The Indie Spirits clash with The Razzies

Probably the most useless award

For those who didn't catch the subtle difference, that, above, is a golden raspberry. That award, commonly known as a "Razzie" is designated for the worst of the worst in film releases and is meant to be the antithesis of the Oscars (which air tonight). Traditionally, or it has been so for the last handful of years, both the Film Independent Spirit Awards and the Razzies are held the day prior to the Academy awards. The Razzies honor what everyone hated, and the Indie Spirits honor - as John Waters once prophetically stated - "the movies that come in sixth at the Oscars". Since the expansion of the Academy's Best Picture category to ten nominees, he was apparently exactly right. Not long before they're relegated to honoring what comes in eleventh.

More after the cut --

Megamind

One of the best posters ever.

The anti-superhero film of last year blasted onto DVD yesterday, so I sat down and took another look at what made me enjoy it so much. And while it winds up being Dreamworks' answer to Pixar's The Incredibles, the film stands on its own as a sharp-witted and fully realized, not to mention wildly funny, piece of escapism. 

More after the cut --

In Theaters This Weekend

I can't say anything but "hell. yes."

I don't know what to make of this week. Five releases as we move toward the end of this month. Drive Angry (which offers Nicolas Cage in 3D), Hall Pass (a sure to be irreverent film by the Farrelly Brothers), two French dramas  (Of Gods and Men and Heartbeats), and The Grace Card (the lastest in a long line of church-produced films).

What makes movies like Drive Angry so much damn fun are that, usually, they are original works. It's like someone answers the challenge that Hollywood can't tell an original story anymore. So, a director or group of directors, decide to shake things up by taking four or five genres, three or four ridiculous stories, two or three of their favorite actors, and make one hell of a movie. Drive Angry is the result of that. For an example - the film is about a man who escapes from Hell to seek vengeance on the satanic cult that murdered his daughter, all while picking up a hitchhiker and being hunted by a man known only as "The Accountant". What makes things cooler? Cage's name in the movie is Milton.

Sadly, this isn't the only movie I can focus this post on. So, we're back to the format, with a trailer for each release -


starting with Drive Angry.


More after the cut --

Due Date, Get Low, and Others on DVD This Week

This week, we seem to be at each end of the spectrum with our major DVD releases - first, the decidedly, and surprisingly, unfunny Due Date comes to shelves, and secondly, so does the tender and heartwarming Get Low. Other releases include Mesrine: Killer Instinct and Leaving (Partir)

Perhaps the most fascinating thing about a week like this on DVD is that it follows a week of spectacular releases, and also contains a separate singular release for a title on the 25th. Megamind comes out that day, and I'll be posting a full review for its release. I saw it quite a while ago, thoroughly enjoyed it, but didn't have the opportunity to review it. This week gives me that opportunity. So, look for that.

The saddest thing about a film like Due Date is that it ignores an eerily similar film that came out before it, much like The Roommate (I swear, I should get a dime for every time I mention that film this year) after Single White Female. Planes, Trains, and Automobiles did it first, and it remains uncredited as inspiration for this slacker comedy. Note - this isn't a comedy about slackers, mind you; it's a comedy about very hard workers caught in a dire situation, but... the people involved are slacking on the comedy part. Thus, it's a slacker comedy.

More after the cut --

Revisiting Single White Female

She's aiming for Leighton Meester

In the wake of The Roommate, I found it all but necessary to take two hours and revisit the mother of all psycho roommate thrillers. The incomparable Single White Female.

Of course, without being an official remake, The Roommate shares more than a few key plot lines with its predecessor. Elements of fashion design, the psycho stalker girl doing something to resemble the obsession, the "high heel" scene is represented in The Roommate, in a head-shakingly similar fashion. I wish they would just come out and say that it's a remake. It wouldn't have been critically bashed as badly. Make no mistake, it still would have flopped. But, at least half of the reviews would have been shorter and a wee bit less scathing.

More after the cut --

In Defense of M. Night Shyamalan

Recently in the Chicago Sun Times website, a letter was published by Roger Ebert - the letter was open and to M. Night Shyamalan from one of the Times' foreign correspondents Omer Mozaffar. In the open letter, Mozaffar explains himself as a student of theology, and a film lover, as well as "a fellow Desi" from the same generation as M. Night. He refers, and defers (in a way) to their shared ethnicity as some sort of common ground and an excuse to open this dialog. 

