The morning after the Red Sox won the 2007 World Series (following two miserable seasons of championship drought), two people approached me in McDonald’s. I was wearing a Red Sox shirt. We were in northern Arkansas, beginning an 11-hour drive north after a weekend of wedding festivities. Incidentally, I eat at McDonald’s about as often as the Red Sox win the World Series.
Ballots for Ed Hardy Jr.’s 31 Flicks That Give You the Willies are due by the end of October 28. Remember: Your movies can’t win if you don’t play.
More than a half-century separates these two movies, and they obviously live in different parts of town. Tod Browning’s horror classic Freaks was controversial upon its release in 1932 and hasn’t lost much shock value, with its use of real sideshow performers and the uncomfortable mixture of exploitation and sympathy. Peter Weir’s Witness is a mild drama about the Amish that masquerades as a cop thriller. (Or is a cop thriller disguised as an Amish drama?) Yet the two have much in common.
I warned you last week to expect wackiness in this edition of the Box Office Power Rankings, and for once, I don’t disappoint.
Writer/director Michael Haneke’s 1997 film Funny Games feels like a response to something that hadn’t happened yet. Sure, we’d had Natural Born Killers and other ultra-violent movies, but the fetishism of agony hadn’t yet become a crass trend.
It was a perfect storm in this week’s Box Office Power Rankings. The audience magnet of Tyler Perry met the critical favor accorded Michael Clayton met the in-between-on-both-measures We Own the Night, so we have a three-way tie for this past weekend’s title.
There are dozens of close-ups of hands in Peter Weir’s Fearless, and mostly the extremities belong to Max Klein, the distant plane-crash survivor played by Jeff Bridges. What follows is not a comprehensive catalog but covers the majority of these shots. They are presented in the order in which they appear in the movie.
Smoke begins in Auggie Wren’s cigar shop with omniscient chatter about the Mets and ends in a deli with a made-up tale about how Auggie got his first camera. Almost everything in between is also bullshit, in the sense that its relationship with objective reality is utilitarian. We speak the truth when it suits our needs, but we shouldn’t let it get in the way of the story we’re trying to spin.
And I thought last week was grim … . With Eastern Promises dropping out of the box-office top 10, there is now only one movie in our rankings with a Rotten Tomatoes score over 53: 3:10 to Yuma.
In David Cronenberg’s The Brood, the monsters have the size and shape (and snowsuits) of little children, but everything else about them is off. You could point to their foreheads, or their noses, or their skin tone, or the color of their hair, or the way they move, but that misses the bigger picture. There’s no single element that makes these creatures grotesque. It’s the collection of features and details that approach being normally human without ever getting there.