Movies

The domestic box office was a race between two computer-generated creatures this weekend, as “Sonic the Hedgehog” and “The Call of the Wild” jockeyed for first place.Paramount Pictures’s “Hedgehog,” an action-comedy with a blue, fur-covered digital protagonist, had an impressive opening last weekend, and it was expected to hold its lead. While the movie did top the box office this weekend — with an estimated $26.3 million in domestic sales Friday through Sunday — it was a closer contest than expected.That was thanks to a surprisingly good showing from the second-place movie: “The Call of the Wild,” an adaptation of the Jack London novel that pairs a scruffy Harrison Ford with a digital Bernard-Scotch shepherd mix. Distributed by 20th Century Studios, the film opened to an estimated $24.8 million in domestic sales this weekend. That figure is above expectations (prerelease projections had placed it in the teens), though because of the movie’s reported $135 million budget, it has a long way to go to be profitable.“The Call of the Wild,” directed by Chris Sanders, has a recognizable leading man in Ford, who plays the novel’s central human, a rugged outdoorsman. But like the novel, the movie is primarily the story of Buck, a California house dog that finds its way into the wild. This version’s fully digital canine received a fair amount of online mockery — though perhaps not as much as the digital title character of “Sonic the Hedgehog,” which was redesigned after audiences ridiculed its appearance in an early trailer.In his review of “The Call of the Wild” for The New York Times, Ben Kenigsberg wrote that “pondering this interspecies communion — between a craggy star and a digital dog (based on a man playing a dog) — may prompt howls into an existential void.” But, he added, “as the basis for a family crowd-pleaser, the pairing is often irresistible.” Critical response was lukewarm; “The Call of the Wild” currently holds a 63 percent fresh rating on Rotten Tomatoes.[Read our critic’s review of “The Call of the Wild.”]In third was “Birds of Prey” (Warner Bros.), a DC Comics superhero movie in its third weekend. It sold an estimated $7 million in tickets according to Comscore, which compiles box office data.The only newcomer in the top five other than “The Call of the Wild” was “Brahms: The Boy II,” a poorly reviewed horror sequel distributed by STX. Its weak opening brought in an estimated $5.9 million in domestic sales, placing the movie in competition with Sony’s “Bad Boys for Life,” which is comparatively ancient (this was its sixth weekend in theaters) but also managed around $5.9 million. Final counts on Monday will determine which landed in fourth and which placed fifth. More

As the editor of the Culture department at The New York Times, Gilbert Cruz relies on critics, reporters and editors in every field of the arts for their expertise. In a new series, we’re bringing his questions — and our writers’ answers — to you. First up: his brief exchange with the co-chief film critic Manohla Dargis following the big wins for “Parasite” at the Oscars.Gilbert asks: Manohla, I’ve seen “Parasite” and several other Bong Joon Ho movies. But I want to dig deeper into South Korean cinema. A little help?Manohla answers: Where to begin?!South Korean cinema has rocketed to international prominence over the past few decades, as have some of its greatest filmmakers, including Bong. If you loved “Parasite” but haven’t seen any of his previous six features, I envy you — you have hours of pleasure awaiting you. And while I’m not partial to his first feature, the satire “Barking Dogs Never Bite,” everything that this sui generis filmmaker has made since is a must-see, from his unsettling monster movie “The Host” to the equally unnerving “Mother,” a tale of monstrous motherhood.Film festivals can be a terrific way to check out the latest in new South Korean cinema, especially given that not everything hits streaming (in English). If you’re interested in seeing work from women, sometimes your local festival, museum or cultural center might be your best bet, simply because those movies may not be otherwise available. Among the titles from women making the festival rounds is “The House of Us”; in the March “Sight and Sound,” Bong singled out its director, Yoon Ga-eun, as a filmmaker to watch. (Bong also gave a shout out to Kim Ki-young, whose feverish 1960 “The Housemaid” is essential viewing.)(Looking for help figuring out what to watch on Netflix, Hulu and other streaming services? Sign up for our twice weekly Watching newsletter.)As with any robust national cinema, there is a wide range of work for every taste and temperament, mood and occasion. There are horror freakouts, action adventures, chin-stroking dramas, goofball comedies, tear-soaked melodramas, rarefied art films and down-and-dirty exploitation flicks. The veteran auteur Im Kwon-taek has made more than 100 movies and deserves a deep dive. On the other end of the cine-spectrum, I recommend Yeon Sang-ho’s “Train to Busan,” a pulse-pounder that focuses on an inattentive businessman and his young daughter who become trapped on a train of fast-moving chomping zombies. It’s a tough, surprisingly emotional ride.Given the sheer bounty of South Korean cinema, I can only point to a selection of favorite artists, among them the brilliant Lee Chang-dong, who deserves a far larger audience in the United States. He’s best known here for his unsettling, shrewdly class-conscious drama “Burning,” which centers on an uneasy triangle — featuring a revelatory turn from the American actor Steven Yeun — that ends in catastrophe. Two other essential Lee movies to check out are “Poetry,” about a woman who comes to realize that her grandson has committed a ghastly crime, and “Secret Sunshine,” about a mother who turns — briefly, disastrously — to religion after a personal crisis.The prolific director Hong Sang-soo is another mainstay on the festival scene, though his movies often secure limited theatrical distribution in the United States. His narratively supple and inventive films chart the coordinates of desire among men and women who share and overshare, often during alcohol-soaked conversations. Few directors do so much with so ostensibly little, but, at Hong’s best, worlds of feeling are revealed in scenes of people facing one another — and themselves — across a table littered with soju bottles. “The Power of Kangwon Province,” “Virgin Stripped Bare by Her Bachelors,” “Turning Gate,” “Woman on the Beach,” “The Day He Arrives,” “The Day After,” “Hotel by the River” — there’s a lot to choose from, so get watching.Plus! One of my favorite movies of the past decade is Park Chan-wook’s “The Handmaiden,” a wild, often very funny and touching erotic thriller. Kim Ki-duk isn’t always my cup of cruelty, but I like his self-portrait “Arirang,” which he made in the wake of a near-fatal accident on one of his shoots. Na Hong-jin’s first feature, “The Chaser,” is a pitch-black action movie about a cop-turned-pimp hunting down a serial killer and features, as its title suggests, a lot of cat-and-mouse scrambling. His most recent release, “The Wailing,” is an unnerving, sprawling horror movie about demonic possession in a small town; it’s good, but I prefer “The Yellow Sea,” a blood-soaked tour de force of kinetic action and choreographed mayhem topped with acid politics.Gilbert: This is wonderful! But, really, I think I only have time for one movie at the moment. Manohla: Hmm. Well, start either start with “The Host” (if you’re in the mood for monsters) or with “Burning” (monstrous humanity) — you can’t go wrong either way. Then again, I do love “The Handmaiden,” “The Power of Kangwon Province” and …. More