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The Sixth Sense

THE WHOLE NINE YARDS: High concept, low returns (2000 in Film #7)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

This week, I’m looking at Jonathan Lynn’s mobster comedy, The Whole Nine Yards

The Whole Nine Yards is a strange confluence of elements. It puts together a high concept Hollywood comedy premise with two household names, one known for comedy, the other not, alongside a director from an entirely different pedigree.

When it comes to box office, the concoction worked. In one of the most crowded weekends for cinematic releases in the year 2000 up to this point, The Whole Nine Yards ends up qualitatively ruling the roost on those terms. You can understand why. Bruce Willis has by this point brought in punters on the strength of his name for over a decade, well established as one of the defining leading men of the 90’s. Matthew Perry, conversely, was perhaps the breakout star of the era-defining sitcom Friends as Chandler Bing, the deadpan master of the sarcastic one-liner. Friends was here in its wind up years, with Perry and many of the main cast spreading their wings into cinematic careers; indeed coincidentally this same weekend, Friends co-star Lisa Kudrow appears in another comedy, Hanging Up, just two weeks after Courteney Cox’s key role in Scream 3.

If back in the late 90’s you would have put money on the Friends star most likely to maintain a successful, post-show movie career, it would have been Jennifer Aniston, and by and large you would have been right, but The Whole Nine Yards puts a lot of faith in Perry that he can hold his own as a leading man against someone with the casual on-screen magnetism of Willis. And on the whole, Perry manages to translate elements of his awkward, geeky Chandler persona into the role of dentist Nicholas ‘Oz’ Ozeransky, and the fact The Whole Nine Yards doesn’t entirely work is not on Perry’s shoulders. The film doesn’t convince you that Perry is a natural romantic comedy lead but the problems lie in deeper roots.

Ultimately, The Whole Nine Yards—a phrase which translates as “the lot”—is remarkably, for a comedy, lacking in a lot of what you would call laughs, thanks to a cluttered, needlessly muddled script.

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ANNABELLE COMES HOME to a universe of both villains *and* (super)heroes

The so-called Conjuring Cinematic Universe confidently takes another key inspiration from Marvel’s all-dominant equivalent with Annabelle Comes Home by cementing the existence of the ‘horror movie superhero’.

Or, in this case, superheroes in the form of Ed and Lorraine Warren, played by Patrick Wilson and Vera Farmiga in The Conjuring and The Conjuring 2 previously, both of whom neatly bookend this ‘interquel’, depicting the carnage wreaked inside their evil-containing fortress of a domestic home when pesky kids unleash the titular Annabelle and the entire contents of their terrifying basement. The Warren’s were, of course, real people – Lorraine died, indeed, earlier this year, and in The Conjuring they were portrayed much more handsomely and less eccentrically than in real life, but they remained nevertheless demonologist investigators in particularly that first movie; a married, far less dysfunctional Mulder & Scully if their focus were demons rather than aliens. This changes in Annabelle Comes Home. They begin to morph from the Mulder & Scully to the Steve Rogers & Natasha Romanoff of the Conjuring Cinematic Universe.

It may be left to the forthcoming The Conjuring 3 to hit that idea square on but Annabelle Comes Home certainly lays the foundations, exploring what happens when you remove those heroes from the narrative.