Thanks for the tip, Jack.

I'm sure M. Night will write him back. Just as I'm sure Omer will read this post and follow my blog.

It is critical to understand something about criticism - it's all subjective. If there is any ounce of objectivity to a film review, it's that we can all agree on the name of the film, the basic plot, and the people responsible for it. 

The open letter is here. 

More after the cut --

The Roommate

She has 99 problems. Being a bitch is one of them.

Rebecca is a misunderstood soul. A torturous, psychotic, closet lesbian soul with detachment issues from hell, but misunderstood nonetheless. And, before I tear this movie apart, I will say this - Leighton Meester is better than she has any right to be in this movie. Past her watchable performance, however, the film is one gigantic (gigandet?) failure. And by 'one gigantic failure', you should read that as 'one gigantic failure after another'. 

More after the cut --

No Strings Attached

Carrots: because she hates flowers.

This is a film that assumes the idiocy of its characters. Ashton Kutcher and Natalie Portman play two friends, complete with benefits, that - over the course of familiar plot devices, and a whopping deus ex machina - fall in love. Of course, that ruins the friendship, and the entire premise of the film. We're posed the question as follows: can two friends have regular and meaningless sex and not develop feelings for each other? 

Of course they can. But, that doesn't leave us with much of a movie. 

More after the cut --

In Theaters This Weekend

Buckle in. This is going to be a long one - three days, eight releases, one of which has a 0% rating on Rotten Tomatoes (you read that right. Zero.). In order, we have:

... is that an Android Market tag?

I Am Number Four, Unknown, Big Mommas: Like Father Like Son, Vanishing on 7th Street, I Am, Immigration Tango, Even the Rain, Brotherhood. Interestingly enough, I Am and Brotherhood are only opening in two random cities - Portland, Oregon and Dallas, Texas, respectively. But, both are opening to noteworthy reviews full of praise. Could there be awards potential? Most likely, I'm thinking.

Perhaps the most frustrating thing about this weekend's releases is not that there are so many, not that I Am Number Four has been advertised since December last year, it's that up until a couple of weeks ago when the film's promotion really took off, I thought that the guy in the poster was Jim Caviezal. It's not. And I feel stupid.



More after the cut --

The Sunset Limited

Primacy.

It is always a trick to adapt theater to a feature film. Easier to do so for television, though that's probably a gross overstatement. HBO might be the best place to do it; they harbor independent film. Even trickier, maintaining a swift and watchable pace with only two actors and heavy religious dialog. Thankfully, Tommy Lee Jones, Samuel L. Jackson, and Cormac McCarthy have no problem with this. The Sunset Limited is engaging, thought-provoking, and sincere. 

Of course, being a McCarthy work, there is a sense of boundless eternity that is tinkered with throughout, and the ending is more of a truce than anything else, but this is usually so of his writing. Things happen, we talk about why, and then we go home. It doesn't matter which side wins, just so long as each side is heard. 

More after the cut --

God Save the King, Book III

For those of you just joining the series, I'm taking a look back on Stephen King's contribution to the world of film. The good, the bad, and the 'wtf'. From the top. In four parts.

Books I and II focused on the good (Carrie, Shawshank, The Shining, etc.) and the bad (Pet Semetary, Dreamcatcher, *cough*thegreenmile*cough*). We're at Book III now, and it's time to ask Hollywood a very serious question on behalf of the King -

Seriously, guys? Guys. Seriously.

More after the cut -- 

Unstoppable and Others on DVD Tomorrow

A small Tuesday, for sure, with only three releases of note. Tony Scott's Unstoppable, the break-out documentary/indictment of America's public education system Waiting for Superman, and Woody Allen's latest You Will Meet a Tall Dark Stranger.

I like it when the week brings me new things to watch - I haven't had the chance (maybe that's a good thing) to see Unstoppable, and I'm chomping at the bit to finally see Waiting for Superman. I watched You Will Meet a Tall Dark Stranger with my girlfriend, and we both loved the hell out of it. But, also, we're both obnoxiously big Woody Allen fans. So, that was probably to be expected.

But, I want to take a look at each DVD release, and see which might be worth my, and what's infinitely more important, your money.







More after the cut --

The Social Network.

"No, I will not accept your friend request."

