Filmsy - Movie Reviews Blog

Avatar surpasses Titanic at the box office

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There wasn’t even any doubt that it could.

James Cameron’s CGI movie Avatar has officially surpassed his own movie Titanic as the highest grossing movie of all time.

In the US domestic market Avatar reached a record $601,141,551 47 days after it was released in theaters. The take easily surpassed the $600,788,188 that Titanic earned for its whole run in the theaters.

The money shoveling also continued in the international market. Avatar has already surpassed Titanic’s worldwide take of $1,242,413,080. Avatar has earned an astonishing $1,446,989,293. It even achieved the record in far less time than Titanic, which, anyway you look at it, is just phenomenal. The total worldwide take Avatar is now pegged at $2,048,130,844, which leaves Titanic’s total take of $1,843,201,268 in the dust. Amazing, really.

I guess this means we’ll be treated to more of Cameron’s “I’m the king of the world!” arrogance this year.

Avatar continues to shatter box office records

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If there’s one thing Hollywood movie junkies love as much as big-budget blockbusters it’s the numbers porn associated with these multi-million dollar earners.

And the numbers are finally out for the highly successful Avatar.

Avatar has continued its phenomenal performance and it’s now being proclaimed as the box-office superstar of the decade, much like how Titanic was in the previous decade. Avatar raked in $350 million in just 17 days and over one billion dollars worldwide. The James Cameron flick also set a New Year’s Day weekend box office records with $68.3 million, a drop of just 10 percent from the figures it posted during Christmas weekend. This makes Avatar the highest third weekend grossing movie ever, surpassing Spider-Man.

Expect next weekend to become another round of record setting as the movie hits the $400 million mark, which will push it past Transformers: Revenge of The Fallen as the highest grossing movie of 2009 and also making it part of the top ten highest grossing movies of all time.

What’s quite impressive about these figures is that Avatar is not even a sequel so there’s no prepackaged audience here. Secondly, most of the money is being made on 3D and IMAX screens, which could herald the start of a shift towards more “high tech” presentations for future Hollywood movies. Third, this is a movie that has been released in the holiday season, not in the summer where movies enjoy more audiences because people are on vacation. Avatar now has to contend with students returning to school and people going back to work after the holidays.

Whatever happens though, Avatar has made a mark financially. Artistically, the verdict’s still up.

Sherlock Holmes

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Sherlock Holmes and Watson — one of literature’s most well beloved “couples” — are about to break up. Or so the movie begins, with Watson just about to move out of Baker Street and leave the life of crime investigation to settle down with a proper English lady.

Then a case opens, and Holmes tries to woo back his partner. So starts this comedy adventure. It’s your usual winning formula of villain on the quest for world domination + lovable hero + loyal sidekick + romantic sideplots. The movie also tops into the latest trend of witch craft and magic. Hmm. Sherlock meets Lord Voldemort.

The fight scenes are decent, with moments of genius. Watch for the scene at the shipyard. Unfortunately, Director Guy Ritchie tends to overedit some of the best sequences. Even the musical score has some great moments. Nothing to win an Oscar, but quite good for an action movie.

You get the feeling, after watching the movie, that the producers are gearing you up for a sequel. It may actually be a good idea. Robert Downey Jr. does a pretty good job of giving the Sherlock Holmes of classic lit a modern, sorta-sexy/sorta-funny vibe (the way Johnny Depp made being a pirate cool). And considering the Holmes-Watson tradition, there’s a deep well of possible story lines and a deep fan base who’ll follow the pair in whatever crazy adventure they get themselves into. (It may also turn the new generation towards the classics, and help them rediscover Sherlock Holmes and actually read the book!)

The Princess and the Frog

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It’s a holiday tradition. Come Christmas time, Hollywood rolls out the feel-good family movie to take advantage of the “mommy crowd” eager to spend big money on a movie date and the corresponding merchandising. This year, it’s Disney’s The Princess and the Frog.

But this is no dainty princess: Tiana has dreams of her own — she’s not waiting for anyone to sweep her off her feet. Girls will like the spunky heroine, and possibly the songs. Because, oh, there are many songs. Disney went overboard with the soundtrack, which kind of slows down the story, though the variety is applaudable. Influences run from gospel to Broadway, though it’s not of the same caliber (in terms of catchiness) as Little Mermaid or Aladdin. The plot pacing is also a bit off: too much happens, too soon. Pity, because the characters are interesting. It’s cool how Disney has modernized the traditional princess, in response to a new generation of young girls who need more than a handsome prince to find a “happily ever after.”

Dr. Facilier is a cool villain and the voodoo world taps from the rich New Orleans culture. We only wish there were more of the Evil Doc. Unlike other Disney bad guys like Jafar or Mufasa, who hold their own against the hero, he doesn’t quite get the adequate air time.

The animation won’t win any awards for special effects: it’s classic 90’s Disney, and marks the studio’s nostalgic return to 2D animation — and the foolproof formula of a lovable heroine + a catchy song.

Tom Ford: new director on the block

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Tom Ford shifts his focus from creating expensive designer suits to directing films with Single Man.

The story draws inspiration from a short story written by Christopher Isherwood. Set in the 1960s, it centers around George (played by Colin Firth), an English professor still grieving the death of his partner. Though several years have passed, he’s still trapped in the past — or miserably trying to escape it. In his depression, he, uhm, “seeks comfort” from his best friend (played by Julianne Moore). We all know how that goes.

So George decides to kill himself. And that would be a pretty horrible way for a Christmas movie to end (although, interestingly, suicides tend to rise during the winter season — must be the combination of the dreary weather and dysfunctional family reunions). But in the spirit of another holiday classic, “It’s a Wonderful Life,” George has a “moment” that convinces him that yes, life is meaningful.
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Colin Firth was pretty darned good in this movie, and all things considered, Tom Ford did a fantastic job, too. It is his first film, and he took creative risks, including the subtle use of color to express mood or even shift time frames (must be the designer in him). Even the placement of objects is symbolic.

It won’t win any Cannes awards but “Single Man” is a brave directorial debut that tackles a powerful topic of enduring love, triumph over tragedy, and hope. All in all, it’s a thought provoking film, and one that will have you in a suitably reflective mood when you think about the holidays “and what really matters.”