Even famous faces Viola Davis and Maggie Gyllenhaal couldn't help "Won't Back Down," which set a record over the weekend for worst film opening ever.
"Won't Back Down" took in a rough $2.6 million its opening weekend, according to Box Office Mojo, setting the record for worst opening of a film that released in over 2,500 theaters. The flick beat Rainn Wilson's "The Rocker," Drew Barrymore's 2007 romantic drama "Lucky You," Luke Wilson's family comedy "Hoot" and Jennifer Aniston's "Rumor Has It" for the dubious honor.
"The Rocker" had been in the top spot since 2008.
"'Won't Back Down' wore the dunce cap last weekend, mostly because its marketing was almost non-existent," Jeff Bock, box office analyst for Exhibitor Relations told Yahoo! Movies.
The film also stars Oscar-winner Holly Hunter and focuses on two mothers fighting to transform an inner city school suffocating under bureaucratic issues. Bock noted a flaw in the film's packaging. "Here's a little 'Teacher Drama' 101 for you -- without a cast of young urban students and a hit R&B song backing you, you might as well be making a movie for the Hallmark Channel," he told Yahoo! Movies.
"Won't Back" down only received a measly 33% on Rotten Tomatoes, even though 61% of audience members liked it.
"Despite the best efforts of its talented leads, 'Won't Back Down' fails to lend sufficient dramatic heft or sophistication to the hot-button issue of education reform," reads the Rotten Tomatoes review.
The theme of the film is not necessarily the issue. Other films about the education system, including "Stand and Deliver" and "Dangerous Minds" have been very successful.
The New York Times was not a fan: Once the action kicks in, “House at the End of the Street” turns into a choppily edited, poorly timed mess with little continuity, overloaded with aural shocks in a desperate attempt to compensate for its minimal suspense.
Andy Gill of The Independent breaks down Billie Joe Armstrong and friends: This, the first salvo of a 3CD campaign that will see two further albums released by mid-January, finds Green Day's devotion to the most basic of rock formats resulting almost inevitably in some of the dullest music released all year.
The Guardian dispatched Lupe's album thusly: Fiasco is not without skills or beliefs, but neither are as refined as his self-regard.
"Battleship" returns for DVD release. The film was not kindly reviewed when it debuted: You can’t ‘get’ a film like Battleship. It’s not satire, it doesn’t play on two levels like Starship Troopers, it’s just shit. Still, I almost encourage you to seek it out. As a piece of miscalculated, American wankery, it is almost unparalleled. Consider this one Sunk.
Writing in Time Out, Tom Huddleston panned Neeson's thriller sequel: ‘Taken 2’ is a cynical, contemptuous film whose sole reason for existing appears to be to squeeze the pockets of anyone who enjoyed the first movie. Don’t give it the satisfaction.
This film seems like a really good try: The one-step-forward, two-steps-back nature of collaborative reform doesn’t lend itself to a climax featuring plucky heroes wearing green and big bad union guys wearing red. Writer-director Daniel Barnz choreographs that sequence to maximize nail-biting and stirring emotion. But by that time, “Won’t Back Down” has become so didactic that viewers are likely to feel less uplifted than lectured.
The children's movie did not impress Newsday's Rafer Guzman: "Hotel Transylvania," a 3-D animated feature in which Count Dracula (voiced by Adam Sandler) manages a resort for persecuted monsters, feels like a string of jokes without a story. That might be better than the other way around, but this Sony Pictures Animation production ends up feeling less like a children's movie and more like a disposable summer comedy.
No Doubt seems to have lost their way, according to the Boston Globe: It’s not a matter of everybody fighting for their own ideas at the group’s expense; just the opposite, in fact, as it sounds like every last detail was worked out through numbing compromise. The band has rarely sounded this faceless, with the indiscriminate, locked-in sheen of a producer-driven act instead of the fused idiosyncrasies of a supposedly inspired foursome.