Mandy Moore got
her start in show business as a singer. At 15, she was cutting albums and
touring with the Backstreet Boys — all the sort of coded prerequisites for an
eventual Behind the Music-type washout. Yet Moore
has gone the good girl route, avoiding all of the trampy clichés of many modern
young starlets. In the process, she’s steadily accrued respect, and more and
more fame of the good, earned kind — not to be confused with mere notoriety.
Lindsay Lohan), she’s shown a fun and flirty side, but also
convincingly modeled moderation, earning her respect and role model status from
countless “tween” girls. Moore was
good in Paul Weitz’s satirical American Dreamz, where
she was required to play an aspirant singer who shrewdly trades on her small
town roots in audacious, eye-batting fashion. She’s also shown an endearing
willingness to indulge in goofiness (on the small screen in Scrubs,
in an arc with then-boyfriend Zach Braff). In her latest film, though, Moore utterly obliterates memories that she was ever “first” a singer.
The feature directorial debut of Mulholland
Drive and Miami Vice actor Justin Theroux, Dedication is constructed around Billy Crudup’s
bitter-hearted children’s book author, an obsessive-compulsive who’s learning,
in What About Bob?-style baby steps, to interact with
the real world in a more positive, healthy manner. Yet the film also requires that Moore push back in compelling ways
— mixing it up with Crudup in substantive fashion while still retaining an
innate likeability. Her character, Lucy, is part messed-up spitfire, part
broken-hearted bohemian — exactly the sort of role that Parker Posey would have
knocked out of the park 10 or 12 years ago. This decade, though, it’s Moore. For the full review, from FilmStew, click here.
It’s my fault, really. I fired up a movie called Dorm of the Dead totally sober, and for that I have been rightfully punished. I should have known what I was in store for when a mock-frightful introduction included the line, “Zombies will crawl out of their graves!” (Err… zombies have graves?) Reminiscent of movies like Satan’s Cheerleaders, Zombie High and all those completely anonymous, schlocky, VHS-era horror flicks from fly-by-night companies, Dorm of the Dead is a horrible, horrible mess of both idea and execution, simply jaw-droppingly inept on every level.
Set at the fictional Arkham University, Dorm of the Dead unfolds against the backdrop of a zombie virus, which gets out when a philandering professor starts waving around a vial of “real zombie blood” picked up during a research trip to Haiti. Campus bimbo Clare (Jackey/Jackie Hall, simply awful) and her friend Julie (Andrea Ownbey) decide to exact revenge against vegetarian goth chick Sarah (Ciara Richards). In a parallel strand, abused and bi-curious Amy (Tiffany Shepis) escapes her jerky boyfriend, only to fail victim to a bite that renders her a member of the undead. Then… um, other stuff happens.
Where to start? The acting in this movie is atrocious; you could honestly pull a collection of people randomly off the street and coax, in aggregate, better performances out of them. Hall, Richards, Adrianna Eder (cute, but clueless) and Ownbey are the main offenders, but everyone gets in on the act. To compare Dorm of the Dead to any of the movies by which it might nominally be inspired would be to blight those titles perhaps irreparably.
Written and directed by Donald Farmer, the movie is an utter hack job, through and through — incompetently conceived, written, shot, paced and edited. The dialogue is wretched, continuity is routinely butchered, and basic principles of angle and sightline are just as frequently ignored. There’s also a two-and-a-half-minute scene of Ownbey and Hall walking through a building, the latter repeatedly saying, “Come on!” (This is actually one of the high points of the film — along with a passing mention of Abu Ghraib, only because that was the only thing that fixed this movie in time.) I wholeheartedly support the baring of breasts (on film, in life), and quite early on I figured out that that’s what this movie was — a student film (albeit a really bad one) constructed mainly to get a couple chicks to awkwardly lift blouse. But no… Farmer is 50 years old!
Presented in 1.33:1 full-screen, Dorm of the Dead comes in a regular plastic Amray case bearing the hilarious salutory blurb “Nice job — congratulations!” from Howard Stern. (Ownbey, it seems, is “Miss Howard Stern.”) A trailer is included, but the only other supplemental extra is a true jewel — a 15-minute “making-of featurette” (actually just a collection of on-set footage) in which Shepis fixes the camera in her gaze and sighs, “What we do to pay the rent…” Another dude, meanwhile, actively runs when the camera is pointed in his direction, saying, “I’m not in this!” If I were to give grades lower than a F, it would be in special cases like this. If for some reason you’re still interested, to check out the movie via Amazon, click here. F (Movie) C- (Disc)
Just like this summer’s The Bourne Ultimatum, a three-peat which improved on the opening numbers of its previous entries, Resident Evil: Extinctiontopped the box office charts this weekend, taking in an estimated $23.7 million.
Good Luck Chucksaw more modest returns, pulling in $13.7 million on around 3,100 screens, while Amanda Bynes’ Sydney White couldn’t capitalize on her Hairspray-aided bump in profile, grossing only $5.2 million at around 2,100 sites.
In holdovers, Jodie Foster’s gritty The Brave Onedropped 46 percent, good for $7.3 million and $25 cumulatively to date. 3:10 to Yuma added another $6.1 million to its coffers, and now stands at $37 million overall. Mr. Woodcock fell 44 percent, down to $4.9 million for the weekend and $15.6 million in total. Still hanging around in the top 10, meanwhile, are Superbad (which has now raked in over $116 million), the aforementioned The Bourne Ultimatum ($220 million and counting), and sophomore release Dragon Wars, which pulled in $2.5 million to take its total haul to $8.6 million.
In limited release, Across the Universe, a sprawling love story set to the tunes of the Beatles and starring Evan Rachel Wood, expanded to 275 theaters and pulled in $1.9 million. Sean Penn’s Into the Wild rang up $210,000 on four screens, The Jane Austen Book Club made $149,000 on 25 screens, and The Assassination of Jesse James by the Coward Robert Ford made just under $148,000 at five theaters. Meanwhile, December Boys, starring Daniel Radcliffe, added four theaters (for a total of eight), and put another $11,000 in the bank.