This list is a lot late, but I still wanted to see a few more films before making my list. I still have a lot to go, but I’m pleased with the current Top 20 I have at the moment. I might do an article later in the year with an unofficial updated list, just to show how what films might have made the cut if I’d seen them before making the list. Without further ado, here’s my Top 20… I was going to have the whole list displayed in pictures, but the formatting was off for the first half so only the Top 10 are displayed with pictures.
Released: March 8, 2013. Directed by: Various including Angela Bettis, Ti West and Ben Wheatley. Starring: Ingrid Bolsø Berdal, Iván González, Kyra Zagorsky. Runtime: 129 min.
Anthology films are a series of shorts compiled together, and the only thing they have in common is the genre they portray. A few anthology films from 2013 include this, Movie 43 and V/H/S/ 2 and since two of the three I’ve seen (this, The ABCs of Death, and M43) have been awful, state just how crappy anthology films can be. Movie 43 is a crappy compilation of crappy comedies, which are very rarely funny; ABCs is a lazy compilation of 26 chapters chronicling the vicious wonder and brutal beauty of death. The commonplace for the segments in this film it that someone dies in all of them (well, for the most part oddly), the majority of them are dull, and they’re supposedly trying to portray the horror genre. The thing is, not one is scary. They just exploit violence and there’s just a whole lot of blood.
I don’t have much of a problem with violence in cinema when it’s done well; and I really don’t mind gore. I like them both in good movies. This anthology flick is just stupid as anything, and there’s not even a story that ties them all together – V/H/S/ at least has the courtesy to feature a frame narrative. The poster makes it seem like maybe Death himself is reading a bunch of short tales to a weird little baby, but sadly we don’t get anything like that. Instead each short gets separated by a simple fade to a red background with those alphabet blocks kids play with saying something like “A is for…,” and then on to the next one. Anyway, a lot of these are original, and a good change of pace from the usual horror fare, but I couldn’t get into this. But almost every short film in this is very bizarre, and there’s only about five okay shorts, and one really good one.
They are ‘Q’, a mildly clever short where a pair of directors discuss what their sketch is going to be for such a hard letter. They discuss how they’ll stand out, but it’s hard for any of these sketches to stand out because a lot are awful. One actually good sketch is for the letter ‘S’, which is a lot of fun. Mind you, not scary, but it has a really cool atmosphere with some great metaphors and it’s actually really entertaining. It’s the only enjoyable sketch in my eyes. Again, it doesn’t work as a horror sketch – it’s more like an actioner that has hot babes and fast carsThe short film’s plots are mostly dumb, but at least they get to the point quickly; but they have to, each segment is only about 4.96 minutes each on average. The shortest is one called “Gravity,” and it’s the only time I’ve ever wanted to see Sandra Bullock bumping into stuff for a few minutes instead. The one in consideration features POV-style cinematography, which is sometimes a nice change of pace. There’s another point-of-view sketch that’s pretty crappy, too. The one for the letter ‘D’ is told completely in slow motion and is almost entirely pointless, the slow motion just renders it completely empty of any sort-of emotion. It looks good, but it’s just very empty.
One other okay sketch is the death for the letter ‘T,’ which is mildly entertaining (still not scary, mind you) and memorable because it’s told in a cheap-looking claymation. I mean, if I ever take acid and then everything turns into claymation, I’ll stay away from toilets. There’s one sketch that is actually fun, strange as anything because the characters are in animal costumes it seems, but it’s a sort-of fun R-rated Tex Avery battle of sorts during World War Two. It’s for the letter ‘H,’ by the way, but guessing the word might be a fun challenge, so I won’t reveal it. There’s one simplistic but utterly stupid one called “Klutz,” where, to express its stupidity, I’m just going to spoil it. The woman basically dies by the metaphorical hands of a pesky piece of poop that is too stubborn to be flushed down the toilet, and instead teases the woman, sticks to the ceiling, and when she looks on the ground for it, launches itself into her ass and comes out of her mouth, killing her. Seriously, what the f$%k? The animated sketch is so, so awful. The sketch for ‘F’ is equally bad. A few thoughts on the worst sketches: the one for the letter ‘L’ is just disgusting and twisted; the sketch for the letter ‘X’ is a sort-of social commentary of media influence, but I don’t think people are this cruel, at least in my experiences, and it’s a bit too insane for me, but gore lovers will adore this; and the sketch for the letter ‘P’ is a sad story that shows how far someone will go to make money when they’re under pressure, but the finale is heartbreakingly despicable. Moving on…
I think the idea that the producers thought this would be scary is because the premise of death is scary to many people. I’m scared of death, but this is never thrilling or scary – but a lot of this is awful, with only a few decent sketches, and some of them that use an artistic approach to filmmaking don’t make a lick of sense. It’s a shame that a fair deal of the half-decent to bearable sketches come in the second half of the alphabet, because by that time, I found myself counting how many letters are left and checking my phone constantly for how much time remained. This is just an exhausting experience. It might be fun for the horror movie buff who wants something different from mainstream horror, and I think that’s the point.
