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Now that we know "The Tree Of Life" will finally hit theaters in 2011, we can start obsessing on the director's next project, the untitled feature that currently is shooting in Oklahoma.
Starring Rachel McAdams, Ben Affleck, Javier Bardem, Rachel Weisz and Olga Kurylenko, plot details are as usual completely under wraps, but during the film's production, numerous pics and video of Malick and his crew shooting the film have made their way online. Now, more pics emerged thanks to local Osage County newspaper The Bigheart Times, along with a couple intriguing bits of info.
First up, the solid and continually underrated Barry Pepper has joined the cast of the film and along with Javier Bardem, plays a priest in the pic. So what does this indicate about the plot? We have no idea except that perhaps there will be some thematic crossover from "The Tree Of Life." The article goes on to indicate that shooting wrapped in Osage County last week, but no word yet on how many work weeks are slotted for filming. And of course after that comes Malick's painstaking editing process, so this is one is still a long time from being seen (hell, we're still waiting on something official from "The Tree Of Life"; a release date even, not to mention an official still or trailer).
But, we're mostly just thrilled not to have to wait a decade for another Malick film. That said, we don't expect this one to be ready until 2012 at the earliest so we will have to be patient. Two Malick films within such proximity is something to be excited for.
The Weinstein Company are doing some release date shuffling as the Oscar season begins to go into full gear.
As was expected following the news earlier this week that Julian Schnabel's "Miral" was heading out of 2010, The Weinstein Company have confirmed that the film will get a limited release on March 25, 2011. With the film getting a lukewarm response from critics at both Venice and TIFF, any chances of awards season hope the film might have had are non-existent now so no surprise that the studio isn't going to throw money after it. Word was that Schnabel continued to tinker with the film after it unspooled in Venice so don't be surprised if he continues to fine tune it before it hits theaters.
Meanwhile, "The Company Men" has been pushed from its previously scheduled October 22nd release date right into the heart of awards season prestige and blockbuster territory, hitting theaters on December 10th. The downsizing drama starring Ben Affleck, Tommy Lee Jones, Chris Cooper, Kevin Costner and Maria Bello was directed by John Wells, premiered at Sundance, was picked up by The Weinstein Company and then sort of forgotten about. Well, TWC will have time to get it back on everyone's radar with a couple more months to get some marketing out there and certainly, they'll be piggybacking off what is sure to be a Warner Bros. Oscar campaign for "The Town." No word yet on the fate of "Blue Valentine," recently tagged with a ludicrous NC-17 rating. Things have been surprisingly quiet from the TWC camp which leads us to believe Derek Cianfrance is quietly re-cutting/submitting the film (note: he's been shaving the running time down since Sundance; it was ten minutes shorter at Cannes and few more minutes shorter at TIFF) and/or they are going through the appeals process quietly. When the studio went public with their outcry regarding the R-rating for "The Tillman Story" earlier this year, it didn't seem to make much difference.
Ben Affleck recently was offered the Warner Bros. crime flick "Tales Of The Gangster Squad," but a "yes" wasn't immediately forthcoming. Now we know why. The actor/director is teaming with his brother Casey to rewrite the Yankees wife swap pic "The Trade."
The project was first announced as a starring vehicle for Ben Affleck and Matt Damon last winter. The story is based on real-life players Fritz Peterson and Mike Kekich, who in 1973 revealed that they had been swapping wives and fell for each other's partners. Peterson and Kekich's ex-wife are still together today, while the other couple has since split up. Affleck is eyeing the role of Peterson with Matt Damon playing Kekich.
Shortly after the news surfaced, Damon said a script for the film "didn't exist" but that's not necessarily true. It was written by Dave Mandel was and ranked #35 on the 2009 Black list. In addition, screenwriters Brian Koppelman and David Levien ("Oceans 13,” “Rounders”) have been clocking that story for years and collecting information so they could eventually end up writing the film. But Damon, someone who generally wants a solid script in hand before signing on to anything -- Doug Liman playfully called him a "script whore" recently -- most likely didn't like the draft and wants to see something different. Enter Ben and Casey.
