As expected, the third Pirates of the Caribbean movie dominated the Memorial Day box office, but $142 million was no match for the feisty limited-release Waitress in Culture Snob’s Box Office Power Rankings. Adrienne Shelly’s film used strong reviews and a blockbuster-worthy per-screen average to land atop this week’s ratings, even though it ranked fifth in overall box office.
Most of us know that box-office gross is a largely meaningless number, and many people think that critics are worthless. In an effort to try to better measure a movie’s overall performance, Culture Snob here offers the first of its weekly Box Office Power Rankings.
Is it possible that the failure of the second Star Wars trilogy has nothing to do with plot, character, and storytelling and everything to do with physical space?
Fresh off Culture Snob’s own Misunderstood Blog-a-thon is Edward Copeland’s Star Wars Blog-a-thon on Friday, May 25 – the 30th anniversary of Episode IV’s release in the United States.
In a previous entry, I noted the disconnect between Guillermo del Toro’s assertion that Pan’s Labyrinth is “not about sexual identity” and the movie’s marketing materials and design.
When we say that a movie is more style than substance, we typically mean it derisively. Oliver Stone’s JFK has a ton of stuff – with the director’s cut running nearly three and a half hours – that was mistaken for its substance. But the meat of the movie is its style, because it’s the fuel that made the film so combustible.
I suggested it, jokingly, when I announced the Misunderstood Blog-a-thon: “Is E.T. really a sophisticated exploration of diaspora?” But the more I think of it, the more it makes sense.
There’s a maxim that says a movie teaches you how to watch it, but Peter Weir’s The Truman Show teaches you how to watch it the wrong way. And in its brazen audience cues, it hints that you should question your reaction to the film. This is a movie that was made for misunderstanding.
Somebody entered the following search query and eventually found Culture Snob: “talent OR skill OR intelligence ‘rupert grint'”
Why does nobody take the frogs seriously? Why does nobody question them? In Paul Thomas Anderson’s Magnolia, the cataclysmic, apocalyptic rain of frogs seems casually accepted. Nobody says: “That’s some fucked-up shit, those frogs.”