The thing is, a lot of it isn’t that well-made (but each director from around the world is working on a budget of $5000), and this ends up being less enjoyable than regular horror fare. Though, for those who want to see a bunch of different ways to die, many bland and gory, and a few really twisted, watch it if you must. But this is just one of the weirdest films I’ve ever seen. This one is just too twisted and unenjoyable for me, and it simply isn’t very thrilling or scary. Cringe-worthy at times, but something I’m trying to figure out is, could cringing at a horror film truly be considered good horror? At least in this case, I say no. This one’s definitely not for the mainstream audience, so they should just stick to the 1000Ways to Die TV show. I also hope in the sequel, the directors remember to make their material scary. Keep the same originality and sometimes twisted material, but make it scary, please.
Released: January 10, 2014 (wide release). Directed by: Spike Jonze. Starring: Joaquin Phoenix, Amy Adams, Scarlett Johansson. Runtime: 126 min.
Love is sometimes a strange, but such a beautiful thing. Oftentimes, one can’t help who they love romantically – the heart wants what the heart wants, as some say. In “Labor Day,” Kate Winslet’s Adele falls in love with a fugitive (weird), and in “Her,” Joaquin Phoenix’s Theodore falls in love with his operating system (even weirder). Yet, the dynamic in the sappy former has been done to death; the dynamic in “Her” is quirky and charming, and totally new. This film follows Theodore (Joaquin Phoenix), a lonely writer in Los Angeles recovering from a recent divorce with his ex Catherine (Rooney Mara). Theo develops an unlikely relationship with his newly purchased operating system that is designed to meet his every need.
Theo’s operating system is named Samantha and is voiced by Scarlett Johansson. In the ad for the OS1, it is said to not only be an operating system, but a consciousness. She’s an artificial intelligence with a programmed personality that is very charming. Since Samantha in new to the world, she has a refreshing perspective about everything – and she gets excited about all the little things, and she wants to know what it’s like to be alive. Sam may not have a face, but Johansson portrays emotions well with her compassionate voice, and the wonder that is apparent through it. I think the really crappy thing for Phoenix is that he actually doesn’t get to have a sex scene with, you know, Johansson’s body. If I were Phoenix, that’d piss me off to no end!
I think Jonze thinks of a creative dynamic to solve that whole no body problem. At least he doesn’t think of a similar way to “Movie 43,” where there’s a human version of an iPod called the iBabe, that’s a hot girl who plays music. And when a lonely guy buys it, and it’s a realistic hot girl, you know how that’s going to turn out. Let’s count our blessings this isn’t a story about that, and by the way all, I’m sorry to remind you of that bad film. Speaking of lonely guys, Samantha is a great thing for Theo because it seems to me the OS1 is a great way to reduce loneliness because these artificial intelligences are funny and they have charming personalities (that are based on personalities of programmers), so it seems like incredible company. Theo has also been in a bit of a dark place lately after his divorce (he is skeptical to sign his divorce papers because it further symbolizes a chapter in one’s life closing), and he hasn’t been having enough fun lately. He’s an everyday character because of his fear for real emotions, and he’s relateable – and he’s embodied so well by Joaquin Phoenix, and it’s a real joy to watch him experience new things with the help of Sam. He’s such a likeable character that you really root for him, even though he’s in a bittersweet romance that is way worse than trying out long distance.
