This week we’ve got Shakespeare. We’ve got monsters. We’ve got zombies (and Brad Pitt). We’ve got teenage miscreants — I mean besides that bozo in the next row texting during the movie. That may not quite be something for everyone, but it comes darn close.
Man of Steel opens this week. It will be at nearly every theater that could get it and on as many screens as possible—both 2D and 3D. That is all an awful lot of people probably need to know. For those with a penchant for guys with large and sinewy muscles in tights, this is probably what summer is all about this year—at least where movies are concerned. It isn’t all that’s opening, however. There’s another mainstream release and one of the most anticipated art titles of the season.
It seems unlikely that we can hope for anything like the pretty spectacular disaster of After Earth this weekend — in large part because the mainstream offerings are less ambitious. Let’s face it, no one really wants the second week of their big shiny release going up against next week’s Superman re-boot. Still, there are two mainstream titles this week — and three art titles.
The week after the opening of the new indie film, Frances Ha, Ken Hanke interviewed the film’s star and co-writer, Greta Gerwig. This is the interview in full.
A friend of mine who saw all three of last week’s releases (that’s one up on me) told me he’d convinced himself he didn’t see any new movies last week. His ability to block things from his mind is greater than mine. Plus, apart from this week’s art title, I see no great hope that this week is going to any better. However, that art film, Frances Ha, makes up for much.
You know it’s a pretty dire week when the thing I’m most looking forward to is Fast & Furious 6. (And you can imagine how much it pains me to type those words.) There’s not even a single new art title to brighten the weekend (no, last Friday’s ActionFest offering, Java Heat, going to a full run doesn’t count) — merely three mainstream movies I find it hard to get jazzed about. These are the conditions that prevail.
This, of course, is Star Trek Into Darkness week, which, I confess, doesn’t thrill me as much as Gatsby week, but I’m not against it. We also have two art/indie titles braving the blockbuster storm—and both are really worthwhile.
Finally — it’s the weekend we get Baz Luhrmann’s The Great Gatsby, a movie bound to polarize just about everyone, and a movie fairly certain to be mauled by a lot of critics, which perhaps makes it that much more interesting. At the same time, we get three new art titles and a kind of stealth attack from Tyler Perry.
It’s the beginning of summer — or so the movies insist — and first out of the gate in the headlong rush for your moviegoing bucks is Iron Man 3. And, of course, no mainstream release is about to go up against it. A couple of foolhardy art/indie titles are not so reticent.
It’s a two and two week again—two art titles vs. two mainstream titles—though you may notice that the distributors are doing their darndest to convince people that one of those art titles, Mud, has crossover potential. In fact, it probably does—depending on whether or not they over-saturate the market by putting it on too many screens. We shall see.
Beginning April 19, ActionFest will once again bring the best in world action cinema to Asheville — this time with a monthly ActionFest Film Series, the first of which will benefit Homeward Bound.
The excitement of last week—the opening of Trance and Beyond the Pines—gives way to slighter art house pleasures this week, but pleasures all the same. There are two of those, but only one mainstream title—and no matter how it fares it absolutely has to be better than Scary Movie 5. An evening with a door-to-door God salesman or someone making an Amway pitch is better than Scary Movie 5.
It is, I think, safe to conclude that the art films have it this week. We have two of those (it was three, but the third got wisely moved to next week) and two mainstream titles. The art titles are very choice indeed. The others — one I’m skeptical of, the other I’m confident will be just plain ghastly.
This week may be on the slack side — in fact, it is on the slack side — but it cannot possibly be as bad as last week. Last week’s three mainstream pictures marked a trilogy of tripe the likes of which I don’t need to see again any time soon (as in this century). I don’t even like thinking about last weekend, so let’s get on with this one.
Last week offered a pretty wide mix of the good and the not so hot — with the actual balance being more of the former (in some cases pretty surprisingly). This week’s list of two mainstreamers, two art titles and one Tyler Perry picture may well be another matter — and the probability of nice surprises seems on the dubious side.
We’re looking at a big weekend comprised of three mainstream offerings and three art/indie titles—one of which has shot to being my favorite film of the year (so far). Another most assuredly has not.
Regardless of how you feel about it, last week’s Oz gave the box office a much needed jab in the lassitude. While this week does have one really choice—and really specialized—title, that won’t have any bearing on national figures, it looks likely that Oz will top the box office again. But we’ll see.
Last week was pretty slack—at least as far as the box office was concerned (I’m of the opinion that Jack the Giant Slayer was a lot better than its reception would seem to indicate). This week is rather stronger looking—both in terms of box office and in general. We’ve got one highly-anticipated mainstream release and three art—or at least not quite mainstream titles.
It would take almost superhuman determination for this week’s crop of movies—four mainstream and one art title—to come anywhere near the toxic crumminess of last week’s dismal duo, and hopefully that determination doesn’t exist. However, it must be admitted that some of this stuff looks very sketchy. Very sketchy indeed.
This could be handled very easily. There are two movies opening this week. They both look pretty bad. There. That about covers it. Fortunately, there are compensations in special showings and on DVD.
It’s Valentine week, so, of course, the studios have found a way to make a buck out of the event. That’s no surprise—and neither is it a surprise that it’s being done in one of those ways that promises to make the week’s layout of movies confusing for all concerned, especially for me. There are five movies opening this week. Fine. Of course, three of them open on Valentine’s Day (Thursday). The other two open on Friday. It doesn’t help that the early information had one of those opening on Thursday, but proved to be wrong. Let’s see if we can straighten this out.