mirren shocked when watching a dirty video at Zach’s computer). The final result is a correct but not particularly remarkable film.’
-Tim Reeve

‘The top class cast saves this new Chad Taylor’s attempt to succeed with a comedy. This family comedy abuses of clichés that could have turned it into a too predictable and routine film without the screen presence of the big stars involved. But screen presence and star power is not enough to make a good acting work. Ben Stiller and Jennifer Aniston have not made a big effort in this movie. They just play Ben Stiller and Jennifer Aniston. It is Zach Braff and Helen Mirren the ones that star the best moments of the film. And it is also nice to remember Harrison Ford’s comedic skills. But, beyond the quality or not of the acting works, it is always nice to see all these familiar faces together on screen. It is like a family reunion for the audience too. And no doubt it is that familiar cast what saves this movie from ruin.’
-Jackie O’Callaghan

‘Taylor and Roach have not taken too much risk with ‘Family Reunion’. Put together on screen Stiller, Braff, Aniston, Ford and Mirren and a movie will look good enough even if there’s nothing particularly remarkable in it. At least, ‘Family Reunion’ proves that Roach can do something better for CMP than ‘Poor Little Rich Boy’ or ‘Guitar Hero’ (although I still prefer ‘Check, Please’ than this one). And also Chad Taylor proves that there’s life in the comedy genre for him after the disappointment of ‘Crime Stoppers’. But they have played too safe here and audiences have reacted with an understandable coldness to the proposal.’
-Mark Anderson

AMERICAN WAY

‘Correct and efficient drama. That’s the best that can be said about this Collins and Mendes’ new reunion. Far away from the decadent charm of ‘The Rock Star’, their previous collaboration, ‘American Way’ is a thought-provoking drama interesting enough. The story is stronger than the one told by Collins in ‘The Mistaken’ – a film with which this one has some elements in common – without reaching the dramatic intensity of other Collins’ films. It stays in a correct middle level that makes it, as I say, an efficient but not particularly impressive film. There’s a certain ‘tv movie spirit’ that downgrades the strength of the film. But there’s also a high level show of acting works that upgrades what could have been without them a too flat production.’
-Lilly Stevens

‘In the duel between goods and bads set in this movie, no doubt the bads win. And I am talking here in terms of acting works. Without detracting the solid works of Bale and Russell, it is the ‘negative’ characters of the story the ones who deserve the main praises here. Chris Cooper and Marcia Gay Harden show again their inexhaustible acting talent. Chris Cooper is one of those actors that can be disturbing with just one look. And Marcia Gay Harden always fulfills the screen, proving again how much Hollywood has untapped her talent. Together with them, Jeff Bridges become the ‘show stealer’ of the function, taking the best of his minor role and turning it into an essential part of the film thanks to his excellent acting work.’
-Chris Burgess

‘British director Sam Mendes is probably one of the best analysts of the darkest side of American society. Movies like ‘American Beauty’ or ‘Revolutionary Road’ are in-depth looks at the lights and shadows of the American way of life. This ‘American Way’ connects with those films setting eyes again on the little big dramas of American middle class. Nobody knows like Mendes to tell this kind of stories with an intelligent mix of ironic, critical and acid approach. Maybe, ‘American Way’ is not as solid and disturbing as those other films, but it stays close to them as an interesting adult drama that explores our most intimate and darkest feelings.’
-Andrew Stampton