Some things are too embarrassing for public consumption, so the man born Garrett Dutton and known as G. Love exercised some control over the content of his new documentary and concert DVD, A Year & a Night with G. Love & Special Sauce.
So Hairspray knocked the rat off its pedestal after three weeks at the top, ranking second or third in all four components of the Box Office Power Rankings to sneak past Pixar’s latest offering. But I’m more interested in The Simpsons Movie.
With its dismal first-weekend performance at the box office, Captivity offers an opportunity to bemoan (or cheer) the diminished commercial prospects for that genre we’re no longer allowed to call “torture porn.” At The Exploding Kinetoscope, Chris Stangl recently argued (in the context of Hostel: Part II) that pinning that label on something “is a non-position that allows a critic not to engage the work.” There are some interesting arguments here, but I reject the assertion that “torture porn” isn’t an appropriate and meaningful tag for the genre. And I don’t think the phrase is a dismissive put-down.
With no serious new-release competition, Harry Potter’s box office and generally positive reviews propelled it to second place in the rankings. Ratatouille, buoyed by stellar notices and continued strength at the box office, took the top spot for the third week in a row.
Sometimes the biggest gift a film can give us is to force us back into the real world rather than letting us escape. The German movie Requiem is about demonic possession, yet in spite of its subject matter, it’s a serious, wrenching piece. And because of its subject matter, it’s all the more effective, as the audience isn’t expecting to be challenged.
In the week that marks the fourth anniversary of Culture Snob, Adam Ross at DVD Panache has featured this site as his Friday Screen Test. It’s a great opportunity to indulge your insatiable curiosity about me.
The rats still rule in Culture Snob’s Box Office Power Rankings, with the critical acclaim for Pixar’s and Disney’s Ratatouille easily overcoming the box-office power of (and surprisingly un-bad reviews for) Transformers. Michael Bay’s robot movie landed in third place, also behind Live Free or Die Hard.
In the opening of 28 Weeks Later, Don (Robert Carlyle) faces a dilemma: He can leave his wife to die and run like hell on the off chance that he might outrun the “infected,” or he can stay with her and face a gruesome end. He runs like hell, and looks back to see his wife attacked. This is the movie writ small, laying the groundwork for more impossible choices.
Edward Copeland at Edward Copeland on Film has tagged me, which must mean he doesn’t like me. Join the club, buddy! People who have been tagged are required to reveal eight facts about themselves and to post and obey the following rules, which I’m copying from Edward’s site and to which I’ll add my own anal-retentive commentary, because somebody really needs to revise them for clarity and elegance.
We have our first perfect score in Culture Snob’s Box Office Power Rankings. Pixar’s and Disney’s Ratatouille (directed and co-written by Brad Bird) was certainly expected to top the rankings, but this is a bit of a surprise.
Why? Because to achieve the maximum score of 40, a movie needs to top the box office (in this case, over Live Free Or Die Hard); perform better per-screen than both its “big” competitors (Live Free Or Die Hard again) and limited-release prestige pictures (Sicko); and score better with critics than everything else in the box-office top ten (particularly Sicko and Knocked Up).
That’s a tall order, but the computer-animated rats were up to the task.
Continue reading for the full rankings and the methodology.
