Tag Archives: i love you man

Wolverine Takes Bite of UK Box-Office Too


X-Men Origins: Wolverine followed its super-sized bow in the US with a chunky haul in the UK too, taking £6.6m during its first five days on release. It meant Miley Cyrus and her Hannah Montana: The Movie had to settle for second, despite the youngster’s publicity wave throughout the week trying to promote the film.

Hannah Montana took a solid £2.03m to finish in second, over double the take of previous number one State of Play, taking £0.98m to just nip in ahead of Matthew McConaughey and his Ghosts of Girlfriends Past.

Zac Efron clung onto fifth with 17 Again, followed up by Monsters vs Aliens, Fast & Furious, I Love You, Man, In The Loop and The Uninvited to round out the top ten.

The only disappointment of the week was the £123,309 taken by Is Anybody There?, the new film from Sir Michael Caine.

It’s likely Wolverine’s time at the top will be obliterated in the coming week with the release of Star Trek but, after a very troubled route to cinemas, this one really did some solid business, as can be shown from the ridiculous number of further X-Men projects now being flung into development.

Bromancing and the Destigmatisation of Homosexuality


Toby Young wrote in a column in the Independent over the weekend to comment on the growth of so-called bromanticism in modern movie making, arguing specifically that this phenomenon has grown in the wake of the “destigmatisation of homosexuality”.

The point is pretty trite and obvious, but I don’t think it had even occurred to me just how much this shift has taken hold. Young talks about his own youth and the lack of emotional attachment he would have to his male friends beyond the kind of stoic, brotherly companionship you can imagine seeing in war movies and westerns of the past. He says nowadays the shift has moved the other way to a point where “young men are more emotionally wrapped up in each other than they are with young women”.

This may well be true for a great deal of men around the world. The kind of hugging and physical attachment exhibited by footballers in the past and frowned upon by observers has become part and parcel of modern life for most men. I personally hug pretty much all my male and female friends when I see them.

Why? I honestly couldn’t provide you with a decent explanation other than I have absolutely no qualms or insecurities about sexuality. I think, as Young later notes, that this must be driven in part by the gay rights and liberation movement, along with the changes in modern life in the acceptance of homosexuality in all walks, but it had just never occurred to me just how much men are involved in each other’s lives now in emotional ways that would have been frowned upon constantly in the past. I suppose that this just doesn’t seem like something ‘gay’ to me or any of my male friends. We don’t consider having lengthy conversations about relationships and emotional issues to be a practice exclusive to gay men.

Whether that is a change of the times or upbringing or social values and mores of my generation, I don’t know. But I Love You Man, which Young says is satirising this relationship, has brought this to a forefront in the minds of social commentators in newspapers across the land and will likely provide a very interesting generational divide and maybe, just maybe, the film will force men of my generation to consider the relationships they have with other men and for others, not inducted into this cult, make them try to understand that talking with men you know about their feelings is, quite simply, not gay.

US Box Office: Fast, Furious and Flippin’ Successful


Um. Yeah. So, apparently Paul Walker + Vin Diesel + Jordana Brewster + Michelle Rodriguez = box-office gold. Fast & Furious, the unlikely four instalment of the diminishing series, racked up a quite ridiculous $72m over its opening weekend. That’s more than Monsters vs Aliens, more than Watchmen. Cinematical notes further this is higher than the entire domestic gross of the third film, Tokyo Drift, by $10m. It is, indeed, the biggest opening weekend achieved since The Dark Knight.

Monsters vs Aliens dropped by 44 per cent in its second weekend with $33.5m, taking its cumulative gross in ten days to over $100m. It will be interesting to see how well Fast & Furious does on its second weekend.

The Haunting in Connecticut held on to third with $9.6m followed by Knowing and I Love You, Man. Adventureland failed to capitalise on any box-office capital held by Greg Mottola, and strong reviews, making only $6m over its opening weekend.

US Box Office: March 27-29


Monsters vs Aliens was by far the blockbuster release of the week in the states, and it lived up to part of its name with a dominating $58.2m, the biggest debut of the year thus far, topping the $55.2m racked up by Watchmen. Not only did it top the charts, it managed to do so with 58 per cent of the gross coming from 3D screens, working out to enough to take it top of the charts on 3D tickets alone, according to figures gleaned from ComingSoon.net.

The Haunting in connecticut, the new Lionsgate horror filler, managed $23m with Knowing taking a 40.2 per cent second week drop to take $14.7m. I Love You, Man came in fourth with Duplicity rounding out the top five.

The Monsters vs Aliens blockbuster opening is likely to bring about new talks of the potential for 3D movies, although I would argue that there still remains a long way to go before 3D comes headlong into the mainstream when you have something to open against and it’s not squarely aimed at the young children market.

Knowing Trounces All Comers


Knowing, the new Nicolas Cage film, a genre in itself these days, reigned supreme at the US box-office over the weekend, racking up an impressive $24.8m over the three days. This was enough to knock I Love You, Man into second, taking a slightly disappointing $18m with Duplicity, the return of Julia Roberts (although she kind of returned with Charlie Wilson’s War a little way back), was another disappointment, taking only $14.4m despite relatively good reviews. This has prompted a few commentators to question the bankability of Roberts in the modern day.

Outside of that, Race to Witch Mountain slightly under half in its second week to $13m with Watchmen propping up the top five with $6.7m. It means the total gross of the latter currently remains under $100m for its domestic take.