The Weekend Warrior April 8, 2022
SONIC THE HEDGEHOG 2, AMBULANCE, VIVA MAESTRO, COW, RETURN TO SPACE, ALL THE OLD KNIVES, ALINE, and More
Now that we’ve recovered from the Oscars – we have recovered, right? – and we’re into a new month and maybe things will settle down, although I got my 2nd Moderna booster last week, and it has totalled me and my productivity this past weekend.
Before getting into it, I suggest that anyone who hasn’t checked out this great Box Office Game do so, because a.) it’s kind of fun to try to remember the top 5 from years past, and b.) it’s also kind of hard even for someone who has covered the box office for over 20 years.
Also, just a reminder that you can get an earlier look at my predictions over at Gold Derby if you check out my monthly preview, which will run the Tuesday or Weds before the start of each month.
SONIC THE HEDGEHOG 2 (Paramount) - Rated PG
Paramount continues its amazing 2022 run with their third (or is it fourth?) franchise movie, and a sequel to one of their biggest hits of 2020. It also was probably the only movie they released in 2020, too, but who is counting? Sonic the Hedgehog was quite an achievement for the company as it made $58 million opening weekend, and though it remained #1 its next weekend, it had a big drop once COVID hit and then theaters closed across the country. It ended up with $146.1 million domestic and $304 million worldwide, which was enough to make it into the top 3 for 2020, but asterisk... COVID!
In fact, it seems like having a sequel out in a little over two years is pretty amazing, all things considered, and hopefully the quality of the comedy and visual effects didn’t go down due to the conditions in which the movie was produced. (I’ve seen the movie since writing that last sentence, and thankfully, they didn’t.) But even with how COVID limited the movie’s box office, it made sense to make a sequel and keep the IP alive for a studio that ended up moving or selling most of its 2020 and some of its planned 2021 releases. Honestly, it’s the one studio that’s really killing it this year when you consider that many of the biggest releases otherwise have been from late 2021.
The best thing going for Sonic 2 is that there really hasn’t been many big family movies in theaters since the release of Sing 2 way back in late December. That movie has managed to hang onto the top 10 for 14 weeks, bringing in $160.9 million so far, but it’s definitely run its course, and having another family movie ready to go is definitely going to benefit Sonic 2. (As will Disney’s decision to move the Pixar animated film Turning Red to Disney+ since that would have gladly scooped up that family theatrical business.)
As I’ll probably mention in my review, I really haven’t played these games, so I really don’t know the appeal of the characters like Tails and Knuckles that are a big selling point for this sequel. Still, there’s no denying that Jim Carrey playing Dr. Robotnik is probably just as big a sale to parents who grew up with his humor. That’s not to take anything away from the great Ben Schwartz (who voices Sonic) or James Marsden (I’m definitely a fan) or Tika Sumpter or Idris Elba, who voices Knuckles, but Carrey is still considered somewhat of an A-lister, even if he doesn’t make as many movies as he did back in the ‘90s.
There was a long time where family sequels would rarely do as well as the original movie, but this one has the benefit of coming out fairly soon after the previous movie, which may have done even better without COVID. But now it also benefits from being the first high-profile family film in a long time, and reviews are okay with 65% fresh on Rotten Tomatoes (the first movie was just a few ticks lower). I think I’m still going to stick to the lower side of things since parents with unvaccinated younger kids may still be nervous about taking them to the movies, but I think $50 million is definitely the lower side of things for this one, and I could see it making more in the $54 to 56 million range its opening weekend with better legs than the original despite more competition for family audiences over the next two weeks.
Mini-Review: I’ll freely admit that I didn’t go back to rewatch Sonic the Hedgehog before watching this sequel, and that’s not because I necessarily remembered the movie. I’ve seen and reviewed close to 400 movies since watching that, and there was a pandemic, so it wasn’t something particularly fresh in my memory.
This sequel begins with Jim Carrey’s Dr. Robotnik stranded on a “Mushroom Planet” until he’s rescued by Knuckles, the last of the echidnas, as voiced by Idris Elba. Meanwhile, Sonic (voiced by Ben Schwartz) is about to be left alone by his human parents Tom and Maddie (James Marsden, Tika Sumpter) who are off to Hawaii for her sister Rachel’s wedding. Just as they leave, Robotnik and Knuckles show up looking for a Sacred Emerald, although Sonic has also found a new ally in the impressionable younger inventor fox named Tails (voiced by Colleen O'Shaughnessey).
