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Two amusing shots of stars Jason Bateman and Melissa McCarthy fill out this simple poster for Seth Gordon's Identity Thief
Stacy lives a reasonable family life, when his identity gets stolen and abused crudely by a madly materialistic con lady in Florida. In order to get his life back on track, he crosses the country to catch the culprit.
Identity Thief is written by Craig Mazin (Scary Movie 3 (2003)), with Jerry Eeten (Elvis Took a Bullet (2001)) contributing story elements, and directed by Seth Gordon (Four Christmases (2008)).
The tone is uneven, ranging between crass and warmly human, however without the latter quality ever settling because the film (similarly to Gordon's preceding comedy Horrible Bosses (2011)) lacks heart.
Melissa McCarthy (The Heat (2013)) is game, and she reveals several assets in her considerable talent, - more than her character can really carry, actually, - but her performance gives Identity Thief its worthwhile core and the laughs that it produces, among others in a couple of funny scenes with Eric Stonestreet (The Loft (2014)) as Big Chuck, and one with Ben Falcone (Life of the Party (2018)) as a motel desk clerk. SPOILER That Jason Bateman's (Central Intelligence (2016)) Stacy character eventually learns from McCarthy's pathological liar and even forgives her is a huge stretch, - and a poorly designed CGI snake and the not exactly inventive action villains on the odd couple's tails also work to weigh down this highly fiscally successful star vehicle. Over-all though, McCarthy deserves a better director and script than is provided here.
[Identity Thief was released 7 October (Croatia) and runs 111 minutes. McCarthy's character was originally written for a man, but Bateman insisted that she was cast after seeing her performance in Bridesmaids (2011). Shooting took place in Georgia, Colorado and Tennessee. The film opened #1 to a 34.5 mil. $, spending another 5 weekends in the top 5, one of which was again at #1, grossing 134.5 mil. $ (77.3 % of the total gross). The 2nd and 3rd biggest markets were UK with 7.4 mil. $ (4.3 %) and Australia with 7 mil. $ (4 %). The film additionally made in excess of an estimated 35.6 mil. $ on the domestic home video market as well. Gordon returned with 4 TV credits prior to his theatrical return, Baywatch (2017). McCarthy returned in The Hangover Part III (2013); Bateman in Bad Words (2013). Identity Thief is rotten at 20 % with a 4.20/10 critical average at Rotten Tomatoes.]
A festive matrimonial gathering of Hollywood stars make up the poster for Andrew Fleming's The In-Laws
A young couple are getting married, and their parents are finally about to meet: But her foot doctor father and his CIA hotshot father get closer to each other than anyone could have guessed on this eventful weekend.
The In-Laws is written by Nat Mauldin (Downtown (1990)) and Ed Solomon (Charlie's Angels (2000)) and directed by Andrew Fleming (Bad Dreams (1988)). It is a remake of Andrew Bergman's same-titled 1979 action comedy hit.
The poster makes the film look like a Meet the Parents (2000) style romcom, but this is more of a buddy-tasting action comedy. Being unfamiliar with the original film is not a handicap in this case and may even be advisable. I found myself easily let along by the charming stars: Albert Brooks (The Scout (1994)) as the neurotic scaredy cat doctor, and Michael Douglas (Traffic (2000)) as the nonchalant, 'I-can-do-anything' type are both well-cast, share chemistry and are genuinely funny together. Brooks' scenes with David Suchet (Effie Gray (2014)) as Jean-Pierre (among other things appearing in a red thong!) are also a hoot. With Candice Bergen (Rules Don't Apply (2016)) as heavily combated ex-wife, and Ryan Reynolds (6 Underground (2019)) with strangely over-plucked eyebrows as the cute son getting married.
The In-Laws doesn't take itself seriously but it is a bowl of laughs, while it also trails around admirably as a kind of fun field trip, particularly for fans of its two seasoned, headlining stars.
Watch a trailer for the film here
Cost: 40 mil. $
Box office: 26.8 mil. $
= Huge flop (returned 0.67 times its cost)
[The In-Laws premiered 19 May (USA) and runs 98 minutes. Shooting took place from June - August 2002 in California, including in Los Angeles, in Chicago, Illinois and in Ontario, including in Toronto. The film opened #5, behind fellow new release Bruce Almigthy and holdover hits The Matrix Reloaded, Daddy Daycare and X2: X-Men United, to a 7.3 mil. $ first weekend in North America, where it left the top 5 in its 2nd weekend and grossed 20.4 mil. $ (76.1 % of the total gross). The 2nd and 3rd biggest markets were Italy with 1.2 mil. $ (4.5 %) and Spain with 777k $ (2.9 %). Roger Ebert gave it a 2/4 star review, translating to 2 notches under this one. Fleming returned with 3 TV credits prior to his theatrical return, Nancy Drew (2007). Douglas returned with a voice performance in Freedom: History of US (2003, TV-series) and theatrically in The Sentinel (2006); Brooks in Looking for Comedy in the Muslim World (2005). The In-Laws is rotten at 33 % with a 5/10 critical average at Rotten Tomatoes.]
