INDEPENDENCE DAY EXTRAVAGANZA: Everything you need to know about the movies that couldn’t beat a three-week old cartoon about a talking fish

 

It’s actually nowhere near as bad as we first thought.

2016 has been bad enough to finally cause Hollywood to re-examine the sequel-based business model, but this is the single weekend everyone will be pointing to. The biggest weekend of the year yeilds three new releases — the second sequel to a bizarrely popular horror franchise, a Spielberg-Dahl adaptation and a live-action Tarzan movie — all expected to finish second place to leftovers, despite the latter two of them costing a combined $320 million to make.

Over the three-day weekend, the expectation was the inexpensive one would pull in $30 million, Tarzan would bring in around $25 million and The BFG wouldn’t break $20 million, and that’s kind of what happened, but the actuals have a couple of key differences that completely change the narrative. One, the totals are all a few million higher — the weekend’s total gross was expected to come in at just under $200 million, but as of Monday morning it’s already at $214.6 million and expected to add another $7 million over the holiday. The other difference is that Legend of Tarzan, expected to be another big-budget embarassment for Warner Bros., almost doubled expectations with current estimates putting it at a $45.6 million four-day total. We’ll get into the economics of the situation during the week, but first, here’s some reviews.

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Deep horror, shallow exploitation

Lively pushes herself to the limit here and does a fantastic job, but this script is so reliant on the lead role I can’t help but wonder how much further a stronger actor could have elevated it. Photos courtesy Columbia Pictures.

Looking up The Shallows, you notice a few things — it stars Blake Lively, who can’t act, it’s directed by Juame Collet-Serra, who only directs awful Liam Neeson vehicles that aren’t even the famous ones, and it’s sitting at a respectable 75 percent on Rotten Tomatoes, far-and-away the highest-rated live action movie out right now.

The movie follows Nancy Adams (Lively) through a nightmare trip to the beach. Adams has recently lost her mother, a fellow surfer, and to get away from it all, Adams has come to the far reaches of Mexico to a beach her mother said was where she found out she was pregnant. After a day of catching waves on the secluded strand, Adams is attacked by a shark, hobbled, and stranded on a rock just out of earshot from the shore. In several hours, the tide will come in and she will be submerged again.

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The demons were inside us all along

Christina Ulsh
@Stina_Ulsh

Amidst blood and glitter, The Neon Demon is a visually striking tale of vanity and jealous rage.

Jesse (Elle Fanning), a 16-year-old orphan, becomes part of the Los Angeles modeling scene after photographer Dean (Karl Glusman) discovers her online and uses her for a macabre photoshoot. She catches Ruby (Jena Malone), a make-up artist, staring at her after the shoot, who then takes Jesse to a party and introduces her to models Sarah (Abbey Lee) and Gigi (Bella Heathcote). Jesse is perpetually reminded of her natural allure by men and women alike. Sarah notes beauty has an expiration date, comparing Gigi to sour milk and Jesse to fresh meat. This idea is perpetuated by intermittent images of wild animals and the hungry eyes that follow Jesse. Sarah and Gigi are eventually ousted by the up-and-coming youth, causing vanity to take on a demonic form.

Quiet and still aren’t typical qualities of a modern movie that captivates. The Neon Demon, however, relies heavily on the two and shines like a glitter-encrusted Elle Fanning.

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Was that a parody?

Photos courtesy 20th Century Fox.

Dusk is falling on the era of sequels, but even though Hollywood is repeating itself to the point of self-satire, Independence Day: Resurgence is still a great idea. Released almost 20 years to the day after the iconic first movie, Resurgence presented the promise of a throwback to when disaster movies were still done right and when sequels were produced with the same care as the original, not just on a tight studio schedule. It’s only when you get into the theater you realize how distinctly, horribly 2016 the movie is.

Independence Day: Resurgence follows way, way too many characters, and it’s difficult to parse out which ones are actually important — really, none of them are. Nobody does much of anything to drive the plot, but some at least participate in it. There’s main-ish character Jake Morrison (Liam Hemsworth), a U.S. pilot serving on the Lunar base. He’s engaged to Patricia Whitmore (Maika Monroe), a former pilot herself who left the armed services to care for her father, former president Thomas J. Whitmore (Bill Pullman), who, like many who were exposed to the aliens’ telepathy, has been suffering from intense psychic visions for years. As a stress-free day job for when she has time off from taking care of her dementia-ridden, widowed, crippled national hero father, Patricia Whitmore has taken up speech-writing for the current president, Elizabeth Lanford (Sela Ward).

Also, David Levinson (Jeff Goldblum) is back. He’s been the director of incorporating alien technology into the allied global military. He doesn’t do much in the movie. He has a new love interest, though, in Catherine Marceaux (Charlotte Gainsbourg), a psychologist who specializes in residual psychic images such as former president Whitmore’s. Also, super-annoying Area 51 scientist Brakish Okun (Brent Spiner) is back, he’s been in a coma since his encounter in the first movie. Back to Morrison for a second — he’s got beef with air force royalty Dylan Dubrow-Hiller (Jessie Usher), son of war hero Steven Hiller from the first movie, who tragically died in a flight test because Fox didn’t want to pay Will Smith’s acting fee. That’s a conflict-resembling plot device that happens throughout the movie. Also, there are these guys on a boat. And there’s this group of kids in a school bus, they make their way into the final fight sequence, somehow.

Also, aliens are invading!

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The Möbius strip: Finding Dory takes several animated film records, Hollywood mourns Anton Yelchin

Image courtesy Walt Disney Motion Picture Studios.

As expected, Finding Dory took over the record for opening weekend for an animated movie with $135 million. The other newcomer, Central Intelligence, got off to a modest $35.5 million and is looking at a domestic run of more than $100 million. None of the week-old releases managed to break $15 million- Box Office Mojo

Additionally, it took the single-day record for animated movies with $55 million. Both records were taken from 2007’s Shrek the Third- The Wrap

Finding Dory was also tops abroad with $50 million- Variety

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