I think this Sonic the Hedgehog sequel impressed me as much as the original (the one I don’t remember) because it just was much funnier than it ever should be. While part of that is due to Carrey, for sure, it’s also due to the quality humor and sight gags that permeate the film. In fact, I would almost say that the humor aspect of the film works better than the action-adventure, although that’s just fine.
Much of the film involves the four main characters looking for the Sacred Emerald that will give the possessor great power, and of course, Sonic can’t let Robotnik get it, so he has lots of fights against Knuckles. The one thing that impressed me more than anything else about Sonic 2 is Sonic himself, because he might be one of the best realized CG characters I’ve seen in recent memory. Part of that is due to Schwartz’s fine voice work, but this is a 3-dimensional character that feels as solid and real as the humans he’s interacting with. I wish I could say the same for Knuckles, because it takes a bit longer to warm up to Elba’s delivery and characterizations. In general, the visual effects are solid, and it certainly shows how far hybrid live action-CG films have improved in recent years.
More importantly, the writing is there, so that while the plot itself is fairly ordinary in terms of the quest to get an item and what happens during it, the humor is just spot-on to the point where I surprised myself by how much I was laughing, particularly once the story moves to Siberia.
On the other hand, the whole wedding in Hawaii seems to have been connected merely to remove the less interesting human characters from the sequel, but in fact, it ends up spending a good amount of time in Hawaii dealing with Maddie’s sister Rachel (Natasha Rothwell) and her bridezilla rage about her wedding going to hell due to Sonic. The movie spends so much unnecessary time on this subplot even though Rothwell is quite funny.
But make no mistake that this is all about Carrey and his ability to just deliver some of the most over-the-top villainy that works well against Sonic’s wisecracks and Tails’ naivety.
In other words, Sonic the Hedgehog 2 is one of those rare family films that will keep the kids thoroughly entertained but won’t have their parents too vexxed about having to sit through it. That’s something quite hard to accomplish, and especially in a sequel. (And yes, there is an after-credit sequence which introduces a character presumably for a third movie that fans of the games will probably know, whereas I do not.)
Rating: 7.5/10
AMBULANCE (Universal) - Rated PG-13
Universal has been relatively quiet this year so far (other than dumping stuff to Peacock!), but now they release the first of two April theatrical releases, this one being the first theatrical release from Michael Bay since 2017’s Transformers: The Last Knight. That was his fifth movie in that series which failed to find the blockbuster status of previous entries, grossing half the domestic gross of Transformers: The Age of Extinction three years earlier and about $500 million of the worldwide gross. It was the end of quite an amazing franchise for Bay, which began ten years earlier with the first of three movies to gross $300 million domestically.
Of course, Bay has continued to work as a producer, but his last movie as a director was 6 Underground for Netflix, and he also had diverged into military thrillers with 13 Hours: The Secret Soldiers of Benghazi in 2016. Bay now returns to non-franchise filmmaking with a heist movie starring Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza González, which seems to be somewhat of a return to Bay’s 2013 movie, Pain and Gain, starring Dwayne Johnson and Mark Wahlberg, maybe without so much of the comedic element.
Gyllenhaal hasn’t had a movie in theaters really since 2019’s Spider-Man: Far from Home if you don’t count Netflix’s nominal theatrical for The Guilty last year, but he’s been teamed with an actor who has been in many movies recently, because Abdul-Mateen starred in last year’s Candyman and The Matrix Resurrections, and he had a pretty major role in Aaron Sorkin’s Oscar-nominated Trial of the Chicago 7. He also played the main villain in James Wan’s Aquaman and is presumed to return for its sequel next year. Abdul-Mateen continues to be a great actor to keep an eye on, and of course, Ms. González has been similarly terrific in lots of movies but especially in Edgar Wright’s action-comedy, Baby Driver, a few years back.
Although Gyllenhaal hasn’t seemingly done a ton of press or talk show appearances for the movie, his appearance may be the film’s biggest sell after Bay, even though other than Far From Home, most of Gyllenhaal’s films have capped off around $60 million domestic, including Southpaw (directed by Antoine Fuqua), Source Code (directed by Duncan Jones), and Prisoners (directed by Denis Villeneuve). He’s also been in smaller indies but also in bigger mid-budget studio movies like Life (by Morbius director Daniel Espinosa), which only made $30 million.
