IT'S KIND OF A FUNNY STORY

Written and Directed by Anna Boden and Ryan Fleck

Starring Keir Gilchrist, Emma Roberts, Lauren Graham and Zach Galifianakis

Craig: I want to kill myself.

Nurse: Fill this out.

I have to begin by saying that IT’S KIND OF A FUNNY STORY is not really a funny story at all. In fact, it isn’t even that funny. It tries to be, and on occasion it can be, but the reason it isn’t is pretty simple. It shouldn’t be. This is the story of a supposedly suicidal teenager who checks himself into a mental hospital for fear he won’t be able to hold on much longer. Last I checked clinical depression bordering on suicide wasn’t a laughing matter and mental wards were not warm and fuzzy places where teens could come of age.

When writing/directing team, Anna Boden and Ryan Fleck, first tackled depression and isolation, they gave us the harrowing indie drama, HALF NELSON, which earned Ryan Gosling an Oscar nomination for his portrayal of a crack-addicted, high school teacher. It was bleak, honest and raw. Just a few short years later though, they have seemingly lost all integrity as artists and their ability to be truthful to their own story and directorial instincts. From the moment Craig (Keir Gilchrist) enters the adult mental ward (the adolescent ward was conveniently undergoing renovations to allow for more implausibility and hopeful hilarity), everything feels false. Despite the fact that Craig’s problems amounts to girl troubles and pressure from his Dad (Jim Gaffigan) to get into the right college, he is admitted for a week. It takes him about a day to realize that his problems are really nothing compared to his new neighbours, allowing for six more days of learning valuable life lessons from adorable and endearing mental patients. They’re crazy, but who isn’t really?

If Craig doesn’t really need to be there, I’m not sure why Boden and Fleck think that their audience will feel any need to be there either. The ensemble do their best to comply, including a surprisingly restrained performance from Zach Galifianakis and a refreshingly vibrant one from Lauren Graham, but ultimately, they look lost, unable to figure out why they’re there too. There is humour in pain and we can be found when we are amongst the most lost but by making light of the dark places these patients go, Boden and Fleck only come off as lost themselves.

Black Sheep's Blu-Tuesday

What a lovely day to be a blu-ray ... Both today's BR announcements and releases are so fantastic that I can't help but smile as I ponder how much they are going to cost me ... First of all, fans of the traditional Disney animation of yore will delight to hear that BAMBI and THE LION KING are being prepped for BR release in the spring of 2011. Specific dates will follow ... One of my favorites and one of the most polarizing movies I know of in recent history, Sofia Coppola's LOST IN TRANSLATION is coming in time for the holidays, sort of. Amazon.com has the BR on December 7 exclusively, while regular retailers get it on January 4, 2011 ... There is good news if you were hoping to catch a quality version of the original John Wayne film, TRUE GRIT, before the Coen Brothers remake, starring Jeff Bridges, this holiday season. The 1969 original lands on BR December 14 ... And Valentine's Day titles are already being readied. Look for PLEASANTVILLE to make its way to BR on February 1, 2011 ... And now for this week's best BR releases ...

THE DARJEELING LIMITED

(Criterion Collection)

This may be some of his most accessible work but it may also be my favourite Wes Anderson film, after RUSHMORE, that is. Classic is classic after all. Owen Wilson, Adrian Brody and Jason Shwartzman are the most implausible of brothers and their antics on a train ride through India are outlandish and, at other times, somewhat obvious, but they are always delightful. And gorgeous, I should say. I can't afford a voyage through India but this will do me just fine for now. This is its first appearance on BR and, from what I've read, the transfer is remarkable. It is Criterion though so that usually goes without saying. The set contains an all new commentary track featuring writers Anderson, Roman Coppola and Schwartzman but, unlike the DVD that is sitting on my shelf, it does not contain the short film, HOTEL CHEVALIER, with Schwartzman and Natalie Portman, which explains Schwartzman's character backstory. I guess I will have to just own both the DVD and the BR. Oh well.