It’s an uplifting story that love can bring someone out of their shell, and since he writes letters for couples; he gets way more into in his work when he is in a relationship. One would think such a likeable guy deserves love. The characters help the quirky film always entertain and often sadden, making it a great blend of romance, science fiction, drama and comedy. It’s a science fiction because of the artificial intelligences and futuristic technology and it’s a comedy because it makes the audience laugh a lot with its unique sense of humour. I think it has a great blend of drama and comedy, often blending the two genres (and adding in some intensity in scenes) and one might not expect the chemistry between a man and an operating system to be so great, but it truly is. Spike Jonze is the right person to make such a unique story come to life, because it breathes new life into all of these genres.
Another thing that helps bring this story to life is the incredible score that rouses emotions, a primary objective of film’s scores; and there’s some great music, here, too. It’s also brought to life by great editing, beautiful settings and cinematography. I think some people might be offput by this film’s great premise, because, admittedly, it is a bit strange – but myself, I was hooked when I first heard of it. It’s just so brilliantly original. One other character I haven’t mentioned is Amy Adams’ character, Theo’s best friend – a documentary filmmaker named Amy.
In one scene she is discussing an idea for a documentary about her mother simply sleeping, posing the idea that people are at their most free when they are dreaming (meaning we don’t have to deal with the real world, and we take a break from it); Samantha also says a line where she wonders if her personality is just programming or if her feelings are real, which made me think of humans. Sometimes I wonder if people are legitimately feeling their emotions, faking them, or like they’re just on auto-pilot and going through the motions of feelings, if you see what I mean by that. It seems to me that technology is diminishing some of our social capabilities in that perspective, and technology is advancing so much that we don’t have to deal with human interaction as much as we used to; which contributes to Theo’s fear of real emotions. These two quotes are directly linked together, and Jonze uses them to make a smart and honest assesment of humans.
One other hidden meaning that I picked up on was that this whole human-operating system relationship might be a whole new sort-of sexuality (for a lack of a better word) that gets talked about around the office in hushed tones. Is this a new thing society will have to accept in the future, if this sort-of relationship ever comes about? Falling in love is said to be, by Adams’ character, a socially acceptable insanity; but could this be accepted by most? All I know, this premise makes for a thought-provoking, original and special film.
2013 has been a decent year for movies, and it’s improving in both quality, and in regards of box office earnings. And I think it can only get better from here, at least in terms of quality. So far, I’ve seen 36 movies that have been released in 2013, and I’ve missed quite a few as well. Here is my post for the best and worst of 2013 so far. There is a top 10 list, and a bottom five list, and I will post my “Most anticipated movies of Second Half of the Year List” sooner than later. Here’s what I thought of what 2013 has had to offer so far…
First, the top 10. I have listed the title and the original score in brackets. I’ve decided not to include little blurbs from each review, because that just might become tedious to read with so many titles. If you want to read my thoughts, click on the link to my review. (Note: You might notice that some scores are lower than others, but higher on the list – but that’s because they’ve grown on me since I’ve seen them, and are better than other movies in terms of quality.)
Here was my Top 12 Most Anticipated Movies of the First Half of the Year: 1. Monsters University; 2. The Place Beyond the Pines; 3. Identity Thief; 4. Oz the Great and Powerful; 5. Gangster Squad; 6. 42; 7. Now You See Me; 8. Fast & Furious 6; 9. Man of Steel;10. Oblivion; 11. The Purge: 12. Mud.
5 of my 12 most anticipated movies made the Top 10, and 6 made my top 15. “Oz the Great and Powerful” was only slightly satisfying. “Identity Thief”, and “Oblivion” were mildly disappointing. “Gangster Squad” was quite disappointing because it could have potentially been an Oscar contender, but it ended up not knowing if it wanted to be serious or just silly. It was a lightly entertaining gangster movie, apparently much like “The Untouchables”. I’d put “The Hangover Part III” in my Top 15 Anticipated of the First Half, so that is the biggest disappointment of the year because it just wasn’t funny. The third biggest disappointment would be “The Purge”, and the second would be “Man of Steel”.
The best surprise of the year definitely has to be “This is the End”, even if I was quite excited for it. I knew it was going to be good, but not that good, and especially not movie of the year worthy. Out of the films I wasn’t anticipating at all, “World War Z” was probably the nicest surprise.