This movie has quite a lot going for it, including its genre, and also since it’s a rare non-franchise movie (though we’re getting a few of those this month). And yet, for some reason, I just don’t see this being a movie people will rush to go see opening weekend or in theaters. When you combine that with the theatrical market post-COVID where mid-budget non-franchise movies tend to struggle, it just makes things tougher for Bay’s latest. This one has already made around $19 million overseas in various markets, but even going up against something seen more as a family film in Sonic 2 might keep this one from making a lot more than $15 million this weekend.
Note: I hadn’t seen the movie at the time of the above writing, but early reviews were released since it opened overseas, and it’s doing okay with 69% on Rotten Tomatoes at this writing, so I look forward to seeing and reviewing it, which you can read below:
Mini-Review: Even though I knew the general premise for Michael Bay’s new movie ahead of time, I definitely didn’t know it was based on a previous Danish thriller – that’s two in a row for Scandinavian remakes for Gyllenhaal! – and I also didn’t realize how high concept it was.
Jake Gyllenhaal and Yahya Abdul-Mateen II play (presumably) half-brothers Danny and Will Sharp, the latter a military man back from Afghanistan whose wife needs expensive surgery which they can’t afford. Danny coerces Will into driving for a mega-heist bank robber that will bring in $32 million, but of course, things go wrong, Will ends up shooting a rookie cop, and the three of them end up in the back of an ambulance where Eiza González’s EMT Cam has to try to save the officer while they’re on a high-speed chase across Los Angeles. I mean, could there possibly be a better premise for a Michael Bay movie?
Okay, we can just get out of the way the fact that having a heist movie set in Los Angeles is going to automatically draw comparisons to a classic scene in Michael Mann’s Heat, and yeah, that influence is definitely there, but that’s only maybe in the first 20 minutes or so. Once the quartet hit the road with the authorities in cars and helios in pursuit, then it becomes all Michael Bay, although far less flat-out insanity than we’ve seen in past movies. (I guess that’s more Roland Emmerich territory.) But what Ambulance does show is that with the right material, Bay can really do what he does best, and that means to entertain moviegoers in the biggest sense of the word, “Entertainment.” The humor may be a little more subdued as necessary, but it’s still there. Gyllenhaal is great in more of a villain role, tempered by Abdul-Matteen’s more sympathetic role and González is just terrific in the closest the movie gets to a hero, because even the law enforcement may not be so straight-ahead with their motivations. Outside the three main actors, the movie is just abundant with characters, but especially Garret Dillahunt’s dog-loving Captain Monroe, and the FBI bank heist expert Anson Clark, played by Keir O’Donnell.
Sure, there are issues, like the fact that the police officer probably would have died from the fact that Cam doing surgery on him with Will’s aid with neither of them wearing masks… oh, yeah, and in a speeding ambulance, too. I’m sure that this movie was mostly the four actors on a gimbal on a soundstage somewhere acting out the entire chase except when they interact with others, but Bay’s team just does a great job putting all the pieces together to make the car chases, crashes and explosions seem far more practical than other modern action movies.
Sure, some of the camerawork and editing may be nausea-inducing at times with the camera flying all around L.A.’s buildings to follow the vehicles, but that just adds to the whole Bayness of the thing. Bay does especially with all the emotions inherent story and creating the unbearable tension as things go on, ably helped by another fantastic score by Lorne Balfe.
There’s no way around the fact that Ambulance is quite a coup for Michael Bay, because it brings him back to the more naturalistic and practical approach to stunt-driven filmmaking, but also because he is working from such a solid script and great cast that he can instill some of his trademarks without going overboard.
Rating: 8/10
THE CHART:
There is no scenario where Sonic the Hedghog 2 doesn’t win the weekend, but Michael Bay’s Ambulance has a really good shot at taking second place, because I expect Morbius to crash and burn with its shitty reception last week. It should still stay ahead of The Lost City, to take third place. A24’s Everything Everywhere All At Once gets its widest release Friday into about 1,200 theaters or so, which might push it closer to the top 5 this weekend, though it will be a tough road to beat The Batman even in its fifth weekend.