David Fincher is a technician. In the computer world, he would be a programmer. That might be why he was attracted to such a character in the first place. Much like Fincher, Jesse Eisenberg is a technician (or a programmer) of an actor. Meticulous in detail, and remarkably articulate and precise, both David Fincher and Jesse Eisenberg are a match made in BIOS.

More after the cut -- 

Why I Love Film - #4 (nsfw... at all)

Well, this could be safe for work, if you work at home. But, since I'm going deep into The Texas Chain Saw Massacre (1974, not 2003) here, you might want to read this entry when you clock out.

now you know why.

More after the cut--

In Theaters This Weekend

Travelocity meets Tragedy

Four films, three days, one weekend. Which one will you go see? Adam Sandler's latest romantic comedy Just Go With It, Disney's Gnomeo and Juliet, Channing Tatum's swords-and-sandals epic The Eagle, or... Justin Bieber. 

More after the cut -- 

Sanctum

Richard Roxburgh searches for the point of the film...

The most depressing thing about Sanctum is that, quite literally, it's pointless. And, being a film produced by James Cameron, it's also the most disheartening. But, his involvement was minimal: it flows like a Cameron film, the characters are Cameron-esque characters that speak Cameron-esque dialog, but... it's more like another director doing an impression of a Cameron film. There is no heart, there is no movie magic, just a poor man's version of The Descent, with bad 3D. And no emotional involvement. 

More after the cut -- 

God Save the King, Book II

In preparation for the new adaptation of The Stand, due in theaters... sometime in the next few years (the project has only just been announced), I'm taking a look back at Stephen King's contribution to the world of film - the good, the bad, and the 'wtf'. Last time, we focused on the good: Carrie, The Shining, on down to The Mist. Overlooking... several. 

He's laughing because Maximum Overdrive still makes money.

More after the cut -- 

Life as We Know It, Paranormal Activity 2, and Others on DVD Tomorrow

As the studios keeping pumping out their sure-to-be failures into theaters, sometimes DVD release weeks are a bit... lackluster, rather than blockbuster. #horriblepun

Life as We Know It, Paranormal Activity 2, You Again, My Soul to Take, It's Kind of a Funny Story, and Wild Target all get a release onto shelves tomorrow, but which one is more worth your time and money? Almost unanimously based on the critical reception, you might as well skip this week. And, I  haven't seen any of these, so you can't really take my word for it either. But, we'll look into each release, just to see what we have on our hands. 

At the very least, you can still go see The Roommate, right? 

yeah, no, I didn't think so. 

More after the cut -- 

Why I Love Film - #3

In 2006, a small film came out called Alpha Dog, and I was reintroduced to an actor I came to know when I was a kid watching the Disney channel. Ben Foster was in a goofy "sit-com" called Flash Forward with a girl named Jewel Stait, who went on to achieve her own fame through Firefly. She grew to be the same adorable actress I was used to, but... Ben Foster?

from the Disney channel?!

More after the cut --

Season of the Witch - Part II

In my initial review of Season of the Witch, I promised a second part, after going into detail about why it's not so bad, as long as its not taken seriously. Much like Nic Cage's other outings recently (notably, The Wicker Man) the comic gold mined from the project is invaluable. But, here in this, I want to take a closer look at what it is exactly that makes this film something special. Not something good, but... special.

It's the hair. 

More after the cut -- 

The Mechanic

Victory loves preparation 

The Mechanic, based off of the 1972 Charles Bronson movie of the same name, is an interesting film. In Micheal Winner's original, the storyline is the same, the performances are weaker, and the direction is inept. With this slick remake, however, everything is polished and put neatly into its place. I was reminded of 2008's Taken more often than not, and any movie that can get me to remember that one is solid in my book. Taken, by all means, is a beautiful film. 

However, this is The Mechanic we're talking about. A Simon West film, of which Roger Ebert said "this film is so well made, that one forgets to ask why it even had to be made at all?" To him, I pose another question "why the hell not?" 

More after the cut -- 

In Theaters This Weekend

Single White Meester

There isn't much happening this weekend in terms of releases. We have a Single White Female rip-off called The Roommate, a James Cameron produced underwater (shocker) thriller, a Natalie Portman marriage melodrama, and a mystery experiment from director Aaron Katz called Cold Weather. 

More after the cut -- 

Let Me In, Monsters, and Others On DVD This Week

I do my best to post these entries on Mondays, and sometimes on Tuesdays if Mondays do not permit.

