Staying on Target

Aiming for a familiar audience, the films of summer hope for more hits than misses

Welcome to the movies of summer 2001! Of course whether you'll actually feel welcome is another issue: Hollywood is doing its usual stuff to attract the most dollars, which may not always mean your dollars ... unless you belong to that centrally crucial demographic -- males, ages 13 to 25.

You may not be part of that target audience, but so far it seems as if the brains in at least one studio have gotten it right: Universal's The Mummy Returns kicked off the season with a nearly $70 million opening weekend. While the numbers are no doubt heartening to the studio, it should be heartening to the rest of us that the film apparently appealed to both genders and to a broad age range -- that is, the rest of the nation isn't being totally ignored just to please the testosterone monsters.

Ray Greene, former editor of the trade magazine Box Office, points out that a satisfying popcorn movie primes the pump. "It's shaping up as a fairly strong summer," he says. "When a movie comes out early and does huge numbers, it gets people in the moviegoing mood."

The mummies and Brandon Fraser return very much alive!
The mummies and Brandon Fraser return very much alive!
The mummies and Brandon Fraser return very much alive!
The mummies and Brandon Fraser return very much alive!


Want more? Check out our Summer Movie Guide

Still The Mummy Returns is just one film that could easily be a crowd-pleasing fluke. Or, as Greene succinctly puts it, looking at the lineup of junk coming up: "Here comes da crap." High on the list of crowd-pleasing junk are all the sequels -- Doctor Dolittle 2, Rush Hour 2, American Pie 2, Jurassic Park 3 -- as well as remakes of Rollerball and Planet of the Apes and adaptations of games (Tomb Raider and Final Fantasy: The Spirits Within). The formulaic nature of the offerings spreads beyond the sequels and adaptations to even the ones that aren't sequels -- Evolution, a special-effects comedy, and Tomb Raider, a Raiders of the Lost Ark type of adventure based on a video game.

"These may not all be bad," Greene says, "but what's really going on is the same thing that has made filmmaking so uninteresting for the last several years: It's nothing but copyrights talking to each other. The MBAs in the executive suites only care that it be pretested. There's no risk-taking, just an economic model."

As usual there are a few megablockbusters that dominate most filmgoers' expectations. The biggest of these is Pearl Harbor, from the team of producer Jerry Bruckheimer and director Michael Bay. These are the guys responsible for The Rock -- which earned big bucks but little critical respect -- and Armageddon, which did even better commercially but was cited by numerous critics as aesthetically corrupt to the point of evil.

This time they seem to be trying for the best of both worlds: piles of money and respect, using the Saving Private Ryan model: simultaneous action and seriousness. Weeks before its release, Pearl Harbor is already being mentioned as Oscar material. "It's like Roland Emmerich last year with The Patriot," says David Poland, a veteran industry journalist now headquartered at, citing another popcorn-movie director who tried to have it both ways. (The Patriot made more than $100,000 but was still perceived as a disappointment, coming in at number twenty for the year, despite the hype and the presence of Mel Gibson.)

Another hugely anticipated film is Tim Burton's Planet of the Apes, a remake of the 1968 Franklin Schaffner hit that spawned four sequels and a TV show. Burton is an extraordinarily idiosyncratic director who, nonetheless, has managed to command huge budgets. He hasn't had any monster hits since the first two Batmans, but he is never less than interesting.

Steven Spielberg, the reigning master of summer, is represented by two upcoming major films: A.I. and Jurassic Park III. A.I.'s unusual pedigree could be a formula for genius or catastrophe: Spielberg took over the project from long-time friend Stanley Kubrick after the latter's death. If ever there were a pair of filmmakers whose style, philosophies, and priorities were direct opposites, it's the cold, intellectual and daring Kubrick and the warm, fuzzy, aesthetically cautious Spielberg. In Kubrick's hands one would have expected this story of a child robot (Haley Joel Osment) to be unsettling, provocative, and possibly even confounding. With Spielberg at the helm, there is the risk that it could turn into an even more saccharine version of Spielberg protégé Chris Columbus's sentimental Bicentennial Man. Its commercial prospects are probably inversely proportional to the extent that it's a Kubrick film.

As to Jurassic Park, even Spielberg seems to have tired of the franchise, after two installments that were among the highest-grossing movies of all time. For the new film, he's only producing, having turned over the directorial reins to Joe Johnston, whose films (Jumanji, The Rocketeer) are generally pleasant diversions.

If there is a genre that looks particularly lackluster this season, it's comedy (nonaction division). The big entries all reek of staleness: Doctor Dolittle 2, with Eddie Murphy; Scary Movie II, a hastily assembled sequel to last year's surprise low-budget hit, with a pack of Wayanses on both sides of the camera; American Pie 2, another, only slightly less hastily assembled, sequel; and The Princess Diaries, a Disney production that is (so far) one of only two G-rated films this summer (the other is the recently opened animated Trumpet of the Swan).

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