1. Sonic the Hedgehog 2 (Paramount) - $54.5 million N/A
2. Ambulance (Universal) - $15.6 million N/A
3. Morbius (Sony) - $14.5 million -63%
4. The Lost City (Paramount) - $8.2 million -45%
5. The Batman (Warner Bros.) - $6 million -45%
6. Everything Everywhere All at Once (A24) - $5.5 million +300%
7. Uncharted (Sony) - $1.9 million -48%
8. Jujutsu Kaizen 0 (Cruchyroll) - $1 million -50%
9. Spider-Man: No Way Home (Sony) - $1 million -31%
10. Dog (MGM) - $800k -39%
No “Chosen One” this week, but we do have three great docs worth checking out….
¡VIVA MAESTRO! (Greenwich Entertainment)
This fantastic doc by Theodore Braun (Darfur Now) is a portrait of esteemed Venezuelan conductor Gustavo Dudamel, following him from 2017 when speaking out against the Venezuelan government got him into trouble with the President who cancelled the tour of the Simón Bolivar Symphony Orchestra, which Dudamel has been musical director of since he was 18, due to statements released by Dudamel against his country’s politics.
I honestly did not know much about Dudamel or the Simón Bolivar Orchestra going into this one, so this was a terrific discovery film for me, learning about his history, as well as how Venezuela has created “El Sistema,” an amazing government-funded music program, created by Dudamel’s mentor, José Antonio Abreu, in order to help the country’s kids using music. The program has allowed Dudamel to assemble a number of absolutely fantastic world-touring orchestras, both of kids and adults, and Braun’s film beautifully captures a period in Dudamel’s life and career as things are going great, but then things turn on a dime so that he’s no longer able to go back to Venezuela and the Simon Bolivar Orchestra disintegrates with the President forbidding it from fulfilling its scheduled tours. (The film culminates with a tribute to Dudamel’s mentor Abreu performed in Chile with an orchestra made up of many of Dudamel’s various orchestras from across the globe.
While I’m not the biggest classical music fan, I do enjoy it just fine, so it’s great seeing this portrait of a conductor who I just wasn’t particularly familiar with but one who has just done some amazing things with the kids and adult musicians he’s worked with.
Viva Maestro will premiere at New York’s Film Forum, and presumably other theaters around the country.
A-HA: THE MOVIE (Lightyear Entertainment)
Another great doc out this week is one that I first watched at the Tribeca Film Festival last year, and I definitely was interested in this, since I really did not know a ton about the Norwegian pop-rock best known for the song “Take On Me.” Listen, I’ve never loved the term “one hit wonder,” because it just shows a limited mindset by the person using the term that doesn’t understand how many records the group has made. The film is by Thomas Robsahm and Aslaug Holm, and it focus on the three main forces of the ‘80s Norwegian pop-rock band – keyboardist Magne Furuholmen, vocalist Morten Harket and guitarist Pål Waktaar-Savoy – who continue to tour together after decades of over-arching issues that keeps them from recording any new material. (As luck would have it, the first new A-Ha record in 7 years is coming out later this year.) It’s amazing to watch this film that covers their career starting back in 1985 and touches upon many of their 15 albums, and delves into why they continue to be huge in Europe but haven’t been able to maintain their fanbase in North America so much due to various issues.
This great music doc opens at the Quad Cinema in New York this Friday, as well as other theaters presumably, and I kind of wish I could catch their show at Radio City Music Hall next week since this doc has piqued my curiosity.
COW (IFC Films)
Andrea Arnold has made lots of great slice-of-life dramas, and now she turns her vision to doc filmmaking and cinema verité with this film that trains her cameras on a British dairy farm, as it literally covers the entire circle of life through the life of a milking cow as she gives birth to one calf and then another to keep the milk industry going. It’s a fairly relaxing movie to watch, being straight up footage with no actual commentary and only a little bit of dialogue from those around the main cow. There’s something a little bit disturbing about the whole thing, even though not enough to convert me into a full-blown vegan, but it just seems sad that this cow’s entire existence is to sustain this industry, have calves, supply milk, and then once she gets to old…. Well, I won’t spoil the movie’s ending, but you can only guess. I’m excited for Ms. Arnold to return to narrative filmmaking, but this is a nice break that doesn’t veer too far from the filmmaking prowess she’s shown over the past few decades.