But, I had to work at 4am yesterday, and I woke up about two hours ago. So, ... the DVD's this week have been released, whether or not I blog about them. Let's take a look at what came out, yeah?

Let Me In, Monsters, Conviction, and Welcome to the Rileys were released yesterday. I warmly enjoyed the first three, and have yet to see Welcome to the Rileys. But, now that it's on DVD, I can pick it up and get to it. I love Kristen Stewart, especially her indie work, and the combo of Melissa Leo and James Gandolfini is bound to be intense.

Outside of that, though, which is worth your money? My money will be spent on probably either Monsters or Let Me In, but I want to talk about each.









More after the cut --

God Save the King, Book I

Stephen Takes a "Stand" in Theaters Soon

Petition to bring Molly Ringwald back to the big screen.

It's happening again. Stephen King is letting another one of his books be adapted for the big screen. But, this is a bit different - technically, it's not a remake, by general standards. The Stand has never been a feature film before, but it has been a miniseries. Granted, that was back in 1994.

So, in honor of this King classic being rebirthed for the filmgoers in all of us, I want to take a look back at the man's contribution to the world of film. The good, the bad, and the wtf. From the top. In four parts.

More after the cut --

Let Me In

From the director of... Cloverfield?

In 2008, Tomas Alfredson gave audiences a nervous peek at the life of two lonely people - one, a young boy with an interest in vengeance and knives. The other, a child, who feeds off of human blood. Both children walk through life feeling alone, though seeking very similar things. They both need comfort, they need togetherness, they need each other. In any way they can get it. 

Director Matt Reeves, of Cloverfield misfortune, tackles not just the screenplay by, but also the novel by John Ajvide Lindqvist "Lat den ratte komma in (Let the Right One In)". Lindqvist wrote the 2008 adaptation.

More after the cut --

The Company Men

If Ben Affleck keeps this up, he'll never have to look for work.

When critiquing a film, there are a handful of things you have to consider - the tone of the film, the depth of the performances, how it flows as a whole, key moments that help the film develop an emotional resonance, so on and so forth. At least, that's how I do it. One should judge the story presented, and how it fits into the world the film assumes. The Company Men, for all intents and purposes, is a perfect film. Nothing is out of place. But, even though the film sets out to do what it achieves and has no sense of pretense about it, there is something in the mix that just doesn't ring true. 

More after the cut --

In Theaters This Weekend

Upon his escape from Shawshank

This weekend seems to bring us quite the haul in terms of what to go see. There's our annual exorcism thriller, The Rite, with Anthony Hopkins doing what he does best - intimidating*. There's The Mechanic starring Jason Statham and Ben Foster, and then there are three smaller releases, most likely in larger cities.

Javier Bardem, who recently recieved a Best Actor nomination at this year's Oscars, stars in Alejandro Gonzales Innaritu's Biutiful. A smaller comedy called From Prada to Nada, and Gregg Araki's Kaboom, all in limited release.

More on these films, and their trailers, after the cut -- 

The 83rd Annual Academy Award Nominees

Apparently he has lice or something...

Oh my. What a morning. My alarm clock went off at 5:20am, even though I had nothing to do until around 8:30 or so, for one specific reason - Oscar nomination day. 

Should be its own federal holiday; I swear to God. 

More, and the full list of nominees, after the cut --

RED, Saw 3D, and others on DVD tomorrow.

Retired, and extremely dangerous

It's Monday night. Who knows what that means?

that tomorrow is Tuesday? yes. But, that also means that we get a new shipment of DVD's in to help get us through the week! What are we going to get? Well, we have a choice of five -

Red, The Girl Who Kicked the Hornet's Nest, Saw 3D, Nowhere Boy, and Secretariat.

The real question is "which is more worth my money?". Let's take a closer look at each.






More after the cut --

The King's Speech

G-g-got any k-k-k-kings?

It's the type of film we've all seen before - the "high brow British drama", the man who overcomes adversity, the "buddy" movie, etc. The thing that separates The King's Speech from, say... The Queen, or The Deal, or any Stephen Frears pic, is that this film has no pretense. That isn't to say that a certain amount of pretense is a bad thing (I quite enjoy The Queen and The Deal, and most Stephen Frears pictures), but it's to say that this film most certainly knows where its boundaries are, and there isn't a need to ever cross the lines to make a "movie" out of it. It's a storyteller's film - it's a true story. 