Of course, it doesn't need to be mentioned that Affleck and Damon have been fast friends since childhood, and both broke through in Hollywood in a huge way thanks to "Good Will Hunting," which they both wrote and starred in.
As for who will direct, that remains a bit of an open question with Affleck saying, "I don't know how it will come together — acting, directing, who will do it, but Casey and I decided to write it," he said. "It's one of those things where we don't jump in and go, 'I'm going to do this, you're going to do this.' Let's write it. Let's get it to a point. Dave Mandel did a good draft. Casey and I are going to fool with it and get it to a place we want to get it to. Once the script is ready, then it's, 'Who's doing what, what's the time frame, Matt, me, Casey, directing?' "
But Ben Affleck was said to have shown some interest in directing the film since last spring, and if he feels strongly about the finished script, certainly Warner Bros. will be eager to please the man who landed them a big fall hit and possible Oscar contender in "The Town."
With offers having been made already to Ben Affleck and most recently, Darren Aronofsky, but with no bites yet, Warner Bros. apparently has a list of other top candidates for the director's chair of the period crime flick, "Tales From Gangster Squad."
So what's it about? The film is based on a series of articles in the L.A. Times by Paul Lieberman and was picked up soon after it's publication in 2008 by Warner Bros. who, in turn, hired former L.A. cop turned novelist Will Beall to adapt. The major focus of Lieberman's article were a specialized L.A.P.D. unit set up in the '40s to fight the growing influence of the East Coast Mafia, namely that from infamous gangster Mickey Cohen, a mogul who started as muscle for Al Capone in Chicago. It definitely sounds like some very pulpy, very exciting material.
With that in mind, Latino Review claims that Warner Bros. has five other candidates ready to call should Aronofsky pass (and we presume this means Affleck has passed as well?). Those names? Paul Greengrass, Francis Lawrence, Martin Campbell, Scott Cooper and Greg Berlanti.
The names seem to indicate a few totally different directions for the film. The first three names are helmers with some serious action chops. Greengrass is a very interesting choice; his relationship with Universal right now is rocky-to-nonexistent but he is also attached to the gestating "Treasure Island." As for Lawrence and Campbell, they have both already worked under the WB banner and are known quantities to the studio which, if Zack Snyder's hire for "Superman" means anything, is an asset to landing the gig. Campbell is currently in post-production on "Green Lantern" which is already getting positive buzz with WB already thinking about a sequel. As for Lawrence, he delivered the megahit "I Am Legend" and was the studio's go-to guy to lead the reshoots to try and salvage "Jonah Hex."
But if those choices seem a bit obvious, the latter two do not. Scott Cooper only has one film under his belt, the small but big-hearted "Crazy Heart." Jumping to what is shaping up to be a big tentpole vehicle for WB seems like a big step for the director and a gamble for the studio. And while Berlanti has gained some heat at the studio for his script for "Green Lantern" (and he's being tasked with "The Flash" and "Green Lantern 2") his directorial jobs have been quite different in scope, centering on middle-of-the-road romcom fare like "The Broken Hearts Club" and the upcoming "Life As We Know It." We can only suppose that Cooper and Berlanti's names are there should the picture take on a more character driven approach.
As always, none of these directors could end up taking the gig, but Warner Bros. seem to be making decisions fairly quickly these days (those "Superman" directing rumors ended a lot sooner than we thought they would) so we wouldn't be surprised if something official came sooner rather than later.
For a guy who professes not to be a comic book fan, Darren Aronofsky could have fooled us. Since breaking through with "Pi" and "Requiem for a Dream," he's been attached to a number of graphic novel-related properties, including "Watchmen," "Batman: Year One," the Manga adaptation "Lone Wolf and Cub" and "Robocop" (which yeah, isn't based on a comic book, but might as well be). With his latest film "Black Swan," picking up excellent buzz, he's been linked of late to "Preacher," "Superman" and "X-Men Origins: Wolverine 2."
