Say what you like about blockbuster supremo Roland Emmerich, he sure knows how to pack ’em in the aisles. The director of Independence Dayand The Day After Tomorrow‘s new “historical” epic 10,000 B.C.. has – almost inevitably – come straight in at number one in the UK charts.
This is despite the film’s dreadful reviews, dearth of recognisable stars and a daft concept that liberally shifts around thousands of years of history. The movie is currently at a meagre 10% on the Tomatometer, and the plot’s reliance on large, woolly elephantine creatures has given grizzled hacks carte blanche to dub the film a ‘mammoth disappointment/turkey/flop’ etc.
Nonetheless, gullible punters flocked to see the film, and consequently the money men at Warner Bros. sat on over £2m worth of box office receipts in the first 4 days. This is on top of the pic’s $61 million take in the US. It all just goes to show that Emmerich is once again bulletproof at the box office and, along with maybe Michael Bay, the premier popcorn hitmaker of our age.
Elsewhere indie British comedy The Cottage made a so-so showing, coming in at 6th place. Directed by Paul Andrew Williams, who made a remarkable debut with critical darling London to Brighton last year, this new effort was also well received, though not to the same extent. 75% on the Tomatometer was a good return for a film described by Elliot Noble from Sky Movies as, “solid Brit-horror nourishment,” though the filmmakers might have expected better than the £350,000 the film has pulled in so far, especially considering the film’s heavy promotion.
Most interesting however is the cross-Atlantic success of the stupidly-monikered Hannah Montana and Miley Cyrus: Best of Both Worlds Concert. The titular 15 year-old is the latest in a long line of manufactured Disney popstrels with her own records, TV shows and movies to make the mouse big bucks. Complete with creepy footage of screaming preteen white-teethed fans, this concert movie has already proved a cash-cow for the corporation in the States and is now making serious money here too. The film came in at nine in the charts, a scarily impressive showing considering it was only playing on 65 screens.