Milla Jovovich and hubby Paul W.S. Anderson.
Credits: (WENN.COM file photo)
Apparently the T in the zombie-creating "T-virus" stands for Toronto.
Anderson and Jovovich jokingly call the RE franchise, "the family business."
"It's a 10-year relationship we've both had with this franchise," Jovovich told us in London while promoting The Three Musketeers. "It was our little movie that could, starting from this tiny little action/horror flick, and turning into this huge franchise. It's our baby.
"On Twitter I call it Camp Evil. We come in, everybody I know, all the actors I've seen before, the crew is the same. It's like coming home in so many ways. You really do feel it's like a family now.
"The great thing about Resident Evil is it's very organic. Every movie we've made, we've made with full-on heart, full-on soul. We have so much fun doing it. It's not like it's a business in the sense of 'Ch-ch next, ch-ch next,' " she says, making what I think is a cash-register sound. "We wait for the reaction. People love it. They want another one. We make another one."
Reminded that the previous Resident Evil: Afterlife knocked off Porky's to become the highest-grossing Canadian-produced movie in history, she yells, "High five!" and offers up her palm.
Well, hey, who are we to leave her hanging?
CONFOUNDING BOX-OFFICE DUDS: Remember when all a movie needed was rave reviews and great word of mouth? No more. Case in point: Warrior, one of the fall's most confounding disappointments.
The drama, starring Tom Hardy and Joel Edgerton as brothers and opponents in a mixed martial arts tournament, received rave reviews and an A grade from audience-tracker Cinemascore (meaning people loved it). Nevertheless, it's so far only grossed a paltry $13 million in North America.
For that, you can probably blame the subject matter and the marketing, which emphasized the MMA connection -- as opposed to the relationships. That in turn repelled potential moviegoers, especially women. (Popular as it may be in some circles, the UFC has a long way to go before attaining the mainstream acceptance of, say, boxing.)
Likewise, critical acclaim did little to help the long-term fortunes of Drive, which has been largely rejected by audiences.
Although it opened well, it has plunged at the box office in subsequent weeks. Some might argue that was inevitable since, while it was sold to the Fast and Furious crowd, it owes much more to European cinema. Others will point to its extreme bursts of brutality as what turned off female and older audiences.
So what have proven to be critic-and-crowd-pleasers alike?
All-ages fare, certainly. The success of The Lion King in 3D ($80 million) and Dolphin Tale ($37 million after 10 days) underscore what Hollywood already knows: Never underestimate the appeal of films for the whole family.
But two films for adults have performed well too: The virus thriller Contagion ($64 million), and the Brad Pitt/Jonah Hill-led Moneyball ($38 million); the latter should play well through October.
As for movies that should have flopped and did, two come to mind: Killer Elite ($17 million) and Taylor Lautner's Abduction ($19 million) -- further, and hopefully, conclusive proof that you're not a movie star just because you make Twilight fans squeal.