Supposedly, Aronofsky was pursuing "Superman" fairly vigorously, but proved to be too much of a perfectionist for Warner Bros, and Zack Snyder landed the gig on Monday. As a result, both Vulture and Deadline are reporting that offers and/or talks are underway between 20th Century Fox and the director for the latter to helm the 'Wolverine' sequel. A number of names had been linked, including "Let Me In" director Matt Reeves, Robert Schwentke, who dropped out the running in favor of "R.I.P.D" and "The Osterman Weekend," and "Twilight: Eclipse" helmer David Slade, but franchise star Hugh Jackman was apparently keen to reteam with his friend and director on "The Fountain," and seems to have gotten his way.
Supposedly, Aronofsky met with studio head Tom Rothman to ensure that, if he signed on, he'd be given full creative control (man, we bet Gavin Hood wished he'd taken a similar meeting...), and that talks are now underway. It remains to be seen whether Aronofsky will sign on, but clearly, Fox are serious about trying to land the director. We've heard some very good buzz on Christopher McQuarrie's script, which follows Wolverine to Japan (if anyone happens to see it lying around, you know where to send it...), and with Aronofsky on board, this should be a sequel that far surpasses the original. Although, having said that, the film could be nothing but 90 minutes of Jackman clubbing baby seals, and it would still far surpass the original. According to Jackman, filming will kick off in March/April next year, for a Summer 2012 release.
Just to cement how in-demand Aronofsky has become, Vulture also report that, as a consolation prize from Warner Bros., he's been offered "Tales From The Gangster Squad," a period gangster movie about cops attempting to bring down notorious LA gangster Mickey Cohen. Ben Affleck got a similar offer last week, but turned it down, so WB have moved on to Aronofsky. Supposedly 'Wolverine 2' has the edge, but that could all change in the next few days.
Reports peg “The Social Network” costing Sony $40-$60 million, which means this number one opening should be more than solid. But then you have to consider prints and advertising - a movie about angry nerds staring at computer screens and occasionally yelling at each other with maximum verbosity doesn’t sell itself. The picture might count as “relevant” and “important” but with a likely costly Oscar campaign coming, Sony’s going to pray this has enough legs to get to $100 million and not settle for $60m. In Facebook terms, this isn’t an Eduardo Saverin opening, but it is a Mark Zuckerberg opening. Sony was probably banking on a Sean Parker-type weekend.The numbers suggest the film did extremely well on the coasts and weak in the Midwest, South, and various flyover regions*. There could be the nugget of a possibility that “The Social Network” is something more cerebral, even esoteric. Perhaps it’s the notion that this is a story where no one is really worth rooting for, and at heart, the film explores the complexities of truly godless individuals. Or maybe it’s the very real possibility that “Network” was snobbishly pushed harder on the coasts, while the rest of the nation was left to tune out from this movie about people tapping on their keyboards to create a waste of time website that serves no real, practical purpose. Let us not forget that sometimes, being a “good” movie isn’t enough of a hook for some viewers.
Conventional wisdom says that kiddie flicks have legs, even when they aren’t heavily attended, and “Legend of the Guardians” won't buck that trend. Still, this thing has flop written all over it, whether it’s a $100 or $150 million expenditure, even if it was a Legendary Films/Warner Bros. co-production, and even if they paid the voice cast in trinkets and tchotchkes. Even though there's no relation between the projects, WB didn't gain any promotional traction by pushing this film a week after their own Ben Affleck bank robbing caper, something most studios usually know to avoid. It looked more nature-film than action picture, and those early ads, with laughably terrible guitar rock over the cuddly CGI images, probably turned off parents hoping they could take their kids to something a bit less somber-looking.