RETURN TO SPACE (Netflix)
Oscar-winners Elizabeth Chai Vasarhelyi and Jimmy Chin (Free Solo, The Rescue) give us a rare but thorough look into collaboration between NASA and Space X, and their 20-year journey to send American astronauts back into space. I’m just a sucker for space movies, in general, and Chai and Jimmy are just two fantastic filmmakers who also can do no wrong in my book. Sure, I know some people don’t like Elon Musk or don’t trust him or both, but I guess that comes with being a billionaire industrialist who isn’t named Tony Stark. I found this film to be quite fascinating, because it touched upon some of the greatest events in space travel – there are less than you would believe – as it follows the Space X program to send a manned shuttle to the International Space Station, leading up to the past few years of manned Space X flights. Of course, Musk plays a large part in everything, since he is very much the spokesman for Space X, but this movie isn’t specifically about him or his ventures (okay, it does mention the flamethrower!). Another decent doc from these filmmakers, this one which will be streaming on Netflix this Friday.
Unfortunately, the above is all I got around to watching and had time to review this week, at least in terms of the straight theatrical releases, although there are a few others.
ALINE (Roadside Attractions/Samuel Goldwyn)
Valérie Lemercier’s musical drama, which was delayed since January, has the two time César Award winner playing Aline Dieu, a pop star “freely inspired by the life of Celine Dion,” as we follow her life from the ages of five to 50. The film follows how Dieu’s voice captures the interest of the much older manager Guy-Claude Kama, who vows to make her a star. I don’t know how many theaters this is opening in, but I have a feeling that it’s moderately wide into maybe 200 or 300 theaters, and I don’t think that’s going to be enough to make much of a mark here. (I believe it was released in Canada back in November.)
I’m not going to write a full review, since this week’s column is so late, but I’m kind of surprised how much I liked this movie, and more as it went along, and by no means a Celine Dion fan, at ALL. It started out a little strangely with Lemercier playing “Aline Dieu” as a child when she’s currently in her 50s, but she grew into the role as the character gets older, although it was odd that her manager seems to look even older than Celine Dion’s actual husband when they got married. The reason why the movie works at all is because Lemercier is a terrific filmmaker, and she knows how to keep the movie fun and entertaining even in darker moments, and I expect she got a lot of her character’s humor from watching the real Dion. (She’s also amazing when performing Dion’s biggest hits with equally huge production value.) Honestly, I didn’t hate this, and I even could recommend it to those who do appreciate Dion’s work (because a lot of it is used in the film, so clearly she was okay with Lemercier’s version of her or else she wouldn’t have).
AS THEY MADE US (Quiver Distribution)
Actor and Jeopardy! Host Mayim Bialik makes her directorial debut in the movie starring Dianna Agron as Abigail, a divorced mother of two who is trying to deal with her dysfunctional family, including her father (Dustin Hoffman) who refuses to admit his degenerative condition, while her brother Nathan (Simon Helberg) has been estranged from the family for decades. Abigail wants to try to reunite the family while dealing with her ex Peter (Charlie Weber).
DONBASS (Film Movement)
Opening at the IFC Center in New York and at a theater in L.A. is Sergei Loznitsa’s Ukrainian satire, which was also Ukraine’s official submission to the 91st Academy Awards, which was three or four years ago, no? Well, the movie is finally being released in the States with Loznitsa’s other movies also being shown around the downtown arthouses. (See repertory below.) This one involves an armed conflict between two separatist gangs
THE GIRL AND THE SPIDER (Cinema Guild)
Opening at the Metrograph on Friday is Ramon and Sylvan Zürcher’s indie drama, the second part of a trilogy, starring Henriette Confurius as Mara, whose roommate Lisa (Lilian Amuat) is about to move out, and as they do everything involved with that process, new secrets come out between them as they have one final party. After The Strange Little Cat (which I also haven’t seen), this is meant as the second part of a trilogy about human togetherness.
Streaming…
ALL THE OLD KNIVES (Amazon)
One week after starring in The Contractor, Chris Pine returns to the political thriller genre with an adaptation of Olen Steinhauer’s novel (adapted by Steinhauer) that’s directed by Janus Metz (Borg McEnroe). In the movie, Pine plays Henry Pelham, a CIA operative who was involved in a rescue for a plane taken hostage that goes horribly wrong. Because it’s thought that a mule in Pelham’s Vienna station may have been responsible for the death of the passengers, he’s sent on a mission to find out who is responsible, which might be his former colleague and lover Celia (Thandiwe Newton). The movie, which will hit a few theaters day-and-date with its debut on Prime Video also stars Laurence Fishburne and Jonathan Pryce.