+ Best Action Comedy of the Year + Best American Movie of the Year + Best Mega-flop Movie of the Year + Best Satire of the Year
With a hilarious top center tag-line, this USSR propaganda styled poster for Evan Goldberg and Seth Rogen's The Interview sells the movie brilliantly
One of America's most popular, - but fairly unintelligent, - talk show hosts manages to secure an interview with North Korea's fabled Communist dictator, who is a fan. But the CIA feel that the opportunity needs to result in the demise of the notorious villain!
The Interview is written by Dan Sterling (South Park (1997-98)), with great British Columbian filmmakers, co-writer/co-producer/co-director Evan Goldberg and co-writer/co-producer/co-director/co-star Seth Rogen (This Is the End (2013), both) contributing story elements.
The Interview is a Dr. Strangelove (1964) reminiscent adventure that's closer to reality than most would care to admit. It is not only a party to watch, it is also a very unique film, and one whose like you'll never see again, due to the dire ramifications for Sony it incurred, (read about those in the section under the trailer.)
This is an extremely ludicrous and insane comedy, - and you can argue that the enormous controversy it caused makes it less foolish. Because it obviously hit a tender nerve, (in North Korea), and hit it bull's eye.
James Franco (The Disaster Artist (2017)) is permanently keyed up, and Rogen is also a bowl of fun as the odd team heading to the normally hermetically sealed dictatorship. Diana Bang's (Fast Layne (2019, TV-series)) performance as the North Korean Sook, whom Rogen's TV producer falls for, is off the charts. The Interview is a patriotic, freedom-loving kick in the nuts for Kim Jong Un and mad dictators everywhere. It is a howl, and you need to watch it!
= Mega-flop theatrically but may have become profitable in the end
[The Interview premiered 11 December (Los Angeles) and runs 112 minutes. The original script centered on Kim Jong Il, but the project only gained traction after his 2011 death, at which point it was rewritten to focus on his son, the current president of North Korea. Rogen was paid 8.4 mil. $ for his work on the film; Franco got 6.5 mil. $. Shooting took place from October - December 2013 in New York and British Columbia, including in Vancouver. The script was obtained by the North Korean regime, who began sending threats to distributor Sony, who made minor alterations of the film in response. But the threats got worse and were followed up by a massive hack of Sony Entertainment on 24 November, leaking personal e-mails, films and sensitive records to the public, while threats of terrorist attacks against cinemas screening the film increased the pressure further, to the point that cinema chains backed away from distributing the film and Sony eventually pulled the plug on their wide release plan. Marketing was already advanced, and around 30 mil. $ were apparently spent for this purpose. The (North Korean) hackers now switched focus more to the White House and President Barack Obama, who were against Sony's curtailed release. They eventually released the film in a few hundred cinemas (3,000+ had been the original plan), and it opened #16, its peak position, to a 1.7 mil. $ first weekend in North America, where it grossed 6.1 mil. $ (52.1 % of the total gross). The 2nd and 3rd biggest markets were Germany with 1.8 mil. $ (15.4) and Australia with 935k $ (8 %). The derailed distribution was improved by almost 6 mil. online rentals within less than a month, netting 40 mil. $. The film also made in excess of 7.6 mil. $ on North American home video releases. It was also licensed to Netflix, and Sony may likely have been collecting insurance compensation for the shelved wide release, so it is likely that it has made Sony money by now. Goldberg and Rogen returned with many short, video and TV credits but has not released a feature as directors since The Interview. Rogen returned as an actor in Broad City (2015, TV-series), Kroll Show (2013-15) and theatrically in Steve Jobs (2015); Franco in I Think You're Totally Wrong: A Quarrel (2014), which he also directed. The Interview is rotten at 51 % with a 5.70/10 critical average at Rotten Tomatoes.]
A woman's backside used as a canvas for writing a map, seated on the floor next to an expensively dressed co-star Michael Caine holding a tommy-gun, makes up this eye-catching poster for Peter Collinson's The Italian Job
When a criminal bigshot dies in an accidental explosion, our recently released hero inherits a scheme to steal 4 mil. $ in gold from a money transport in Turin, Italy. The job will require a lot of manpower and four Mini Coopers.