THREE KINGS

(Warner Brothers)

It has been quite a long time since I've seen this David O. Russell film and I can't wait to see how it holds up on BR. George Clooney, Mark Whalberg and Ice Cube are Desert Storm soldiers in this sharp, humourous critique on the war. Famed director, Spike Jonze (BEING JOHN MALKOVICH) gives one of the most surprising turns in the film, simply because I didn't expect anything from him at all. The disc features director commentary as well as a behind the scenes documentary, amongst a number of other juicy special features. I am just curious to see if the behind the scenes footage will contain proof of the reported on-set difficulties that almost ruined this great piece of filmmaking. I want to see Clooney throw a chair or something.

I AM LOVE

(Mongrel Media)

When I caught this epic film in theatres this summer, I was completely taken in by it. I was not expecting to love it as much as I did but it is absolutely enchanting and mesmerizing. Director, Luca Guadagnino channels the spirit of the French "new wave" thanks to a culmination of so many great formal elements - most notably the brilliant screenplay, stunning cinematography and stirring musical score. All of this is capped by a remarkable cast, led by Tilda Swinton in a role that could see her nab another Oscar nod. American readers can run out and buy this today but Canadian folks will have to wait until its release on October 26. Either way, don't miss it! The scenery alone is worth it.

For a full review of THE DARJEELING LIMITED, click the title.

Source: blu-ray.com

HOWL

Written and Directed by Rob Epstein and Jeffrey Friedman

Starring James Franco, Jon Hamm and David Strathairn

Mark Schorer: Sir, you cannot translate poetry to prose. That is why it’s poetry.

I seriously doubt this could happen today, that a poem could spark such outcry as to demand it be banned in the courts as obscene. Fifty years ago though, that is exactly what happened to American poet, Allen Geinsberg, with his poem, “Howl”. The poem depicted the darker underbelly of America, a side of the country that the majority didn’t want to acknowledge. It spoke of the impoverished, the bohemians, the homosexuals and anyone else that really that didn’t fit into the status quo because of who they were or what they did with their days and nights. And so the debate is on – does different mean obscene simply because you cannot understand it?

The trial, the poet and the poem itself are portrayed separately and cut together to form what is the first narrative film by the Academy Award winning documentary filmmaking team of Rob Epstein and Jeffrey Friedman (THE CELLULOID CLOSET, THE LIFE AND TIMES OF HARVEY MILK). Named after the poem, HOWL can only loosely be described as a narrative though. Albeit a somewhat safe choice for their first fiction foray, the filmmakers based their screenplay on court transcripts, archival footage and interviews, giving HOWL a very documentary feel. Ginsberg himself, played calmly and coolly by James Franco, is only ever shown in interview or in flashback, never driving any plot forward. The lack of formal focus makes for a free flowing experience but also never allows the film to truly find a firm foundation.

Like the point being proved in court by the “Howl” defense attorney (Jon Hamm) though, form needn’t be formal for the themes to be meaningful or have literary merit. Each component of the film, including a dark and rich animated interpretation of “Howl” from Monk Studios, functions fine individually and creates a whole unique unto itself. In that sense, HOWL honours its inspiration as best it can and proves the timelessness of the poem by allowing its relevance resonate even still today.

BURIED

Written by Chris Sparling

Directed by Rodrigo Cortes

Starring Ryan Reynolds

(Click here to read an interview with Ryan Reynolds)

I suspect claustrophobia likely affects more people than actually realize it. Feeling trapped without any real means of escape, either physically or metaphorically, is certainly something we can all agree is unpleasant at the least. In extreme cases, your breath gets short and quick; you begin to feel dizzy and flush. You are likely to pass out from the sheer intensity of it all. If you have yet to go through a claustrophobic episode, fear not. Director Rodrigo Cortes has made a movie just for you.