More after the cut --

Why I Love Film - #2 (nsfw)

Another slow news day - which means I get to sit back for a moment and remember why it is I do this in the first place, what it is that drives this passion of mine, and how exactly all this came to be.

Doug protects his family, at all costs.

I've always been a fan of justice in film. Fathers going on war paths to protect their families, men standing up to do the right thing, people truly getting what it is they deserve - and, in 2006, I fell in love with the idea all over again. Alexandre Aja's too underseen, and sorely underrated, The Hills Have Eyes remake touched me on a deep personal level.

More, and some spoilers, after the cut --

Catwoman and Saddam - A Match Made in Casting Heaven

Every now and then, a casting director and their team wind up making brilliant decisions that wind up leaving us with devastating and altering performances. From Al Pacino in The Godfather, to Natalie Portman in Black Swan, we've been given the gift of transcendence several times. And, next year, in 2012, we're most likely going to get it again.

More after the cut --

In Theaters This Weekend

Reason #412 why I hate Ashton Kutcher

Two wide releases (The Company Men and No Strings Attached), and a "wider" release of Peter Weir's The Way Back hit cinemas this weekend. Which are you going to see? 

A closer look at all three after the cut --

Blue Valentine

Ryan Gosling and Michelle Williams make beautiful noise.

2010 has been a magnificent year for film. We've received films from some of cinemas most important directors, new directors have laid claim to their spots as current heavyweights, and we've been given performances that will stand the test of time.

More after the cut --

Takers, Buried, and Others on DVD Today

The screenplay credit for this movie always makes me laugh.
I refuse to believe this movie has a screenplay.

Takers represents the greatest irony in cinema last year - it's a heist film, right? Bank robbers, cops, but it's a heist film for the BET generation. But, the film is presented as acceptable, even notable, escapism. In that, we have our irony: the film's greatest heist has nothing to do with the story. It has to do with the near $60 million gross for the film. We, as a country, were taken.

More after the cut --

The 68th Annual Golden Globe Awards

He honestly doesn't give a damn.

After the disappointing failure of a live feed of the awards show on this blog, I gave up the stress and had a chance to truly enjoy the show as it was meant to be seen. On good ol' fashioned television. Ricky Gervais hosted the party and most of the expected winners won. All in all, it was a normal night, but thanks to Gervais' extraordinarily nonchalant sense of humor, it was definitely a night to remember.

More, plus a list of winners after the cut --

Season of the Witch - Part I.

Nicolas Cage, realizing which movie he's in.

There's a lot to be said about Season of the Witch. Whether or not any of it is good... you'll have to decide that for yourself. After nearly 90 minutes of American actors doing impressions of British actors doing American accents (think... Kevin Costner in Robin Hood: Prince of Thieves), my decision was pretty much made for me as to what I could say. 

More after the cut -- 

Why I Love Film - #1

On days when the news is slow, or when there isn't anything new that I want to see, I like to go back through the archives and revisit the films - and the moments, thereof - that made me fall in love with film in the first place. From a crappy cartoon I loved for some reason when I was a kid, to the Missouri Waltz's inclusion in Winter's Bone, there are way too many reasons for me to count. But... I'm about to try.

So, with the first entry in this series, what better place to start than at the beginning, yes?

More after the cut --

Ridley Scott's Alien prequel births Prometheus

OH, GOOD FOR YOU.

Deadline.com released an exclusive on the formerly upcoming 'Alien' prequel directed by Ridley Scott. Basically, all the exclusive tells us is that we've held out hope for nothing. It isn't happening. BUT - at the same time, we're now holding out hope for something possibly even greater. And while Ellen Ripley won't be battling the slimy black creatures from before, Noomi Rapace is locked in to do battle with... something. Ridley isn't saying what, at this point, only that hardcore Alien fans will be able to see the film as something of a prequel, but he's found a more original and engaging plotline. 

Critics' Choice Awards are in!

And while it hasn't exactly been a frustrating year in terms of predicting the imminent Oscars, at least the 2010 canon has been up to snuff. Lots of great films, even though we had our fair share of crap. Here is a list of the major winners, with the tech winners linked below.

Those trophied after the cut --

3 is a Magic Number - Beasts, Balloons, and Toys.