The Italian Job is written by Troy Kennedy Martin (The Sweeney (1975-78)) and directed by Peter Collinson (The Penthouse (1967)).
It is a colorful picture in which Michael Caine (Jaws: The Revenge (1987)) plays the thief that no one can resist. Perhaps as a consequence, no other character really make an impression. The film is a sort of trendy, triumphant dance for the swinging London of the 1960s. But it is totally hollow, dumb, - idiotic, in fact. With a terrible ending to boot.
= Box office success (returned 3.13 times its cost)
[The Italian Job premiered 5 June (London) and runs 99 minutes. Noël Coward (Paris When It Sizzles (1964)) was paid 25k £ for his performance in the film. Shooting took place from June 1968 - ? in Ireland, including in Dublin, in England, including in London, and in Italy. The film was the 14th highest-grossing of the year in the UK and reportedly not big in North America. It did collect a sizable 9.4 mil. $ gross and was nominated for a Golden Globe. The film was remade with the same title in 2003, and in Bollywood in 2012 with the title Players. Collinson returned with You Can't Win 'Em All (1970). Caine returned in Battle of Britain (1969); Coward retired from acting after the film and continued as a writer until his death by a heart attack in 1973. The Italian Job is fresh at 81 % with a 7.40/10 critical average at Rotten Tomatoes.]
The four main stars in black jumpsuits walking away from an explosion makes up this poster for Lasse Spang Olsen's In China They Eat Dogs
Arvid is a bank worker, who one day stops a bank robbery using a squash racket. But he later decides that he was wrong to do this, and that he and his brother Harald should be part of the robbery of a money transport.
In China They Eat Dogs is written by Anders Thomas Jensen (The Promised Land/Bastarden (2023)) and directed by Lasse Spang Olsen (Operation Cobra (1995)). The title is a literal translation of the original Danish title.
Possibly among the funniest Danish films of all time, Jensen's script is brilliant, and the lines and plot are highly original. The performances are delivered with bravado by Kim Bodnia (Krigarnas Ö (2016)), Dejan Cukic (Borgia (2011-14)), Trine Dyrholm (Brecht (2019)), Nikolaj Lie Kaas (Riders of Justice/Retfærdighedens Ryttere (2020)) and Tomas Villum Jensen (Old Men in New Cars/Gamle Mænd i Nye Biler (2002)).
Olsen, previously known as a stunt coordinator, is no great director, and the action elements and sound work in the film are often sketchy.
Watch a very short clip from the film here
Cost: 8 mil. DKK, approximately 1.17 mil. $
Box office: At least 1.5 mil. $, projected final gross of 1.8 mil. $
= Uncertain but likely a big flop (projected return of 1.53 times its cost)
[In China They Eat Dogs was released 10 September (Denmark) and runs 91 minutes. Very unusually for a Danish film, Olsen did not secure any state funding for his film, for which it was denied repeatedly, and instead gathered funds from different avenues. Shooting took place in Denmark, including in Copenhagen. The film sold 223,248 tickets in Denmark, coming to 1.5 mil. $. Regrettably the gross numbers from its foreign markets (Norway, Iceland, Germany, Slovenia, Czech Republic) are not reported online. Likely small, they could have resulted in a projected final gross of 1.8 mil. $, which would result in a big flop rating. The film won 1/3 Robert award nominations (Denmark's Oscar). The film got a sequel in Old Men in New Cars/Gamle Mænd i Nye Biler (2002) with returning stars and creatives. Olsen first returned with Kløcler & Vingsøe Udfordrer Afrika (2000, TV game-show) and theatrically with Jolly Roger (2001). Bodnia returned in Dragonfly/Øyenstikker (2001); Kaas in Taxi (1999, TV-series)), Kajen mod Vest (1999, TV movie)) and theatrically in Max (2000). 23k+ IMDb users have given In China They Eat Dogs 7.3/10 average rating.]
The beloved star duo are back for new shenanigans on this poster for Italo Zingarelli's I'm for the Hippopotamus
Two competing cousins find themselves in Africa, liberating animals and handing out punches.
I'm for the Hippopotamus is written by Barbara Alberti (Ernesto (1979)), Vincenzo Mannino (Cobra Mission (1986)), Amedeo Pagani (Colpita da Improvviso Benessere (1976)) and co-writer/director Italo Zingarelli (Una Prostituta al Servizio del Pubblico ed in Regola con le Leggi dello Stato(1971)). The title is a literal translation of the original Italian one.
Terence Hill (Botte di Natale(1994)) and Bud Spencer (Un Piede in Paradiso(1991)) goof around in many lame gags in this African comedy adventure that is often unreal. But it works well as warm and wacky, forgettable entertainment for fans of the star duo.