BURIED is ninety-five, uninterrupted minutes stuck in a cramped wooden box somewhere under the ground in Iraq, with only a Zippo lighter and cell phone for light, communication and a potential salvation. Now, if you’ve got to be buried alive, you couldn’t ask for better company than Ryan Reynolds. Naturally, nobody wants to see an actor as likable and handsome as Reynolds perish like this, so the urgency is elevated just by his being cast. He can’t get by on looks and charisma alone though. The premise itself demands that Reynolds push himself as an actor in a way that I don’t think he has ever had to in his entire career. Fortunately, Reynolds gets the fear, the desperation and the hope just right to keep us trapped in that box with him the whole time. For his sake, I hope Reynolds isn’t actually claustrophobic. If he wasn’t beforehand, I suspect he might be now.

In case you’re wondering how he got in the box to begin with, allow me to clarify some. Reynolds plays a contract truck driver in Iraq mistaken for a soldier and kidnapped for ransom. He spends most of his time in the box calling anyone who might be able to get him out and pleading with his captors. The somewhat damning undertone about America and the Iraq war could have been buried a little deeper within the subtext but Cortes pulls off a pretty impressive feat with this hard sell. Ninety-five minutes in a box with Ryan Reynolds? I wouldn’t say no.

Black Sheep interviews Xavier Dolan

Different than I Imagined

An interview with Xavier Dolan

I want to know which one of you is responsible for this. You’ve clearly hurt Quebec filmmaker, Xavier Dolan’s feelings and I for one am not going to stand for it. He is only 21 years old and already he knows what it is to be tossed aside by critics who once purported to be his biggest fans. You built him up and just because he didn’t do exactly what you wanted him to do, you declared him a disappointment and your earlier proclamations of genius to be premature. While I applaud your ability to admit your faults (even though the point was to highlight another’s), I’m not sure you realize just how much damage you’ve done. You should be fostering genius, not trying to kill its spirit.

When I met Dolan at the 2010 Toronto International Film Festival, I expected him to sit with me and speak fondly of his second feature, LES AMOURS IMAGINAIRES (HEARTBEATS), which he wrote while attending the festival the year before. I had just seen the film, a cynically optimistic exploration of the ridiculousness we all put ourselves through when we think we’re in love. Cynical because we look like idiots; optimistic because we still put ourselves through it regardless. And even though I gushed about how much I admire him as a filmmaker right at the top of our chat, I was not met with fondness; I was met with skepticism. Friendly and polite but skeptical nonetheless.

“I never pretended HEARTBEATS would be as moving or as stirring as I KILLED MY MOTHER,” Dolan confides when I finally veer off the course of my planned questions and ask if he is having a hard time with the press for his second film. “I never said this is going to be a better film. I said it is going to be a different film.”

And different, it is. I KILLED MY MOTHER is a semi-autobiographical piece about a gay teenager who lives with his mother and cannot seem to get along with her no matter what he does. It is raw, emotional and oddly cathartic. There is also a lot of yelling. The film was praised for its gritty, honest look at a relationship that many can identify with. On the other hand, HEARTBEATS is being chastised for being too cold and disaffected. And while it might seem natural to compare a second and first feature, Dolan doesn’t see any need for this at all.

“For me, it’s a lack of judgment to compare,” he continues when we discuss the criticism he has endured just a year after he was lauded as Canada’s next big director. “You cannot compare these two films; they’re so fucking different. How can we compare and say that this one is inferior to that one?” The conversation had certainly gotten somewhat heated at this time but it was pretty obvious from where I was sitting that none of this rant was directed at me, but more so at the sky, as if he has been cursed undeservedly. I half expected him to raise his fists in the air in anger.

“I believe it can be inferior in the sense that the emotions it provokes are not as intense as in I KILLED MY MOTHER but it was not my mandate, nor my mission, nor my intention to provoke a torrent of emotions in you for this film.”

Intentions aside, HEARTBEATS did stir plenty of things in me. Dolan plays Francis and one night, both he and his friend Marie (Monia Chokri) fall for the same young man, Nicolas (Niels Schneider). Francis and Marie, two pseudo intellectual, neo-hipsters in Montreal, proceed to lose their senses while they pursue a boy who has done nothing to suggest he feels the same way as they do. While their motivations are calculated and controlled, the fury they are both experiencing internally is something anyone who has ever been in love can identify with. Cold on the surface does not mean empty on the inside.