These are the movies I missed, but will be checking out. I’ve only included the ones I could envision myself either popping into the DVD player, watching online, or going out to the theater and watching: A Good Day to Die Hard, Aftershock, Antiviral, Before Midnight, Berberian Sound Studio, The Bling Ring, Byzantium, The Call, Dark Skies, Dead Man Down, The East, Frances Ha, G.I. Joe: Retaliation, Ginger & Rosa, Hansel and Gretel: Witch Hunters, The Host, The Iceman, The Internship, The Kings of Summer, The Lords of Salem, Maniac, Much Ado About Nothing, Quartet, Room 237, The Sapphires, Side Effects, Song for Marion, Stand Up Guys, Stoker, To the Wonder, Trance, Upside Down, Upstream Color, Violet & Daisy, Welcome to the Punch, White House Down.
And finally, here are some statistics:
Rotten Tomatoes Audience Average Score: 72.55
My Average Score: 69.22
IMDb Average Score: 66.05
Rotten Tomatoes Critics Average Score: 56.55
So there you have it… What’s your favourite movie of the year so far, and your least favourite? I won’t put a poll because there are just too many titles, so let me know in the comments!
Directors: Elizabeth Banks, Steven Brill, Peter Farrelly (and 10 others)
Stars: Liev Schreiber, Emma, Stone, Richard Gere
Runtime: 94 min
I just watched a version online, and I believe it was the version released in the U.K.; it’s an alternate plot to the U.S. version that doesn’t have Dennis Quaid pitching crazy ideas to a studio. I was not going to spend money on this.
Movie 43 is a haphazardly edited sketch comedy that stars as many A-list actors (including Emma Stone, Richard Gere, Kate Bosworth, Liev Schreiber, Naomi Watts, Justin Long, Kristen Bell, and Elizabeth Banks, to name a few) as the filmmakers could convince that this movie would be lots of fun to make. Charles Wessler achieves his vision: A satire that brings up common issues in the most offensive of ways, and it is the most outrageous comedy ever made.
But it is also one awful movie. If only his passion project (an idea that he’s had for over a decade) wasn’t so silly. Saturday Night Live has okay sketches, good sketches and those rare great sketches. This, however, has awful sketches, bad sketches, and just tolerable, but kind-of funny sketches. Even if you do laugh at some points, it doesn’t stop this from being one bad, bad film. This is still sort-of imaginative and quite original, and unlike anything you’ve seen at the movie theatre before. It’s one of those times where too many cooks in the kitchen (13 directors, a huge cast, 30 writers) really spoils the broth. Apparently, it takes thirteen directors, 102 credited cast members and thirty writers to make a really bad film.
The plot follows three adolescent boys who are searching the depths of the internet for Movie 43, the world’s most banned feature. The two older teens who tell a younger brother, the incredibly irritating Baxter who looks like he’s really ten years old, about Movie 43 are really just making it up because they want some April Fool’s revenge. Little do they know is that the video could very well end the world, somehow.
That makes absolutely no sense whatsoever, nor is it explained. It’s completely random and idiotic. This backstory manages to be worse than some of the comedy sketches, to a point where you might actually want to see another bad sketch. This is because the actors in the background story have little to no charisma, and they’re increasingly annoying and bland.
While the idea of sketch comedies in movies is fairly new, this is still trash. The plot is almost as disorganized as every spoof movie out there. If this is compared to Scary Movie 5, this might as well be an Oscar contender. This is definitely not for the easily offended. The humour is thoroughly crude, offensive, absurd, violent, vulgar, inane, insane, sophomoric and rarely funny; but it’s ironic that I’ve seen a lot more nudity in less offensive films. So… Humour that will offend almost the entire world is okay, but extreme nudity is off the table? Hmm.
Out of the movie’s thirteen comedy sketches, there are thirteen stupid and fairly offensive ones. The one with Terrence Howard is hardly funny at all. The sketch showing that people get much too angry with machines and it upsets the kids inside the machines is incredibly stupid, but it’s creative. There are arguably five tolerable ones, but there are none that provide consistent laughs. The ‘Super Hero Dating’ segment with Jason Sudeikis and Justin Long has a few solid jokes, and it’s an imaginative look into the culture of super hero impersonators. It’s the movie’s strongest segment (even if it’s hardly great). The ‘Happy Birthday’ segment with Seann William Scott and Johnny Knoxville also has some good laughs (albeit forgettable), but it is one of the movie’s more violent and vulgar segments. The ‘Truth or Dare’ segment starring Stephen Merchant and Halle Berry is funny in the beginning, but it progressively gets worse until it falls on its face. Suffice to say, the ‘Happy Birthday’ and ‘Super Hero Dating’ sketches are my favourite, and they are somewhat entertaining.
