All my associations with his name involve gormless staring at exploding stuff; and transformers. Did he have some sort of personality-altering accident that moved him to try acting in the intervening years?
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I liked it as well.
But those are figures for a very limited release with little or no promotion. I at least saw “The Colony”. It was not all that bad,
Its out on bluray. I’ve seen it. I didn’t mind it. Its one of those “big twist” movies. It walked a fine line between being sympathetic for people with mental illness and using mental illness as a simplistic plot device.
The transformer movies have all put me to sleep during the last act ultimate battle scene that drags on forever. But I bear no ill will for The Beef. I particularly enjoyed Disturbia which was a fun reinterpretation of Hitchcock’s Rear Window.
He also worked with Lars von Trier, although I haven’t watched the Nymphomaniac movies yet so I can’t say how well he did.
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Give this a shot. He’s quite good in it. And all the people around him are even better. He seems to have spent more time acting and doing deep artsy shit than he has nebbishing his way through action films. It’s just that most of that has been worse than Transformers. And he’s obsessively smug across the board. As for what happened to make him a big ball of obnoxious. Well read up on his upbringing. Dude’s like 3rd generation douche nozzle. IIRC his dad is an abusive drunk who lives in a yurt and mooches off whoever. I actually feel bad for the dude, sometimes.
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Definitely don’t watch this, though.
On the other hand, this (which I admittedly haven’t seen, but I quite like Andrea Arnold’s other films) is meant to be good:
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That’s the thing. He does all this shit that makes us want to hit him. And then he’s legit good in something actually interesting. Then back to face punching crap. It’s maddening.
He has always struck me as being like a young Michael Caine or Nic Cage in that he will accept just about any role offered because he loves his craft so much. So for every great film he’s in there been 10 stinkers in between.
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But those stinkers are so much less charming about their badness.
I will watch Michael Caine (or Chris Walken who has a similar policy) in anything. I’d rather watch Nick Cage in a bad movie than a good one. The Beef? Not so much.
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“Have you not been kept awake?”
Certainly Bad Boys 2 was noisy enough to prevent me from a cool catnap.
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This is why I have seen Gladiator
I haven’t commented on this site in almost a decade, but logged in just to post this.
This post is total bullshit, only telling half the story. This is pretty common, and sometimes films must be released to a single screen internationally to qualify for specific distribution deals etc. As such, it was dumped into this cinema with no marketing and a very limited release window. This is such a non story and has nothing to do with the actors or quality of the film and everything to do with getting this flick available on VOD ASAP.
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Everyone seem to be missing the point here, why Burnley of all places?
You’d expect that for ‘we contractually have to release this’ type films, that the studios/distributors would have a place in London somewhere where they could put it on for a couple of showings.
Or maybe that’s the point, they know there’s no big time film critics anywhere near Burnley, so there’s no chance of a bad review (except from the Burnley Express).
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How many of the ticket buyers thought they we’re going to see a film version of Man Down?
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Thanks Shia! But really, how does it have to do with getting the movie online? Curious.
It would all depend on the contracting and distribution deals. Awards consideration, eligibility for certain sorts of releases, access to broader theatrical release, festival entry. All can be dependant on having a theatrical run in a certain market by a deadline. With little money for marketing and what have this can mean dumping it for a single showing in a single theater in a small market.
So let’s say streaming/VOD release is the issue here. The UK distribution deal might say that there must be a theatrical release. And a minimum of 6 weeks later the movie can be release to cable/satalite VOD/pay per view, and after 12 to streaming services in the UK. You have little access to theater chains, little money to market and are as such unlikely to make much at theaters. The biggest lump of money you’re likely to make, And the best chance to make a profit on the film are those VOD fees. So minimal theatrical release, one theater, one screen, one showing. In a place it’s easy to get in. With no press or marketing expenditures. Get it out of the way and start the clock on those six weeks immediately. You get to VOD weeks or months earlier.
Of course that approach itself is usually a mark of poor quality. The modern equivalent of dumping things direct to DVD. Good Indy and arthouse films typically tour festivals, and pursue pedestal releases (start with a small numbers, even one venue then increase if buzz is good) to generate buzz. Then go right to streaming, VOD, and DVD all at once to maximize distribution and revenue streams. And increasingly they jump right to streaming in tandem with small/touring theater releases.
gross in the UK: $26
drive-by comment #1: something, something Hollywood accounting in the UK
drive-by comment #2: of course it only got 26 Dollars, most of the gross was in Pounds.
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