“It is a movie about the various steps of the love downfall,” Dolan proclaims, without necessarily seeing what a downer his statement truly is. “It is literally a condensed journey through typical, impossible love.” The kind of love Dolan is talking about, the same kind of love that comes across on screen, isn’t real but rather imagined (which is more evident in the film’s original French title, which directly translates to “Imagined Loves”). “The movie ought to be as shallow and as empty as the encounter they have.” HEARTBEATS does just this but it does so with sumptuous imagery and romantic grandness. It is a farce after all.

As private as it could be, I can’t help but ask at this point if, when it comes to love in his own life, Dolan is still hopeful. “Unfortunately, I would say I’m an optimist,” he begins. I wasn’t sure whether he had said “fortunately” or “unfortunately” so he clarifies that he said the latter and explains, “This implies a certain amount of pain, but I’m always up for the challenge.”

I admire Dolan. Both of his films, regardless of how they compare with each other, are devoid of ego, an incredible accomplishment considering he wrote them both, directed them both and stars in both of them as well. His choices in all three of his roles on each film could easily serve his own self-interests but instead serve only the story and the overall success of the film itself. This requires skill and dedication that I would never imagine a 21-year-old to have but yet here we are. And at 21, he has also learned a couple of other hard lessons he didn’t need to know right away. He now knows how it feels to be criticized on an international level and he clearly knows a thing or two about love.

“HEARTBEATS is the perfect second film for me to have made. It’s a different film, different vibe, different emotions. Some people will say there are no emotions in HEARTBEATS. I am not one of them.”

And neither am I.

For further HEARTBEATS reading, be sure to check Black Sheep's 4-star review. Click here.

And be sure to check out this clip from HEARTBEATS, which arrives on DVD on October 26 in select markets.

Black Sheep's Blu-Tuesday

The month of September was a little busy for me. There was that little film festival, TIFF. It really took up a good chunk of my time so I was not able to keep up with the current Blu-Ray releases each week. Well, September is definitely over and instead of focusing on what came out today to rent and own, I will take a look back at the bigger titles that were missed in the weeks prior.

MARS ATTACKS!

(Warner Brothers)

It is not surprising that Tim Burton likes B-movies. It is a little more surprising that he is such a big Hollywood player now when you watch his 1996 film, MARS ATTACKS! This is a B-movie done A-styles. Everyone from Jack Nicholson and Annette Bening to Sarah Jessica Parker and Pierce Brosnan stars in this ode to the aliens from outer space movie. Although the film no longer inspires me to, “Ack! Ack! Ack” alongside those hilarious, homicidal aliens, it is still a ridiculous good time.

THE PLAYER

(Warner Brothers)

This 1992 film will certainly be counted amongst the late Robert Altman’s greatest achievements. With the exception of some questionable hairstyles and shoulder pads, THE PLAYER holds up very well. Tim Robbins plays Griffin Dunne, a Hollywood executive who is being stalked by a writer. It gets hairy and it couldn’t come at a worse time considering there is talk around the studio that he is on his way out. Everyone from Angelica Huston to Bruce Willis to Julia Roberts cameos in this Hollywood murder mystery. It will grab you and get you hooked from the opening 8 and a half minute shot.

GLEE - SEASON ONE

(20th Century Fox)

There is no denying it. GLEE is the biggest new show to emerge from last year. Fox is so happy with it that they have renewed it through its third season already. Watching the first season straight through was actually a lot of fun. The moments that didn’t work so great when the show was airing (ie. the return from hiatus) aren’t as bad sandwiched between all the fantastic moments that came out of the first year at McKinley High (ie. The Power of Madonna episode, start to finish). My neighbours must be sick of me singing along to every single song … except “U Can’t Touch This” in the library. I totally skipped that one.

CHARADE

(Criterion Collection)

I had the pleasure of catching this 1963 Stanley Donen picture this past weekend. I must admit that I had never even heard of it but it jumped out at me on the shelf and was exactly the speed I needed that night. Audrey Hepburn and Cary Grant star in this occasionally hokey but more often than not twisty comedy that actually keeps you guessing until the end. The pair are delightful and the cinematography is often surprisingly ambitious and impressive. Henry Mancini’s jazzy score makes it the perfect film to watch if people come over for cocktails.

