February 2, 2004

Sony owns Super Bowl Weekend…

Unfortunately, they coughed up a couple of million of their You Got Served profits for a commercial for Secret Window that looks like it is going to remain a secret, in spite of Johnny Depp’s starring role. They also wasted, in my opinion, a big expensive buy for 50 First Dates, a movie that they are doing just fine with already, thanks. Where was Hellboy? Where was Spider-Man 2? I don’t know. But someone should get served for choosing those two films to feature instead of being the only studio to offer something really exciting during the game. (With due respect to the Van Helsing trailer cutdown… been there, done that.)

But Screen Gems’ black kid diss-off, You Got Served, marks Sony’s fourth year in a row in the Super Bowl weekend slot and in three of those four years, they have received major dividends. The Wedding Planner and Darkness Falls both opened in the teens. The Wedding Planner turned into as modest hit, while Darkness Falls’ launch was much better than deserved and was quite happy to get to $33 million. Slackers fit its titles too well and started with just $2.8 million

This weekend, MCN estimates You Got Served at $17.1 million, a bit higher than the studio’s $16 million reported estimate. Perhaps Klady was not taking the Super Bowl into super account or perhaps Sony went conservative, so busy recovering from the shock of doing millions more than even they expected.

For the sake of full disclosure, I must say that I am friendly with Valerie Van Galder. But for the sake of honesty, I have to say, right now she seems to have a better handle on how to sell the low-budget urban teen targeted movie than anyone else out there. In the time last year, Van Galder and her Sony comrades have come up with The Medallion’s $8 million start (the second best ever for a Hong Kong made Jackie Chan movie, beat in opening and total only 1996’s Rumble In The Bronx) and Underworld’s $21.8 million kick-off on the way to a wholly undeserved $52 million total before this surprise inside-the-park home run. The only disappointment was In The Cut, which fell from grace the way only an art film can.

Warner Bros has the urban movie goods with Love Don’t Cost A Thing and came up with just $6.3 million. Paycheck had a massive campaign targeting teens and did only $13.5 million. Miramax’s My Baby’s Daddy had all the star power that You got Served did not, but started with only $7.5 million. Torque was just under $10 million for 3 days, even with a long weekend working for it. You Got Served may have even outpowered the AshDemi MooCher-powered The Butterfly Effect.

Meanwhile, the football game was full of scoring and bouncing, but not the movie theaters.

UP IN SANTA BARBARA: I shot up the coast for a couple of awards-looking panels at The Santa Barbara Film Festival. The festival is as sweet and sunny as ever and the groups of screenwriters and directors were a tribute to how well-respected the event has become as an awards promotion event. Both panels gambled with invitations to presumed Oscar nominees and both panels reflected the number of surprises this year. (Fernando Meirelles, whose City of God nominations were this year’s great surprise, may make a Santa Barbara appearance this Wednesday night, as he hits SoCal to work the room for the first time all awards season.)

The screenwriter’s panel was moderated by Academy president Frank Pierson, who had the good taste to never mention the Oscars once, as Anthony Minghella, Patty Jenkins and Tom McCarthy all were considered serious contenders and failed to get nominations. Jenkins and McCarthy are both first-timers and were probably not in shock when the buzz went quiet. But Minghella took a hard hit and his appearance was graceful and generous of spirit. He spoke repeatedly of feeling shamed, but he need not feel that, I don’t think. His response to loss once again reaffirms the strength of the talent he has already be feted for repeatedly. He even told the story of his father suggesting that he “try something else” after failing to get a Best Picture nod. Amazing how our parents can be.

The other nominees on the stage were Jim Sheridan, Denys Arcand and the dynamic duo of Fran Walsh and Philippa Boyens… all of whom I would be happy to hang out with any time, Oscar nomination or $100,000 opening weekend. In fact, the overwhelming sensation I had sitting there was one of appreciation of how this year’s Academy season has been a bit kinder and gentler. In part, it is the shortened season. But it is also the people. And this year, there have been few assholes in the henhouse.

The director’s panel somehow managed to miss all of the Oscar nominees, though its flavor was set, for the most part, with a large percentage of first-time directors who we will be seeing a lot more from over the years to come. Jenkins and McCarthy returned, along with Vadim Perelman, Peter Weber and veterans Gary Ross, Ed Zwick and Minghella. Peter Biskind tried to moderate, but seemed a bit distracted, quoting interviews more than asking questions. But witnessing the degrees of engagement, always more complex in a group of directors than writers, was interesting. Weber and Perelman led the way among the newcomers, with Ross and particularly Zwick taking charge for the long-timers.

The amount of firepower that Santa Barbara’s team was able to assemble was remarkable. And I am sure that people unfamiliar with the films and numerous interviews of the talent were thrilled. But the failure to get mind-blowing magic out of the groups was a shame. The intellectual jam session… as good a group of players as you could ask for… should have been The Ellington Orchestra, but instead was a delightful hour of first-rate kids on kazoos.

SLAMDANCING: I wanted to point out three tremendous titles that I caught on my return to L.A. on Saturday night. The second best doc coming out of Park City this year, right after Born Into Brothels, was Slamdance title, Arakimentari. The film about Japanese photographer Nobuyoshi Araki, one of Japan’s most popular lensman and notorious pornographic border bender, is funny, sexy, dramatic and quite watchable. This film could easily be this year’s Rivers & Tides, if it got the right distributor. Another Slamdance doc, their award winner, Big City Dick, is a bit more of a chore – and I saw it on a bad screener – but in the end, well worth the journey. The story of a very odd musical savant in Seattle is another great look at someone overcoming what seems an insurmountable challenge. Finally, I caught Dave LaChapelle’s Sundance short, Krumped, which is amongst the must-see of must-sees. The film, which is the first thing I’ve been about this new street dancing phenomenon called, inevitably, krumping. It is a rather breathtaking sight, the movie opening with a “nothing has been speeded up or otherwise altered” notice. The form of movement has all the grace and precision of an Olympic sport. And the 24 minute running time is just about perfect. If you get the chance to see this one anywhere, don’t krump it.

READER OF THE DAY: HODGE PODGE writes: “Your apparent apathy (or disdain) for Keisha Castle-Hughes (Best Actress Oscar Nominee) is obvious in your lack of broad press coverage you are giving to the youngest person ever to be nominated for Best Actress.

Is it the fact that you didn't even have this young listed in your top 8-10 actress predictions even after she received a SAG nomination for Best Supporting Actress. Coupled with previous rave reviews by worldwide critics (except you), and a BFCA Chritics Choice Award for Best Young Actor/Actress. Are you embarrassed to swallow your pride and admit your oversight?

While the worldwide printed and web press is all over Keisha's Cinderella story, you have barely mentioned her name except with a snippet "Keisha's surprise nomination was lovely". Sasha Stone's Oscar Watch is all over this story.

Yes, I'm a fan of Keisha's. But, I am a fan of other actors and actresses that show real talent who display great range in their acting skills. Keisha pulled off a very complex role for an 11 year old. No rebellious teen with pierced tongues, and drugs. (Wood's Thirteen). Obviously, AMPAS thought so, too. And the bulk of AMPAS is made up professional actors/actresses who recognize difficult acting turns.

If Charllize and Naomi split AMPAS votes, then there's an open door for Keisha and/or Diane. Keisha could shock the world and prove it doesn't matter how old you are to be recognized as an Oscar winning actress.”

E ME: You said it all… and then some.