“Wall Street: Money Never Sleeps” had a hearty fall from its perch, losing about half its audience. An expected fall for this type of film, this sequel is still projected to perform right at expectations, landing at $50-$60 million easily. You could have argued that all parties involved needed this to be bigger, but that case is dubious now - failing to become a zeitgeist grabber and, likely, an awards contender keeps Shia LeBeouf in the Brand Name sweepstakes, but not in the Real Actor department. And Oliver Stone likely buys himself some time and a chance to be director-for-hire yet again despite a serious declining Q rating based on diminished skill and reliance on hefty budgets. Of course, this sadly might be the last time we see Michael Douglas strutting his stuff on the big screen, and for a former box office lion like him, that likely carries weight for the people who have added to “Wall Street 2” tallies.
At the WB, they reward success not with fruit baskets or gift certificates but with a chance to helm “Superman.” However, all reports suggest Ben Affleck would rather have the fruit basket, free massage and chaise longue that come with the success for “The Town,” which held remarkably well in week three and looks poised to challenge $90 million domestic. A movie that makes $100 million in the September-October time period has a serious effect on your cred, but it’s oodles better if the film has legs and benefits from what appears to be word-of-mouth. “The Social Network” and “Wall Street” may have topped the box office recently, but “The Town” still carries a lot of “I’ve gotta see that” heat from the general public.
“Easy A” continues to stick around, a stellar hold getting the film over the likely $40 million domestic target, with more ground to cover. $60 million isn’t out of the question, a number that can turn a bit player into a star. Emma Stone, this is your moment: don’t work with CGI owls. Screen Gems had a rocking summer, and with this sub-$10 million film generating significant theatrical profit (providing p&a wasn’t out of control - always a possibility), all parties involved could pull in serious dough by association. More than likely, director Will Gluck has now atoned in the eyes of studios for “Fired Up,” one of last year’s biggest flops.
When a film sits on the shelf for more than a couple of years, it’s a terrible sign for everyone. But Paramount knows when God gives you lemons, you make applesauce, and was able to get Paramount Vantage's leftover “Case 39” into a couple thousand theaters years after that boutique label closed. Most studios would treat a film like this as radioactive and it would go straight-to-DVD, but Paramount rolled the dice on a likely cheap ad campaign (and no press screenings) and will get the film to a potential $15 million gross. Overture have to be smarting that “Let Me In” was taken out by the knees partly because the horror dollar was being squeezed by not only “Case 39” and “Devil” but also “Hatchet II” and “Chain Letter.” The last two were quiet indie releases though, so Paramount, who could have shat out “Case 39” on any weekend to similar results, comes out looking like a dick. Viewers, meanwhile, had to be confused by the fact that Bradley Cooper no longer looked so buff and Renee Zellweger didn’t resemble a Shoggoth.
We don’t wish to hate on this decision, but what kind of Tranya does one have to sip to think that they would make serious money by remaking “Let The Right One In”? Overture somehow saw dollar signs in remaking a “beloved” recent horror classic that made $2 million domestically on the art house circuit, imagining they got brownie points for staying close to the source material. “Let Me In” is as alienating as major releases get, a dark, snowy, somber adult film starring kids and ostensibly featuring horrific violence. “Let Me In” had no recognizable faces, a hard-R rating and ads that (appropriately?) showcased vampirism as a disease, when audiences have already declared that they prefer their vamps with guns (“Underworld”), smoking hot (“Twilight”) and generally sans real tragedy. No matter how strong Matt Reeves’ vision for this remake was (and it's an excellent effort), it was DOA as soon as it was announced, and most of us are just stunned they got it into 2000 theaters. Of course, more people will have seen “Let Me In” than “Let The Right One In” by the time the dust settles, but this material just isn’t for everyone. Which is our condescending way of saying that lots of people have terrible taste.
