DID YOU READ

The best flops of 2011

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The end of the year is a cruel time for movies. Everything gets broken down into winners and losers: this film got a nomination, this one didn’t; this film is the best, this one isn’t. But movies aren’t nearly so black and white. A film can win over the hearts of every person who sees it, and still lose at the box office. Whether it’s because of marketing, piracy, word of mouth, or plain old bad timing, good movies fall through the cracks all the time. This list will celebrate a few of the best movies of the year that also happened to be some of the worst grossing movies of the year.

There are a variety of ways to define a flop. The Hollywood Reporter‘s list of the biggest flops of 2011 includes one or two movies, like “Glee: The 3D Concert Movie” and “Sucker Punch,” that outgrossed their budgets (before marketing costs). Hollywood accounting is more of an art form — or a shell game — than a science. So I went with a simple qualification for the list you’re about to read: if the movie cost more to make than its worldwide gross, it was eligible.

Here are my picks for the best flops of 2011. Winners all, at least where it counts.


“The Beaver”
Directed by Jodie Foster
Estimated Budget: $21.0 million
Worldwide Box Office: $6.3 million

A black comedy about a suicidally depressed man who finds stability (and later further insanity) in the form of a talking beaver puppet would have been a tough sell under ideal circumstances. In the wake of star Mel Gibson‘s ongoing personal problems, it was basically an impossible one. “The Beaver” was far from perfect — the subplot about Anton Yelchin as Gibson’s son went nowhere and director Jodie Foster weirdly gave her own character the short shrift — but Gibson himself was wildly impressive as a broken man in freefall. Even if he had some real life experience to drawn on. Read my full review here.


“Killer Elite”
Directed by Gary McKendry
Estimated Budget: $70.0 million
Worldwide Box Office: $52.9 million

“Killer Elite” wasn’t one of Jason Statham‘s best vehicles, but it was another rock-solid action movie from the most dependable star on the planet (his other 2011 vehicle, “The Mechanic,” was even better, but it cost less and made more money). Clive Owen made a fabulously evil (and fabulously mustached) antagonist for Statham, and the fight scene where Statham beats up two dudes at the same time while tied to a chair is the best scene of the year nobody’s talking about. The plot, about the machinations of a secret cabal of wealthy British businessmen called The Feather Men, definitely crept into so-bad-it’s-good territory — especially when The Feather Men spent an entire secret meaning explaining to each other why they’re called The Feather Men (“Because our touch…IS LIGHT!”). Plus Robert De Niro, playing an aging mercenary who’s obsessed with money, hasn’t been this believable in years. Read my full review here.


“Drive Angry 3D”
Directed by Patrick Lussier
Estimated Budget: $50.0 million
Worldwide Box Office: $28.9 million

2011 was not a great year for Nicolas Cage. The combined revenue of his three starring vehicles — “Season of the Witch,” “Drive Angry 3D,” and “Trespass” — was less than the box office totals of either of his 2010 films, “Kick Ass” and “The Sorcerer’s Apprentice,” both of which were also considered disappointments. But if audiences didn’t show up to “Drive Angry,” that was their loss: it more than delivered on its promise of exploitative thrills. Patrick Lussier’s drive-in throwback was saddled with dual misfortunes: it came at the tail end of a slew of mediocre-to-bad Cage vehicles and at the tail end of a slew of mediocre-to-bad 3D movies. But Cage was great as a man who escapes from hell on a quest for revenge and William Fichtner was even better as the man hell sends to bring him back. Highlights included a simultaneous sex scene and gun fight and Cage drinking beer out of a dead man’s skull. Now that’s entertainment. Read my full review here.


“Conan the Barbarian”
Directed by Marcus Nispel
Estimated Budget: $90.0 million
Worldwide Box Office: $48.7 million

The problem with “Conan” wasn’t so much what director Marcus Nispel made but how he made it. $90 million bucks on a schlocky barbarian flick? Even if that number is slightly inflated — IMDb puts the figure at $70.0 million — it’s still way too high. In comparison, the original “Conan” cost approximately $20 million to make back in 1982 or roughly $46 million 2011 dollars when adjusted for inflation. In other words: half as much. If they’d spent $20 million bucks on this thing, they’d have themselves a modest hit. Jason Momoa was no Arnold Schwarzenegger, but he was good with a sword and a growly retort, Ron Perlman was fun as Harry from “Harry and the Hendersons,” and Rose McGowan gave a hilariously campy performance as an evil witch woman. The deaths were almost as spectacularly gruesome as the film’s box office flameout, if you’re in to that sort of thing.


“Warrior”
Directed by Gavin O’Connor
Estimated Budget: $25.0 million
Worldwide Box Office: $23.0 million

Last but definitely not least — last but most, really. I already wrote about “Warrior” in our best genre movies of 2011 piece, where I called it “the most inexplicable flop of the year.” This movie really had everything you would want from a sports movie except maybe a bankable star, but this sort of rags-to-riches underdog story always works better with a relative unknown in the lead. Great acting, great MMA fights, great training montages; the only way I can make sense of “Warrior”‘s failure is by reassuring myself that people will find this movie on DVD and embrace it. Since the movie is about men who’ve gotten kicked around their whole lives finally making something of themselves, that outcome would be rather appropriate. Read my full review here.

http://www.youtube.com/watch?v=Ka3vpNlR8qI


What was your favorite flop of 2011? Tell us in the comments below or on Facebook and Twitter.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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