SPOILERS FOLLOW IN THIS FUNNY PARAGRAPH, I briefly describe the film’s worst three sketches. It seems as if the movie is designed to have the worst three sketches at the beginning of the film. The first sketch has Hugh Jackman sporting a pair of testicles under his chin and it is unfunny and unwatchable. It’s a one-joke sketch where it seems as if Kate Winslet’s character is the only one to notice the prominent nuts. Though, it does show that society cannot help but judge someone for the way they look. The second sketch features Liev Schreiber and Naomi Watts homeschooling their child and mercilessly bullying him to a point where he will definitely need to be institutionalized. The third sketch features Anna Farris requesting Chris Pratt to poop on her (you read that right) because it’s apparently a big step in a relationship. Apparently, it’s okay to poop on women, but it’s frowned upon to sh*t on them. Because if you shit on a gal, it’s deemed very offensive. (Read the next part very sarcastically.) Wow. This is the world of my dreams. I’ve always wanted to live in a world where the norm is to poop on women and have a pair of testicles dangling under my chin. Oh, someone, take me there! I can’t take this society where women bitch about me even farting in their general direction! END OF SPOILERS.
Alas, this movie is awful. (But, I am able to use the word ‘alas’ in one of my reviews.) I’ve seen much worse, but it’s really, really, really, stupid. The laughs are forgettable; but it’s the disturbing sketches that are unforgettable. Much to my dismay, this stuff kind-of just sticks with you… Forever.
Warm Bodies opened to a great $20.3 million on the Superbowl weekend, and it’s also a really good film. Stand Up Guys opened to $1.5 million at 659 theaters, which is pretty decent. However, Sly proves that this is not a good year for solo outings for The Expendables co-stars. Arnie’s vehicle, The Last Stand, only grossed $6.2 million in its opening weekend; and Jason Statham’s vehicle, Parker, only grossed $7 million in its opening weekend. Click the title for my review.
This weekend, there are three new releases coming along: the zombie-love story, Warm Bodies; Stallone’s new vehicle, Bullet to the Head; and a limited release of Stand Up Guys, where Alan Arkin, Al Pacino and Christopher Walken team up for a crime comedy.
Sylvester Stallone is breaking off from his The Expendables series for a solo outing with Bullet to the Head. Here, Stallone plays a hit man situated in New Orleans. The story follows Stallone and a Washington D.C. detective who see their respective partners die, and they then form an alliance in order to bring down their common enemy. Stallone is a fairly popular action hero whose popularity has grown with his start of a new ensemble action series, The Expendables. Stallone’s average opening weekend earning is $13.079 million, with The Expendables being his best number with $34. 825 million. Bullet to the Head probably won’t meet his average earning, but his new vehicle will draw a nice crowd for those who need their Sly fix.
Al Pacino, Christopher Walken and Alan Arkin team up for a buddy crime comedy, Stand Up Guys. The film follows Val (Pacino) who has just been released from prison, as he and his buddy Doc (Walken) try to get the old gang back together for one last hurrah, before one of the guys takes his last assingment — to kill his comrade. It’s really all a great formula for a potentially great action comedy.
But the real winner of the weekend will be Warm Bodies, a new comedy horror that might be considered Twilight with zombies, but I truly hope, nor think, this is the case. This feature feels like it really might reinvent the genre, and do it successfully. This film follows R (Nicholas Hoult), a highly unusual zombie who saves a human, Julie (Teresa Palmer), from an attack. Their growing bond may just change the lifeless world altogether. You’ve seen the whole odd relationship before: an average girl and a boy of the supernatural kind. But this is different. This is set in a post-apocalyptic world where zombies are the norm, and humans are odd. Another interesting concept is this flick is actually suggesting the main girl is hot enough to reanimate a whole lifeless world, and make the zombies real again. Sure, Palmer’s hot, but she’s no Megan Fox. She’ll have to do. This makes the film have an original concept, and from the trailer, the humour looks like the strange, awkward brand of comedy that I love. This flick will also attract fans of the novel, as well as those who are interested in this awesome feature, like myself. This zombie feature looks cool, smart, and original. One thing that could make this film a certified sleeper hit is expert writing and direction from writer/director Jonathan Levine (50/50). I’ll appreciate this as long as there aren’t any love triangles…
Here’s how I see the Top 10: 1.Warm Bodies/$18, 700, 000
2. Hansel & Gretel: Witch Hunters/ $12, 400, 000 3.Bullet to the Head/ $9, 200, 000
4. Silver Linings Playbook/ $7, 650, 000
5. Mama/ $5, 620, 000
6. Zero Dark Thirty/ $5, 530, 000
7. Parker/ $4, 065, 000
8. Django Unchained/ $2, 920, 000 9.Stand Up Guys/ $2, 000, 000
10. Movie 43/ $1, 970, 000
Hansel and Gretel: Witch Hunters came out on top with $19.69 million, and Mama drops 53.9% to $13.088 million this weekend. Parker made $7 million, while Movie 43 proves to be the worst reviewed film of the year so far, and the largest box office bomb with a measly $4.8 million.
