Moviegoers get it right

Oops, unplanned hiatus.

Did watching the new fall TV shows make me hit a wall? Possibly, but more on that in a future post...

First, some other things that happened in my absence.

There was some sweet justice at the box office two weekends ago. A History of Violence, the fantastic new film from David Cronenberg, placed fourth in its first week of wide release with an $8.1 million gross over three days.

That was good enough to top the first week of Into the Blue by over $1 million. This despite the fact that Into the Blue was playing on over twice as many screens. As the week continued Violence did even better, rising to second place overall.

It's a small victory, but one worth celebrating anyway.

Mostly because Into the Blue sucks, a lot. It's a stale summer season castoff with a notably shocking lack of thrills, narrative drive or anything resembling a plot. It's hard to explain just how mind-numbing watching a film starring Jessica Alba, Paul Walker and Scott Caan in bathing suits can be... or maybe that explains it all. Still, you'd think a movie like this would at least try to be fun or possibly even be bad enough to qualify as a campy guilty pleasure. Instead it's just dull. And it's a box office flop. So hooray.

You don't have to take my word on the film's utter crappiness, check out what Helen and Justin (who is partly to blame for me seeing it) had to say.

Now A History of Violence does not suck, at all. The highly-praised latest film from Canadian mad genius Cronenberg is partly about a strong, silent husband and father of two who runs a small town diner and suddenly finds himself in the news after a couple criminals wander into his place one night. But it's really more about violence, family, sex, masculinity and American myths, cinematic and otherwise. I haven't had a more satisfying experience at the movies all year.

There have been times when I've found Cronenberg's work more intellectually engaging than entertaining (the kinky sex/car wreck mash-up Crash still leaves me cold), but with History of Violence I think he strikes a perfect balance. Halfway through this movie I was literally on the edge of my seat, appreciating what I was seeing as much as I was enjoying it. Credit for that belongs not only with the filmmaker (who will hopefully score his first ever Best Director Oscar nomination for his work here) but also the exceptional cast and Cronenberg's perfectly chosen team of longtime collaborators (including DP Peter Suschitzky, editor Ronald Sanders and composer Howard Shore — all them surefire Oscar contenders as well).

A little more on the cast: Viggo Mortensen plays the lead role and it's possibly his best screen work yet (I haven't seen all of his films, so I can't say for sure). It's one of those freaky pairings of performer and role that is so harmonious it feels like Mortensen was born for the part. Other actors could've done it but I'm not sure anyone could have done it so well (besides maybe Steve McQueen, and he's dead).

The supporting cast is small but powerful. Maria Bello continues to solidify her reputation as one of the most unexpectedly valuable actresses working today (especially in indie films). She's basically the wife, but it's to everyone's credit that her role comes across like so much more. Ashton Holmes plays the son. He's pretty much unknown (his biggest credit is a soap opera) but he makes a major impression here. And the great Ed Harris can justifiably be called "the great Ed Harris" because of performances like this. William Hurt shows up late in the film, and there's a bit too much ham in his performance but it doesn't detract (and in a way it's fitting: one of the film's best qualities is its wickedly off-kilter sense of humor, this is by no means a dour or mournful exploration of violence).

All of that said, A History of Violence is definitely not a film for all audiences. (Just ask my friend Ben.) There is graphic violence (necessary to the story and themes), there is some unconventional sex (ditto) and above all there is the otherworldly Cronenberg touch. Like David Lynch or Lars von Trier, he's an uncommonly unique filmmaker whose work is almost always divisive. There has been talk of this film being "mainstream" Cronenberg, and it probably is his most audience-friendly movie since The Fly, but this is still primarily art house territory. That only makes its box office victory over Into the Blue even more satisfying.