I’m not going to get into a full-blown review on this one, since I saw it quite some time ago, but I really wasn’t that big a fan even if it wears its John Le Carré influences fully on its sleeve. I generally love Thandiwe Newton in everything she does, and this is a particularly sexy role, but I didn’t feel she had very much chemistry with Pine, who I also didn’t think was as good as he was in last week’s The Contractor. Part of the problem is the non-linear storytelling technique used by Steinhauer, presumably to stay in line with his novel, but it just made things confusing, and leaving it to Pine’s different looks to make clear which period we’re watching. In the modern-day portion of the story, Pine looks like present-day Pierce Brosnan i.e. quite old, but his earlier looks aren’t that great either. I just feel like this is a film that probably drew in this cast with the novel but Metz just didn’t have the chops to pull it off as he did with Borg McEnroe. Pretty disappointing, but at least it will on Amazon (and in a few theaters, apparently), the home of all things Tom Clancy… even though this is not one of those things.
METAL LORDS (Netflix)
Directed by Peter Sollett (Nick and Norah’s Infinite Playlist) and written and produced by D.B. Weiss (Game of Thrones), as part of the latter’s deal with Netflix, this is about two kids, Hunter and Kevin (Adrian Greensmith, Jaeden Martell) who want to start a heavy metal band, but having trouble finding a bass player until Kevin hears Isis Hainsworth’s Emily playing cello, so they recruit her to join their band Skullf*cker so that they can compete in their school’s Battle of the Bands.
Repertory stuff….
“Pop Plays Itself” continues this weekend with screenings of the Beatles in A Hard Days’ Night, Ned Landers’ Wrong Side of the Road (1981), and the reggae film, Rockers (1978), but if you didn’t get a chance to watch the Clash pseudo-doc Rude Boy, which features some amazing performaces by the seminal punk band, the last screening of that is tonight… but it will also be available on the Metrograph’s Live Screenings digital platform because it is one of Metrograph Pictures’ films. (Do I have to mention for the umpteenth films and programming you get for just 5 bucks a month?) This weekend’s “Late Night” offerings are Son of the White Mare and Perfect Blue (again), while “Left Bank Cinema” continues this weekend with the anthology Loin du Vietnam (1967) which features works by many of the filmmakers in this series, including Chris Marker, Agnes Varda, and Alain Resnai. “Robert Siodmak X8” is showing the last four films by the filmmaker in this series: Cobra Woman (1944), Son of Dracula (1943), Phantom Lady (1944), and The Crimson Pirate (1952).
The “Sidney Poitier and His Trailblazing Contemporaries” series continues into its second weekend with screenings of A Man Called Adam, Nothing But a Man, In the Heat of the Night, and much more. Not really repertory, but Sergei Loznitsa’s Babi Yar. Context continues at the Film Forum with all proceeds going to the relief effort in Ukraine. On Sunday, you can see Buster Keaton’s Spite Marriage and the weekend’s “Film Forum Jr.” is To Kill a Mockinbird, starring Gregory Peck.
David Fincher’s near three-hour 2006 film Inland Empire hits the IFC Center with regular screenings all week. The Ukraine film Donbass is screening as part of the IFC Center’s “LoznitsaX3” series, which will also show A Gentle Creature (2017) and Maidan (2014) with a portion of those sales going to the Red Cross’ Ukraine Humanitarian Crisis Fun.
FilmLinc is beginning a series honoring Koraen filmmaker Hong Sangsoon called “The Hong Sangsoo Multiverse: A Retrospective of Double Features,” because indeed, the program is set up as a series of double features running for a week starting this Friday and then again starting May 4. You can read more about this at FilmLinc.
Continuing this week is the amazing “Oh, The Humanity!” series, focusing on the films of the great Larry Fassenden and Glass Eye Pix, which will show Graham Reznick’s I Can See You (2008), Jim Mickle’s Stake Land (2010), Glenn McQuaid’s I Sell the Dead (2010), and Fessenden’s recent Fever (2021) and Habit (1995) on Saturday afternoon. They’re also doing a Larry Clark series this weekend.
ETC…
AGENT GAME (Saban Films/Lionsgate)
ALASKAN NETS: ONE TOWN, ONE DREAM (Good Deeds)
JERSEY (Yash Raj Films)
Next week, the April hits keep a-comin’ as we get Fantastic Beasts: The Secrets of Dumbledore for the Easter weekend, as well as Mark Wahlberg as Father Stu.
Box Office Data provided by The-Numbers.com.