A BOUT DE SOUFFLE (BREATHLESS)

(Criterion Collection)

I wish I had known that Criterion was planning on restoring and releasing this Jean-Luc Godard classic. If you know the site, then you might already know that this Nouvelle Vague masterpiece is one of my all-time favorite films. And it isn’t just me. It is widely considered to be a quintessential piece of film history. This doesn’t make it for everyone but the way Godard pokes fun at American cinematic conventions is so ludicrously delightful that you cannot help but get on board if you’re in the right mood. Before you know it, you will be lost in the breathtaking black and white imagery – so French, so romantic, so meaningless. (Read the full BREATHLESS Black Sheep review here.)

AMERICAN BEAUTY

(Dreamworks)

I’ve always loved this film. I think I saw it four or five times in the theatre alone. When I sat to watch it again recently, more than ten years after its initial release, I marveled at how shocking it still was. I could pretty much mouth the entire film if I tried but this particular viewing kept throwing me off. So many of the film’s elements – from the video taping to the pot smoking – are almost completely conventional now but were practically unused at the time. Even the central awakening of Lester Burnham’s (Kevin Spacey) character comes from a sexual fascination with an underage teenager (Mena Suvari). This Best Picture Oscar winner still stands as one of the best pictures of all time and you haven’t seen roses fall from the ceiling until you’ve seen them on blu-ray.

With all this catching up to do, I haven't even touched October yet. Here are a list of choice titles available today on Blu-Ray for the first time ...

BEAUTY AND THE BEAST (Walt Disney)

THE KARATE KID (Walt Disney)

THE EXORCIST (Warner Brothers)

GRINDHOUSE (Vivendi Visual Entertainment)

THE LAST OF THE MOHICANS (20th Century Fox)

THE MALTESE FALCON (Warner Brothers)

THE TREASURE OF THE SIERRE MADRE (Warner Brothers)

SPLICE (E1 Entertainment)

Source: blu-ray.com

Black Sheep @ The Box Office

Before the weekend started, early predictions were that THE SOCIAL NETWORK would debut on top with approximately $27 million. That seemed a little low for me. Everyone I knew wanted to see this movie but apparently couldn't pull themselves away from Facebook to see the film opening weekend. It still debuted on top but came in on the lower end of expectations with $23 million. Still, the response to the film has been phenomenal from both audiences and critics alike so the David Fincher film should have strong legs in the weeks ahead. Last week's champ, WALL STREET: MONEY NEVER SLEEPS suffered a sizable 46% drop with this new kid in town.

Other debuts this week might as well not have bothered. Considering it was being dumped anyway, the Renee Zellwegger dud, CASE 39, shouldn't mind coming in 7th place. That said, coming in below that is pretty embarrassing for Matt Reeves' LET ME IN. I would say that purists refused to see the remake but it wasn't made for them anyway.

Below the Top 10, CATFISH (+34%), WAITING FOR SUPERMAN (+192%) and YOU WILL MEET A TALL DARK STRANGER (+45%) saw solid increases follow their modest expansions. BURIED and NEVER LET ME GO slowed somewhat. Both pictures are still expected to go wider next week, much wider.

NEXT WEEK: What a dreadful week to go to the movies next week. Catch something you missed because I see no reason to get excited about the Katherine Heigl comedy, LIFE AS WE KNOW IT (3100 screens) or the Diane Lane horse movie, SECRETARIAT (2500 screens). Of course you could catch MY SOUL TO TAKE in 3D. Who doesn't love horror flying off the screen at you? Even the art house crowd gets shafted with the big disappointment, IT'S KIND OF A FUNNY STORY. Better luck the week after I guess.

Source: Box Office Mojo

LET ME IN

Written and Directed by Matt Reeves
Starring Kodi Smit-McPhee, Chloe Grace Moretz, Elias Koteas and Richard Jenkins

Abby: Just so you know, I can’t be your friend.