Watch a trailer for the movie here
Cost: Unknown, projected 3 mil. $
Box office: Projected 25.1 mil. $
= Uncertain but projected a mega-hit (projected return of 8.36 times its cost)
[I'm for the Hippopotamus was released 1 December (Spain) and runs 104 minutes. Shooting took place in South Africa. Although the cost is unknown, it seems certain that the film was a major hit, based on the box office information available: It sold 2.251 mil. tickets in France, 4.91 mil. in West Germany, 720k in Italy, (ironically Spencer and Hill were bigger outside of their native country), and 286k tickets in Denmark. That is 8.167 mil. tickets in these 4 markets alone, with 12 more markets left unaccounted for, although two of them (Turkey and Hungary) did not get the release until far into to 1980s. It was not released in North America but it was released in Australia. With a conservative final projection of 10 mil. sold tickets at a 2.51 $ average prize, the film would have grossed 25.1 mil. $, an enormous sum. Zingarelli only returned as a producer of two more films more than ten years later. Spencer returned in Piedone d'Egitto (1980); Hill in Super Fuzz/Poliziotto Superpiù (1980). 9.4k+ IMDb users have given I'm for the Hippopotamus a 6.6/10 average rating.]
The poster for Mick Jackson's audience favorite The Bodyguard (1992) gets spoofed on this more or less funny poster for Patrick Hughes' The Hitman's Bodyguard
A dethroned bodyguard gets as his new assignment to secure a very competent on-the-loose assassin, who is to witness against an Eastern-European dictator.
The Hitman's Bodyguard is written by Tom O'Connor (Fire with Fire (2012)) and directed by Patrick Hughes (Red Hill (2010)).
Ryan Reynolds' (Red Notice (2021, VoD)) cutesy ironic star persona style lies heavily over this action comedy, which sets his minimally autistic character across from Samuel L. Jackson (Spider-Man: Far from Home (2019)) letting loose as a shouting and/or laughing-his-face-off assassin. The veteran star's endearing laugh is really thoroughly used here.
The two at times have entertaining chemistry, - while in other sequences they mainly just curse each other out, because ... that's the buddy action comedy dynamic. Salma Hayek (Drunk Parents (2019)) is here as a raw, sexy and funny spice. The film doesn't lack for action, including a cool car chase in Amsterdam. But the story is regrettably quite poor, so that The Hitman's Bodyguard never becomes thrilling.
= Box office success (returned 2.65 times its cost)
[The Hitman's Bodyguard was released 10 August (Hong Kong) and runs 118 minutes. 13 companies cooperated in the financing and making of the film. Shooting took place around April 2016 in Sofia, Bulgaria and in the Netherlands, including in Amsterdam. The film opened #1 to a 21.3 mil. $ first weekend in North America, where it spent another 2 weekends at #1 and then another 2 in the top 5 (#3-#5), grossing 75.4 mil. $ (41.1 % of the total gross). The 2nd and 3rd biggest markets were China with 21.1 mil. $ (11.5 %) and the UK with 9.7 mil. $ (5.3 %). Hughes returned with Hitman's Wife's Bodyguard (2021), the flop sequel with returning stars Reynolds, Jackson and Hayek. Reynolds first returned in 7 TV-series and video credits prior to his theatrical return in Deadpool 2 (2018); Jackson in Unicorn Store (2017, VoD). The Hitman's Bodyguard is rotten at 43 % with a 5.20/10 critical average at Rotten Tomatoes.]
Star Rose McGowan looks sensational with a machine gun leg prosthesis on this blood-red poster for Robert Rodriguez's Planet Terror
An experimental bio-weapon accidentally releases and creates a zombie outbreak, which a small group of survivors fight to exterminate.
Planet Terror is written, co-produced, directed, photographed , co-edited and composed by great Texan filmmaker Robert Rodriguez (El Mariachi (1992)) and is part of Rodriguez and co-producer Quentin Tarantino's double feature project Grindhouse (2007), which also comprises Tarantino's car thriller Death Proof (2007).
The film is a total blast and perhaps the year's coolest movie. In terms of the intention of resurrecting the exploitation grindhouse tradition in American cinema of the 1970s and 1980s for a great show, a respectful, enthusiastic and very humorous venture, Rodriguez's contribution wins over Tarantino's more farcical and idiosyncratic Tarantino film.