In indie theaters, "Catfish" and "Waiting For Superman" remained the top attractions, with "Catfish" expanding to the tune of $607k on 34 screens and the Davis Guggenheim doc pulling in $407k with the week's best per-screen average ($11k per). While "Catfish" isn't showing the kind of breakout potential people expected, "Superman" could play pretty strongly if this expansion is managed the right way, and potentially it could be a rarity, the $1 million doc. "It Might Get Loud" and "An Inconvenient Truth," Guggenheim's previous, crossed that barrier with ease (particularly the latter), but "Superman" is a noticeably tougher sell. Still, the impetus behind a film like this is, as long as one person sees it, it has made a difference. Also, the people who made "Waiting For Superman" are already millionaires.
In a crowded indie marketplace, Woody Allen's "You Will Meet A Tall Dark Stranger" averaged $8k per-screen, with $232k on 29 screens. "Get Low" continues to bring in audiences, bringing its total to $8.6 million with a strong $204k in its tenth weekend, while super-doc "Freakanomics" barely made a dent with $33k on seventeen screens. The big loser for this weekend? The horror genre. In addition to "Case 39" and "Let Me In" bellyflopping, two smaller releases had debuts on the frail end of the spectrum. "Hatchet II" pulled in only $62k on 68 screens, while "Chain Letter" was one of the year's biggest tanks at 406 venues, pulling in $143k, a meager average of $352 per-screen. Pass this on - support your local indie theaters, folks.
1. The Friendster Lounge (Sony) - $23 million
2. Legend Of The Guardians: Owly! (WB) - $10.9 million ($30 mil.)
3. Wall Street: Money Takes A Knee (Fox) - $10.1 million ($36 mil.)
4. The Town (WB) - $10 million ($64 mil.)
5. Easy A (Sony) - $7 million ($42 mil.)
6. You Again (Disney) - $5.6 million ($16 mil.)
7. Case 39 (Paramount) - $5.4 million
8. Let Me In (Overture) - $5.3 million
9. Devil (Universal) - $3.7 million ($28 mil.)
10. Alpha And Omega - $3 million ($19 mil.)
*Bear with us; Hollywood considers anything that isn’t New York, Los Angeles, or Chicago “flyover regions.”
Warner Bros. are reportedly so impressed with Ben Affleck's directorial work (and box office results) on the Boston-set crime-drama "The Town" that they've offered him the director's chair of the 1940s cop-drama, "Tales From The Gangster Squad."
The adaptation is based on a series of articles in the L.A. Times by Paul Lieberman and was picked up soon after it's publication in 2008 by Warner Bros. who, in turn, hired former L.A. cop turned novelist Will Beall to adapt. The major focus of Lieberman's article were a specialized L.A.P.D. unit set up in the '40s to fight the growing influence of the East Coast Mafia, namely that from infamous gangster Mickey Cohen, a mogul who started as muscle for Al Capone in Chicago.
Whether or not Affleck will consider the offer seriously remains to be seen. Several projects are, however, already on his radar: he's reportedly considering directing a Showtime pilot from the mind of "24" producer Howard Gordon about a sleeper cell and a ex-CIA operative and has eye on an unknown "two-hander" also at Warner Bros. which may star his BFF Matt Damon.
Could that be the New York Yankees wife-swapping pic, "The Trade," which Affleck was attached to write, direct and star in along side Damon? The script by Dave Mandel ("Seinfeld," "Curb Your Enthusiasm") was highly spoken of and was based on Yankee players Fritz Peterson and Mike Kekich who, in reality, did in fact swap wives and ended up falling for each other's partner.
It might be a while yet anyway before Affleck goes behind the camera again. When recently asked about his next directorial effort, Affleck noted "I don't know yet. Maybe [I'll write again], we'll see. I'm not sure. I just want to find something good. I waited a while before doing ["The Town"] and I'm glad because I really like this. And I think one of the dangers is if you pick something too soon and it can go sideways. You work on something for two years, you have to really love it as much on day 700 as day 1."