I have a reasonable amount of sympathy for Matt Reeves, the director of LET ME IN. He made a perfectly adequate and genuinely authentic remake of Swedish filmmaker, Tomas Alfredson’s LET THE RIGHT ONE IN, but there was no way for him to come away from the experience as a winner. Fans of the original, of which there are many, and of which I count myself among more or less, see no reason to mess with success. And so, to appease these fans, Reeves remains as true to the original vision as possible. As well intentioned as this is, it renders LET ME IN even more pointless as a result.


It begins with a children’s choir singing ominously over a humming that is eerily chilling. It continues with the same slow, quiet pace that allowed the supernatural elements of the original to appear fully natural. Owen and Abby (Kodi Smit-McPhee and Chloe Grace Moretz), the American counterparts to Oscar and Eli (Kare Hedebrant and Lena Leandersson), meet on what looks like the same jungle gym, in the same courtyard, behind the same low income housing where Oscar and Eli met. He is the same loner kid who gets picked on regularly at school and she is the same little girl, hiding her vampirism from those around her. Both are ostracized and both find understanding in each other. Their relationship, in great part thanks to these two fantastic, young actors, is just as tender and terrifying as Oscar and Eli’s was. Is there any point in retelling the exact same story the exact same way though?


I’m all for remakes; at their best, they can take already brilliant screenplays and reimagine them visually in all new manners, with sometimes all new meanings. At their worst, they are embarrassments that can be so big, they even tarnish the reputation of the original. LET ME IN falls directly in the middle of this spectrum. As dark and delicious as it can be at times, it never manages to give any reason for its existence other than to make it more accessible for audiences uninterested in subtitles. If you’re going to make a remake, you should have a good reason to do so, perhaps a new take on the subject that makes remaking it relevant. Pandering is not one of these reasons.

THE SOCIAL NETWORK

Written by Aaron Sorkin
Directed by David Fincher
Starring Jesse Eisenberg, Andrew Garfield and Justin Timberlake

Mark Zuckerberg: There is a difference between being obsessive and being motivated.

With over 500 million members worldwide, Facebook has come a long way since it was just a little social networking site kicking around a few prestigious colleges in the United States. In fact, I remember quite vividly when I first heard about it. It came out of nowhere and suddenly everyone I knew was asking why I wasn’t on Facebook yet. I actually held out. I had done Friendster and Myspace. Why did I need this new network to come into my life so I could feign the idea of closeness with people I had neither seen nor thought of for years? For days, I cursed it to anyone who would listen. This made it particularly difficult when I actually joined Facebook a few weeks later and started inviting all the people I had complained about it to, to be my friend.

THE SOCIAL NETWORK, or what is affectionately known as “The Facebook Movie”, is not about a bunch of bored office workers or late night loners wasting hours of their lives on Facebook. That’s about all it isn’t about though. Screenwriter, Aaron Sorkin, has taken the real life story of how Facebook came into existence and turned it into something so much more revealing about human nature. By walking us through the two lawsuits that Facebook co-creator, Mark Zuckerberg (Jesse Eisenberg), was served as a result of how he went about co-creating Facebook, Sorkin is able to comment on everything Facebook touches on, directly or indirectly. Suddenly, a factual account of a civil law suit is able to expose America’s class system as still going strong, our universal fascination with gossip and popularity and the increasingly blurred difference between public and private statement. Even the inclusion of the lawsuits themselves denounce an American fascination with suing to get even, even when that means suing your best friend.

Fortunately for Sorkin’s ambitious script, David Fincher helms THE SOCIAL NETWORK and I really want to add him as my friend again after THE CURIOUS CASE OF BENJAMIN BUTTON made me hide him from my news feed. (Kidding, David Fincher is not my friend in any capacity). Fincher has this one though. He has an incredible awareness of the implications being made by the actions and accents the perfect moments to prove the points subtly and effectively. He also drives brave, brazen performances from his three young stars. Justin Timberlake shows dramatic depth as Sean Parker, the creator of Napster. Andrew Garfield finally shows me why I should give him any notice as Facebook co-creator, Eduardo Saverin. And Eisenberg, an actor that is oft criticized for being one note, takes what is now his signature whip of a tongue and infuses it with a strong sense of character and understanding. He plays Zuckerberg as an unstoppable force, driven by a deep-rooted self-hatred. You want to hate the guy yourself but Eisenberg makes it so you think twice before you do.