With Planet TerrorRodriguez really walks the ten miles with a 'bad' story, (understood in the way that it is so flat and obvious, which is just perfect for what this is), a great gallery of characters, rad special effects, a super and very 1980s retro score (by Rodriguez himself) and a terrific cast: Michael Biehn's (Clockstoppers (2002)) comeback as Sheriff Hague and Rose McGowan (Encino Man (1992)) and Freddy Rodriguez (CBGB (2013)) deserve highlighting. There are some hilarious scenes (some involving Biehn and some BBQ 'expert' brothers), and the film is an overall irreverent fun ride for B movie fans.
Rodriguez doesn't have Tarantino's knack (or indulgence) for dialog, but it matters not here in Planet Terror, which is arguably the man's best and coolest film to date.
Listen to the title track from Rodriguez's score for the film here
Cost: 23 mil. $
Box office: 24.1 mil. $
= Huge flop (returned 1.04 times its cost)
[Planet Terror was released 6 April (USA) and runs 105 minutes (in the Grindhouse double feature version only 91 minutes). Rodriguez had wanted to make a zombie movie since The Faculty (1997). McGowan was Rodriguez's girlfriend at the time and was cast despite being on Harvey Weinstein's blacklist, because he had sexually assaulted her in the past: Dimension Films was, however, controlled by Bob Weinstein, who let the casting take place, but his brother Harvey Weinstein succeeded in axing the film's ad budget and thereby limiting its chances of success. Shooting took place from February - July 2005 in Texas and Mexico, with re-shoots in October 2005. Co-star Marley Shelton has stated that she felt that Tarantino co-directed Planet Terror, as he was on set for a lot of filming and gave notes, adjustments and line changes. Grindhouse opened #4, behind holdover hits Blades of Glory and Meet the Robinsons and fellow new release Are We Done Yet?, to a 11.5 mil. $ first weekend in North America, where it left the top 5 in its 2nd weekend and grossed 25 mil. $, with half attributed here to Planet Terror (51.9 % of the total gross). The film released as an individual feature in most other markets with the 2nd and 3rd biggest being Spain with 1.9 mil. $ (7.9 %) and Germany with 1.4 mil. $ (5.8 %). Roger Ebert gave the double feature a 2.5/4 star review, translating to 2 notches under this one. The fake trailer for Machete in the film since spun the actual Machete (2010) by Rodriguez, which to date also has one sequel (Machete Kills (2013)). Rodriguez returned with Shorts (2008). McGowan returned in Fifty Dead Men Walking (2008); Freddy Rodriguez in Bottle Shock (2008)). Planet Terror is fresh at 76 % with a 6.30/10 critical average at Rotten Tomatoes.]
In warm, earthy tones and ocean blue, the two stars look inviting on this poster for Shane Black's The Nice Guys
In 1970s Los Angeles, a policeman and a private detective join forces on a case they share; of a murdered porn actress and a disappeared girl named Amelia.
The Nice Guys is written by Anthony Bagarozzi (Big Bad John (1990, electrician)) and co-writer/director Shane Black (Kiss Kiss Bang Bang (2005)).
Russell Crowe (Gladiator (2000)) and Ryan Gosling (Fracture (2007)) work impeccably as buddies, and there's no lack of fun situations and lines that spark nicely, - even if I still find it tough to link Gosling's baby face with a part as the single father of a teenage girl...
Shane obviously enjoys the moral licenses he takes by placing his plot in the grimy 70s' LA. The outcome of the gnarly, long plot is limited, but the film entertains brilliantly along the way.
Watch a trailer for the film here
Cost: 50 mil. $
Box office: 62.7 mil. $
= Big flop (returned 1.25 times its cost)
[The Nice Guys premiered 10 May (Los Angeles) and runs 116 minutes. Black and Bagarozzi had written the first script in 2001, and the film had been envisioned as a TV-series in the lengthy timespan before Black took it out again and secured financing, because Crowe and Gosling both signed on to play together, each for a salary of "more than 7 mil. $". Shooting took place around October 2014 in Georgia, including in Atlanta, and in California, including in Los Angeles. The film opened #4, behind fellow new release The Angry Birds Movie, holdover hit Captain America: Civil War and new release Neighbors 2: Sorority Rising, to a 11.2 mil. $ first weekend in North America, where it left the top 5 in its 2nd weekend and grossed 36.2 mil. $ (57.7 % of the total gross). The 2nd and 3rd biggest markets were the UK with 4.9 mil. $ (7.8 %) and Australia with 4.3 mil. $ (6.9 %). Black returned with The Predator (2018). Crowe returned in Saturday Night Live (2016, TV-series) and theatrically in The Mummy (2017); Gosling in La La Land (2016). The Nice Guys is certified fresh at 91 % with a 7.60/10 critical average at Rotten Tomatoes.]