Click the title for my review.
Top 10 Box Office, The Results (Estimates)
My Prediction/Off by (+/–)
1. Hansel and Gretel: Witch Hunters: $19, 690, 956
There are three releases coming out this weekend: an action-comedy cross-over, Hansel & Gretel: Witch Hunters; a crude comedy, Movie 43 and; a new Statham vehicle, Parker.
The most intriguing, to me, is Hansel and Gretel. I love a good twist on a classic tale, and Will Ferrell and Adam McKay on as producers catches my attention even more. The story follows the titular pair of the classic fairy tale, but this time they’re bounty hunters who hunt witches all over the world. They are also now facing a new form of evil.
One of the most recent classic twists on a fairy tale, Red Riding Hood, made $14 million in its opening weekend. Though, this one is in 3D and it has the popularity of Jeremy Renner going for it. I also hope it’ll be a bigger hit than R.R.H. I think this will gross $19 million this weekend.
Movie 43 seems like a new New Year’s Eve for the crude comedy genre, and for the modern internet age. The story: A series of interconnected short films follows three kids as they search the depths of the Internet to find the world’s most banned movie. It has a bunch of different directors and practically everyone in it, so it has that going for it… It also looks incredibly stupid. New Year’s Eve grossed $13 million in its opening weekend, and Valentine’s Day grossed $56.26 million in its opening weekend, but I highly doubt this will get an opening weekend return anywhere near Valentine’s number. I think it will gross a little less than New Year’s Eve number. With better execution than 2012’s V/H/S (a film that also used short films as a major contribution), this could turn out to be a hit. This will still earn a nice profit in its opening weekend because of its solid marketing campaign and buzz on thee ole Twitter-sphere. I think this will gross $12.5 million this weekend.
Statham’s most recent action vehicle, Parker, teams him up with Jennifer Lopez. The story: A thief with a unique code of professional ethics is double-crossed by his crew and left for dead. Assuming a new disguise and forming an unlikely alliance with a woman on the inside, he looks to hijack the score of the crew’s latest heist. For 2013, the gross for the one action flick with a primary action hero isn’t too promising (Arnie’s The Last Stand, grossing $6.28 in its opening weekend). Statham has an average opening weekend gross of $12.19 million. Whilst that’s more than decent, my interest for Statham has been wavering as of late. His last two leading man action flicks haven’t produced great returns – Killer Elite: total gross of $25 million (with $9.35 in its opening weekend) and; Safe: total gross of $17.14 million (with $7.89 in its opening weekend). This time, though, he’s being paired with Jennifer Lopez, and the film could be a winner. We’ll see what happens, but I think it’ll make $9.4 million this weekend.
Here’s how I see the top 10:
1. Hansel & Gretel: Witch Hunters/ $19, 000, 000/ Paramount 2. Mama/ $16, 900, 000/ Universal 3. Movie 43/ $12, 500, 000/ Relativity 4. Zero Dark Thirty/ $9, 500, 000/ Sony 5. Parker/ $9, 400, 000/ FilmDistrict 6. Silver Linings Playbook/ $7, 300, 000/ Weinstein Company 7. Django Unchained/ $5, 000, 000/ Weinstein Company 8. Les Misérables/ $4, 800, 000/ Universal 9. Broken City/ $4, 300, 000/ Fox 10. Gangster Squad/ $4, 000, 000/ Warner Bros.