One of my original arguments for not joining Facebook was that I thought it enforced a horrible falsehood. People could remain close virtually and keep up with loved ones without making any actual effort to be a real part of their lives. It would drive us further apart while making us feel like we were getting closer. THE SOCIAL NETWORK proves me wrong though. This fantastic and fascinating piece of filmmaking will unite us all through the one thing all 500 million of us can relate to, our love/hate relationships with Facebook. And by breaking it all down, he manages to find the heart behind the screen.

Black Sheep @ The Box Office

The Black Sheep Box Office report is back and fashionably late I'm afraid. Technical issues prevented me from getting this up yesterday but I thought I'd give it another go this morning and here we are. I'm pleased to be able to bring the box office reporting back this week because there is a lot going on at the multiplexes.

Oliver Stone returns with WALL STREET: MONEY NEVER SLEEPS at number one, giving Shia LaBeouf his sixth straight number one opener. Adult fare proves once again that it isn't dead yet but the sequel to the 1989 hit only registered a per screen average of $5.3K, less than the $5.6K of last week's champ, THE TOWN, which falls to third place ( or possibly second after the actual figures come in later today), with the smallest decline of any film in the Top 10. Number one is all about bragging rights though and that's all WALL STREET needed to look like a success.

Director Zach Snyder had to settle for second place with his first foray into animated film, LEGEND OF THE GUARDIANS. To be honest, I don't even know what the rest of the title of this movie is. I do know it's long and ridiculous and it isn't the least bit surprising to me that this owl movie did not take off at the box office. It just looked so lifeless to me from the trailers. Sorry owls, you are not cool.

Owls, you are however cooler than Kristin Bell. Disney has been heavily promoting her comedy, YOU AGAIN, co-starring Jamie Lee Curtis and Sigourney Weaver but it would appear that discerning audiences were able to spot the rental in disguise. And with a fifth place finish like this one, it will be available to rent in no time.

A number of high profile art house films were released this week and succeeded to varying degrees. The biggest of the bunch was Davis Guggenheim's follow-up to his Academy Award winning documentary, AN INCONVENIENT TRUTH, WAITING FOR SUPERMAN, about the state of the American education system. The film pulled in an average of over $35K on just 4 screens. And with an impressive average of $27K on just 6 screens, Woody Allen's YOU WILL MEET A TALL DARK STRANGER makes it's debut. Allen is consistently bashed each time he releases a film for being washed up but yet his fans are clearly a loyal lot.

Documentary filmmakers, Rob Epstein and Jeffrey Freidman try their hand at narrative film with the James Franco/Jon Hamm drama, HOWL, based on the poet Allan Ginsberg's indecency trial. It's $9K per screen average is solid but good word of mouth will be needed to help it's expansion. The same will be necessary for Rodrigo Cortes's BURIED, starring Ryan Reynolds. The genre picture opened to $9.5K on 11 screens and Lionsgate plans on going wide in a couple of weeks. Hopefully Reynolds's winning personality will help it play past the artsy crowd as they didn't jump at his man in a box trick.

Finally, in expansion news, Mark Romanek's NEVER LET ME GO, added 22 screens for a grand total of 26 and saw a 120% increase in ticket sales. Like BURIED, the pic goes wide in a couple of weeks and is hoping to build a quiet buzz to get there. And one of my favourite docs this year, CATFISH, also manages a successful second week expansion with an 83% increase after adding 45 screens. Don't miss it if it is playing in your hood.

NEXT WEEK: I told you there was a lot going on this week and next week is no different really. High profile films like the Matt Reeves remake, LET ME IN, bows on 2000 screens and Renee Zellwegger is back on 2000 screens with CASE 39. Before October scares us completely though, the supposed movie of the year, THE SOCIAL NETWORK hopes to make good on its hype on over 2700 screens.

Source: Box Office Mojo