All the while, "The Town" has now earned just under $52 million at the box office and has even been touted as a potential dark horse to sneak into the Oscar Best Picture race. [Vulture]
The latest picture to be driving the rumor mill that keeps sites like ours busy is clearly the Christopher Nolan-produced "Superman;" after months of inactivity, the project sprung into life last week with Tony Scott, Jonathan Liebesman, Duncan Jones, Matt Reeves and Zack Snyder all being named as prospective candidates to direct. Darren Aronofsky joined them last night, and now two more snippets of info have come to light — one of a director on Nolan's list who now seems to have been ruled out, the other of a potential cast member.
First up, Heat Vision report that Ben Affleck, whose star is freshly reborn in a big way after the critical and commercial success of "The Town," met on the project last week in a directing capacity (although Affleck, of course, has donned the Superman gear in the past, in his excellent performances as 1950s TV star George Reeves in "Hollywoodland"). However, it seems that Affleck is "no longer pursuing" the project — which sounds like the decision came from Affleck. While he doesn't have anything lined up after the currently-filming Terrence Malick film, and who knows when that'll wrap, the hyphenate may be keen on using his new cred to makes something more personal. Perhaps a Boston-set crime drama?... (Oh, and kudos to the commenter who called this one last week)
Secondly, Moviehole report that according to their source who has recently worked for Aronofsky, not only has the director been in discussions for the project for some time, but that Warner Bros. are keen to cast his "Black Swan" star Natalie Portman as Lois Lane in the project. The source stresses that things are still early, and we reckon that is something very important to note. Right now, we'd lay even money that all of these directors are just names on a list, that Nolan and studio are going to be talking to plenty more people, and that they will take their time to find the right person with the right vision for the job. With a tentative December 2012 release date slotted, they still have some time put the pieces together.
As for Aronofsky he's also being courted by Hugh Jackman to direct the Christopher McQuarrie-penned sequel to "Wolverine," and has a biopic of Jackie Kennedy in development, to star his partner Rachel Weisz, so he's not short of options, particularly with the strong buzz on "Black Swan." Nolan's set to meet other directorial candidates this week, so it could be anyone's. But so long as we don't end up seeing Zack Snyder's "Superman: The Legends of Ga'hoole," we don't mind who lands it...
"Money Never Sleeps" indeed. Who takes the credit for the "Wall Street" sequel opening? As little as this might mean ($60 million domestic seems like the ceiling for latter-day Oliver Stone), it's a victory when studios can get a September release to an opening around $20 million. Credit to the headliners - the combination of one-time heavy hitter Michael Douglas in his signature role (akin to Stallone returning to Rocky or Rambo) and box office kid dynamo Shia LeBeouf likely meant a safe bet for curious viewers, in addition to fans of the $43 million-grossing first film twenty-three years ago.
We'll guess this is a vote for topicality, so regardless of the quality of the movie (irrelevant - this is a box office discussion), good for the American people. If they completely rejected this film (and, mind you, this opening isn't exactly a record breaker), then you could have considered it a referendum against the increasingly not-with-it Oliver Stone, but also yet another rejection of a film about topical issues. The war in the Middle East has yet to produce a hit, but here we are in the recession and people will pay to see Michael Douglas bilking people out of their cash and smiling all the way to the bank.
It looks like Warner Bros. is gonna take a mulligan on "Legend of the Guardians." With Zack Snyder behind this action epic, they were likely hoping similar results to when George Miller directed "Happy Feet." Of course, even with 3D-inflated prices, this opening is less than a fourth of what "Happy Feet" scored in its opening frame in 2006. The problem probably lies in the animation-style, as the owls in the picture appear difficult to distinguish. Having no big names above the title also didn't help, but let's face it - sometimes no one wants to see a movie. And whether it's Zack Snyder or Jean-Luc Godard, you're not going to get modern-day audiences, adults or kids, into a theater to watch an animated action picture about owls.
