Johnny Depp: Never Have I Ever, a Game to reveal All Secrets

25 Jan 2015 | Author: | No comments yet »

‘Mortdecai’ flops, ‘American Sniper’ leads Friday box office.

In what’s appearing to be true Johnny Depp fashion, his lead role in the newly released “Mortdecai” couldn’t muster the numbers to take over Friday’s box office. Johnny Depp, Gwyneth Paltrow and Paul Bettany might have paid a visit to the Ellen DeGeneres Show to talk about new movie Mortdecai – but the talk show host had other plans for them. Gwyneth Paltrow told Rachel Ray during an interview on The Rachel Ray Show she had to hurt herself to keep from laughing while kissing her Mortdecai costar Johnny Depp. “I ruined probably 15 takes — which was funny at first,” Paltrow explained to Ray about their kissing scene, in which they both keep gagging because of Depp’s character’s automatic gag reflex. “Until you look around and the crew’s like, ‘Oh my God.’ I honestly was digging my nails into my skin to not laugh by the end of the thing because I was like, ‘I’m going to get fired!'” Depp, who plays a goofy English aristocrat art dealer named Charlie Mortdecai, is also clad with quite the mustache for the role, which didn’t make it any easier for Paltrow. “How come Penelope Cruz gets to do [Blow], where they’re all sexy and making out and I’m making out with this, like, wig on his face?” she added, laughing off her experience with one of Hollywood’s biggest heartthrobs.

In fact, she persuaded the trio into making some seriously frank confessions via a sneaky round of the game Never Have I Ever – with the actors having to hold up signs to indicate their answers to a range of increasingly naughty questions. So if you’ve ever wanted to know whether Depp has joined the mile-high club or Paltrow – who we have to say got REALLY in to the game – has made sexy chit-chat via text, then look no further. If you can’t suspend disbelief 20 minutes into the movie—sure, they’re two competent American actors pretending to be wealthy, genteel Brits, but really?—it would be difficult to swallow the rest of the film’s contrived, artificial elements.

This shouldn’t be too surprising, as Lopez is one of the more recognizable people in the country and there hasn’t been much over the last few months that explicitly targeted women above the age of puberty. You can see the game in its entirety – including the trio’s answers to other questions including whether or not they’ve ever been arrested, lied to get a job, forgotten a date’s name or told fibs on a talk show – by clicking on the above link. But much like his other recent films, “Transcendence” and “The Lone Ranger,” his star power, combined with co-stars Gwyneth Paltrow, Ewan McGregor and Olivia Munn, didn’t boost the release to any heights.

A $16m debut would be right in the upper-level of her wheelhouse as a lead, and it’s her biggest live-action opening since Monster-In-Law’s $23m debut in May of 2005, which remains her biggest live-action debut weekend. Holding down the No. 1 spot for the second week is Clint Eastwood’s “American Sniper,” which pulled in another $18.3 million Friday, adding to its already record-breaking $105 million last weekend. Not that there are no cute, light, charming parts—the flirting between Johanna and the smitten Inspector Martland (Ewan McGregor), and the spousal banter between the Mortdecais are quite agreeable.

The stolen art angle—the characters, tracking a long-lost Goya painting, encounter interested thugs from across the globe—is actually intriguing, but rather disjointed. If it plays similar to Halle Berry’s (painfully underrated) The Call from March 2013 ($6.1m opening day/$17.1m debut weekend/$51.8m domestic final), it gets to around $45m and earns over ten-times its budget just in domestic theatrical. Charlie is an out-of-touch misfit—which would have been a perfect match, but it’s almost like he’s just doing a mash-up of his Tim Burton characters, with a dash of Jack Sparrow.

Far behind “American Sniper,” new release “The Boy Next Door” pulled in $5.7 million for second place, already surpassing the $4 million it took Universal and Blumhouse Productions to make the film. At some point, you’d give up; it’s a cartoon-y crime caper-heist flick that, while welcomely outlandish and different, baffles way more than it amuses. He was considered box office poison before Curse of the Black Pearl and that really hasn’t changed give or take an occasional Public Enemies and The Secret Window. To subscribe to the Philippine Daily Inquirer newspaper in the Philippines, call +63 2 896-6000 for Metro Manila and Metro Cebu or email your subscription request here.

The film, which stars Evan Rachel Wood, Alan Cumming, Kristin Chenoweth, Maya Rudolph, SamPalladio, Meredith Anne Bull, Alfred Molina and Elijah Kelley, actually came from Lucasfilm (George Lucas was among its writers and producers) and it was released under the Touchstone banner, which was not a sign of confidence. Disney could lose all of the money on this one and fund Red Tails 2 and still come way out ahead thanks to that whole Star Wars thing they have their hands on. I would argue this release is tantamount to a favor, and Lucas’s interviews where he mentioned that The Force Awakens didn’t use any of his Star Wars Episode VII ideas (which shouldn’t be news as the script underwent a major overhaul in late 2013) are basically a gift as Disney attempts to distance the new film(s) from the somewhat disliked prequel trilogy. That’s not very strong, but 99% of the publicity for the film, in fact arguably the whole reason for the film’s existence, was about Jennifer Aniston’s would-be Oscar nomination. In holdover news, Paddington earned $2.61 million on its second Friday (-45%) and should score a solid $11m second weekend (-37%) and $39m ten-day domestic total.

The $23m comedy will have just under $40m by tomorrow, and its drop will be noticeably less than About Last Night (-70%) and Think Like A Man Too (-64%) but above the 48% drop of Ride Along last year. The Imitation Game earned another $1.92 million yesterday, bringing the domestic total for The Weinstein Company’s big Oscar contender to $55.43m and setting the stage to earn $6.3m for the weekend (-3%) and end the frame with $59m. I was a little hard on the film last weekend after it didn’t quite hold up post-Oscar nominations, but I was wrong in light of this almost miniscule drop. It will surpass the respective ninth weekend total of The King’s Speech by tomorrow, so the comparisons are still apt even if Boyhood wins the big prize.

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