WEEKEND BOX OFFICE REPORT
of October 5, 2014

“Not so Gone Girl” –Annabelle has her lifeless doll eyes set on the Buzzy matrimonial mood killer. 

This past weekend, two movies were independently operating hurriedly at separate times and space velocity but ultimately ended up simultaneous fighting over the same gross receipts. Fincher’s brilliant adaptation, Gone Girl of Gillian Flynn’s novel of the same name – is the thundercats homing beacon in all of its buzzy soap box ecstasy whose demographics are women with ‘Anthropologie’ mail catalogs who casually sip their apple martinis while waiting to find their Ben Affleck-y, good looking, 3L Law Graduate. This weekend came to a feverishly middle-aged pitch. From all accounts, Gone Girl presents everything needed in a film to be an engrossing domestic violence gasser: smarmy, lunkheaded, emotionally terse Affleck, a crystalline Rosamund Pike,the weaseley devoid slickness of Neil Patrick Harris along with Tyler Perry doing his best “I can do other things, white people, besides the whole shucking and jiving shtick like Larry Johnson’s Grandmama." Fincher’s movie has a great but manipulative trailer, tight plot, and principals converted from the book (the author wrote the screenplay); couple that with the director’s unique ability to craft a genuine overrated, sharp, angled thriller, that looks like it was inspired from a Bang and Olufsen showroom. Gone Girl will continue to fascinate audiences in the upcoming weeks.

In addition, the movie has a lot of intrigue with it, and is now part of the “have you read the book before/yet" conversation. Furthermore, critics that had written their reviews recently needed to preface the spoilers, so as not to give away any crucial plot points even though you can’t talk about the movie without divulging said information for it’s the information that is the movie. You can’t separate the two! You would have an easier time splitting the atom than writing a review for Gone Girl without touching purposefully, or accidentally the carefully placed clues. Gone Girl harbors a cohesion of people that had read the book, and know what happens, while also desperately wanting to tell you but can’t – just as much as you want to find out before the movie but can’t. It’s like Fincher birthed a fucked up cinematic speakeasy when discussing the movie. The trailer and promo spots look absolutely predictable, manipulated and a white guilt sensational, as Pike’s character declares quite slithery in her breathy voice, “I’m afraid this man might kill me," while also saying at the same time schizophrenically “I may just disappear." Whatever she does, let’s hope she can make up her mind while Affleck is distracted putting on the cape getting ready to "street sweep” gothamites.

Unfortunately the box office couldn’t make up its mind either. Annabelle, the scary yet complacent raggedy Ann doll (if raggedy Ann had finely interwoven braids and rouge made in blood on its cheekbones) came in a close second at the box office at $37.2 million, second only to Gone Girl's" $38 million. For Annabelle it was mission accomplished as it was made for only $6.5 million whereas Gone Girl was made for $61 million. It’s not all bad news for the Real Housewives of Murder Framing: Rated “R” dramas generally take time, and with its inherent strong reviews, glossy direction, and a legitimate Best Picture, Best Director and Best Adapted screenplay dark horse come Oscar season, Gone Girl will out distance the doll, that doesn’t do anything but smile you to death. 

Annabelle, for intents of purposes, sold its premise on a doll - that’s right, a fucking doll! It received only 24% on Rotten Tomatoes, which is a certifiable stinker that will make 15-year-olds on their first date all over the country happy. However hardcore fans will continue to turn out, just like they did this week, but it won’t see opening day dollars again and with other movies being released and also with Gone Girl still lingering like a vacant half-assed Ben Affleck trying to hide the murder weapon at a frantic but deliriously pace with the help of the ghost of Colonel Mustard. Annabelle’s strength is the doll itself. It’s truly creepy and terrifying at the same time. It’s smiling but it’s a crooked smile. It’s an inanimate object that can talk by demonstrating meta-physical syntax without having to break its chasm look. She may be scary for what she represents, which is possession, and horror itself, but you walk away gagging at the smell of mothballs on her. Annabelle may kill you, and you won’t do anything about it because you are a waste of her time as she is a waste of yours.

Denzel Washington’s The Equalizer dropped off as anticipated after last weekend’s number one debut. It grossed $19 million making a two week total $64.5 million, which is nothing to shake a disgruntled old man fist at! The Boxtrolls is holding strong at four with $12.4 (32.5) with the solid The Maze Runner grossing $12 million making its total a whopping $73.9!! All in all, a healthy box office for the past week. It surprised me that Annabelle grosses made it a close of a margin it did against Gone Girl. I seriously doubt that will happen again this upcoming week – Gone Girl is the type of movie you see a second time, willingly. In comparison Annabelle is what you sneak into at the theaters, ninja-warrior style, after you’ve just seen Gone Girl.

Top five films of the weekend:
  1. Gone Girl — $38 million 
  2. Annabelle — $37.2 million
  3. The Equalizer — $19 million ($64.5 million domestic total)
  4. The Boxtrolls — $12.4 million ($32.5 million domestic total)
  5. The Maze Runner — $12 million ($73.9 million domestic total)


Source: Entertainment Weekly www.ew.com 
 


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