Fortunately for the studio, "The Town" continued to do solid business, approaching $50 million after two weekends. Ben Affleck's crime thriller is most likely the biggest step in rehabilitating the one-time A-Lister. The question is, does he try to pursue more lead roles, or does he become a Redford-like hyphenate? He's only got the new Terrence Malick picture on deck, so could we see a return to the action hero Affleck? Maybe he'll direct a third crime picture set around Boston based on a best-seller? Or maybe his promise will wither in another "Gigli."
Screen Gems benefited from a solid hold for "Easy A," which was impressive not only in that it managed a strong second weekend, but the film also outdistanced the similarly-themed "You Again." Even with the suddenly-everywhere Betty White, 'Again' couldn't score numbers equal to Kristen Bell's other DOA lead role of '10, "When In Rome." This likely puts her leading-lady career on ice for now, but it wouldn't be a surprise to see her pop up in more ensemble comedies.
"Devil" had a typical horror slide into sixth, just barely getting past "Resident Evil: Afterlife." Both are pretty much done, though "Devil" is going to need a stretch to get to $40 million. No such negativity for 'Afterlife,' easily the highest-grossing film in the series worldwide, and this a series that usually scores massively on DVD. 'Afterlife' can thank the 3D prices, but that was only a small consolation to "Alpha And Omega," which plummeted in weekend two, and may be the lowest-grossing wide release film in 3D ever.
In limited release, Woody Allen's latest "You Will Meet a Tall Dark Stranger" took in a total $163K on 6 screens, but was topped on per screen average by "Waiting for 'Superman'." The Davis Guggenheim-directed doc about the American education system premiered on only 4 screens, taking in an average of $35k each: a solid opening for the sophomore effort from the same team that brought us "An Inconvenient Truth." Meanwhile, Ryan Reynolds-in-a-coffin thriller "Buried" opened on 11 screens, bringing in a modest $104.5K. Our review from TIFF was lukewarm, finding Reynolds' strong performance to be under-served by a plot line that was "ultimately marred by a number of implausibilities and some tepid political commentary." The picture is currently at 87% on Rotten Tomatoes, so it remains to be seen what a wider opening and Reynolds' name can do for the take on this one.
1. Wall Street: Money Never Sleeps (Fox) - $19 million
2. Legend of the Guardians: The Owls Of Ga'Hoole (WB) - $16.3 million
3. The Town (WB) - $16 million ($49.1 mil.)
4. Easy A (Sony) - $10.7 million ($32.8 mil.)
5. You Again (Disney) - $8.3 million
6. Devil (Universal) - $6.5 million ($21.7 mil.)
7. Resident Evil: Afterlife (Sony) - $4.9 million ($52 mil.)
8. Alpha And Omega (Lionsgate) - $4.7 million ($15.1 mil.)
9. Takers (Sony) - $1.6 million ($54.9 mil.)
10. Inception (WB) - $1.2 million ($287 mil.)
What are they looking at? We have no idea what the conceit is behind the new poster for the upcoming, downsizing drama "The Company Men" but we really hope it's not a riff on the kitty on a wire, Hang In There Baby poster because that would be quite lame.Starring Ben Affleck, Tommy Lee Jones, Chris Cooper, Kevin Costner and Maria Bello this film by John Wells premiered at Sundance, was picked up by The Weinstein Company and then sort of forgotten about. In the film Affleck gets the role of the (upper) middle class everyman whose life is changed when he loses his job at the age of 37.
At any rate, we'll see if this film is an awards horse or not when it opens on October 22nd. As a refresher, you can watch the trailer here. [Cinematical]
Now that we know "The Tree Of Life" will finally hit theaters in 2011, we can start obsessing on the director's next project, the untitled feature that currently is shooting in Oklahoma.