Only twice in the Academy Award's history has an animated feature film been nominated for Best Picture. Beauty and the Beast broke through and achieved its nomination after its release in 1991, and Up achieved something greater after its release in 2009 - Up battled the existent Animated Feature category, which seems to relegate all animated films into its cage, to become the second animated nominee and the first CGI nominee. And the first to do it with 10 nominees, though that's probably the only reason it happened. Maybe we can thank the unforgivable Wall-E snub for this, as we can thank The Dark Knight for giving us 10 nominees in the first place.

Eddie Knows Best

In the history of the Academy Awards, the Best Editing category has been an indicator for the Best Picture winner. And what's the best indicator for our Editing nominees? The annual ACE Eddie Awards, honoring the best in the field of motion picture splicing.

Martin Scorsese once said that when editing two shots together, you have three shots to contend with. Both shots, plus the one in-between that no one sees. With that sort of mindset, you don't have to wonder why his editor Thelma Schoonmaker and he work so well together.

This year's Feature Film nominees, after the cut -

In theaters this weekend, and "The Lamest Weekend Ever"

*beep*

The first weekend of January is commonly referred to as the worst weekend for film all year. Delayed releases are pushed out of the shelves and into theaters, and the films that no one really had hope for are silently cast out. It's a dead pool of cinema. For a fair example, our only wide release so far this year has been a Nicolas Cage medieval science fiction thriller about a witch whose powers come from the Black Plague. Really? But, don't fret - the review for that is coming soon.

Yahoo! Movie News - Lamest Movie Weekend of the Year

Click above for the full article. But, most worthy of mention are the inclusions of Bride Wars, Leap Year, and Supernova. Now you know that with which we contend. January is, usually, the dead pool for filmgoers.


Last weekend, Season of the Witch was the only wide release we were given. The second weekend in, we're getting Ron Howard's lastest The Dilemma, and the Seth Rogen update of The Green Hornet. Those, and some smaller limited releases. Here's a closer look at each -

Jane Eyre

Cary Fukunaga's decidedly more Gothic adaptation of Charlotte Bronte's moving and disturbing 1847 novel comes to theaters this year. And it's shaping up to be my most anticipated of 2011, right now. 

"It is in vain to say human beings ought to be satisfied with tranquility;
they must have action, and they will make it if they cannot find it." -
Charlotte Bronte

The Girl With the Hell of a Makeover

"The tattoos aren't drawn in pencil, Mark. They're drawn in ink.
and no, you can't see them."

It could have been Emma Watson, it could have been Kristen Stewart, it could have been Lea Seydoux (I know, right? who?), it could have been... hell, Natalie Portman. Maybe Mila Kunis! It wasn't ever going to be Noomi Rapace again, unfortunately. Wisely, though, she declined to reprise the role she originated. 

Star Wars gets a re-re-release. Again.

First, they take the N-word out of Huck Finn. Now, this?

A New Set. George Lucas Strikes Back. The Return of the Trilogies.

Love and Other Oscar Hosts

"You know, there's a pill for that..."

The most comforting thing about Edward Zwick's first foray into the rom-com world is that we can be pretty sure he won't be doing it again. Love and Other Drugs was far from a success, and it's understandable why. Think back to... Autumn in New York. Or Sweet November. Or Stepmom. Or Love Story. You remember how banal those films were? This really isn't any better. That isn't to say that the film is without merit, or not at all enjoyable. It has merit, and it's a ridiculously easy watch. It's medicine that goes down smooth, but never gets to the symptoms. 

The Social Network and others on DVD today

You and 500,000,000 other people like this.

The Guild nominees - our one stop shop.

Consider this a reference post, if you will - here, you'll have a complete list of SAG, DGA, PGA, and WGA. Let's start with the most recent -

Conviction

"It's okay, sis. Annette Bening still isn't winning."

In the backwoods of Massachusetts, two children grew up relying on only each other. Betty Anne and Kenneth Waters. Years later, after being the resident “bad egg” of their town, Kenneth is locked up for life - without parole - for a murder he might not have committed.

True Grit is a true hit.

The latest film from the Coen Brothers has passed the $100 million mark, specifically, the $110 million mark, and the success is just bound to keep growing. This is the first film for Joel and Ethan to pass this mark domestically, and it speaks very highly of where film might be headed over the next couple of years.

Our movie made how much?

Numbers like this make me a bit hopeful for the immediate future, as a filmgoer. We can see the impact, both financially and in popular culture, that Black Swan has made - here, below, is a recent Jim Carrey/Black Swan spoof -