Acting with Daughter, Sean Penn Explores Family Ties in Cannes Film

Director Sean Penn and cast member Dylan Penn at Cannes. (Reuters)
Director Sean Penn and cast member Dylan Penn at Cannes. (Reuters)
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Acting with Daughter, Sean Penn Explores Family Ties in Cannes Film

Director Sean Penn and cast member Dylan Penn at Cannes. (Reuters)
Director Sean Penn and cast member Dylan Penn at Cannes. (Reuters)

Sean Penn said on Sunday he nearly passed up the chance to act opposite his daughter Dylan for the first time in “Flag Day”, his latest movie which is vying for awards at the Cannes Film Festival - until actor Matt Damon egged him on.

Oscar-winning Penn plays John Vogel, a real-life wheeler-dealer who lurched from one failed business venture to another, causing heartbreak for daughter Jennifer, who reveres him.

Based on a book by journalist Jennifer Vogel, Penn told a news conference in Cannes that he had an image of daughter Dylan when reading the script - but took some convincing to step into Jennifer’s father’s shoes, when he was already down to direct.

“The last effort I made to not play it was when I sent the script about a month and a half before shooting started to Matt Damon, who called me, not to say that he could do it, not to say that he can’t do it, but to say that I was a stupid schmuck not to do it,” Penn said.

Vogel was a notorious petty criminal who ended up involved in counterfeiting, although “Flag Day” is more interested in how he dupes those he loves and lies to himself.

The “Into The Wild” director’s latest effort behind the camera has so far earned him mixed reviews, with critics at Screendaily pointing to holes in the way the characters are presented, including Jennifer’s transition from an angst-ridden teenager to a budding journalist.

Most reviewers praised the acting duo at its center, however, including Dylan’s performance, and Sean Penn as the exuberant, fun-loving father who tries to keep up his great illusion as his American dream goes awry.

‘Both alpha’
The film is competing against entries from other big name directors such as Wes Anderson, in the festival’s return to the French Riviera after it was cancelled in 2020 due to COVID-19.

Dylan Penn is also joined by her real-life brother Hopper Jack Penn on screen. Their mother Robin Wright, also an actress, divorced Sean Penn in 2010.

“I went into this project looking at it as this is my job, ... this is my boss,” Dylan Penn said, adding that their relationship was very different in real life to that of John and Jennifer Vogel. “We’re both alpha, that can sometimes clash, but think it worked out in the end.”

Penn, who is also involved in philanthropy and organized a COVID-19 testing and vaccination campaign and sites in the United States, lambasted former US President Donald Trump’s handling of the pandemic during the news conference.

“When my team and I would come home from test and vaccinations sites at night ... to maddening news - it really felt like there was someone with a machine gun gunning down communities that were most vulnerable from a turret at the White House,” Penn said.

He said the Trump administration’s main contribution to tackling the health crisis before the late 2020 election had been to pre-order vaccine doses.



‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

“Joker: Folie à Deux” is the No. 1 movie at the box office, but it might not be destined for a happy ending.
In a turn of events that only Arthur Fleck would find funny, the follow-up to Todd Phillips’ 2019 origin story about the Batman villain opened in theaters nationwide this weekend to a muted $40 million, according to studio estimates Sunday, less than half that of its predecessor. The collapse was swift and has many in the industry wondering: How did the highly anticipated sequel to an Oscar-winning, billion-dollar film with the same creative team go wrong?
Just three weeks ago, tracking services pegged the movie for a $70 million debut, which would still have been down a fair amount from “Joker’s” record-breaking $96.2 million launch in Oct. 2019. Reviews were mixed out of the Venice Film Festival, where it premiered in competition like the first movie and even got a 12-minute standing ovation, The Associated Press reported.
But the homecoming glow was short-lived, and the fragile foundation would crumble in the coming weeks with its Rotten Tomatoes score dropping from 63% at Venice to 33% by its first weekend in theaters. Perhaps even more surprising were the audience reviews: Ticket buyers polled on opening night gave the film a deadly D CinemaScore. Exit polls from PostTrak weren’t any better. It got a meager half star out of five possible.
"That’s a double whammy that’s very difficult to recover from," said Paul Dergarabedian, the senior media analyst for Comscore. “The biggest issue of all is the reported budget. A $40 or $50 million opening for a less expensive movie would be a solid debut."
“Joker: Folie à Deux” cost at least twice as much as the first film to produce, though reported figures vary at exactly how pricey it was to make. Phillips told Variety that it was less than the reported $200 million; Others have it pegged at $190 million. Warner Bros. released the film in 4,102 locations in North America. About 12.5% of its domestic total came from 415 IMAX screens.
Internationally, it's earned $81.1 million from 25,788 screens, bringing its total global earnings estimate to $121.1 million. In the next two weeks, “Joker 2” will also open in Japan and China.
Second place went to Universal and DreamWorks Animation's “The Wild Robot,” which added $18.7 million in its second weekend, bringing its domestic total to nearly $64 million. Globally, it's made over $100 million. Warner Bros.' “Beetlejuice Beetlejuice" took third place in weekend five, Paramount's “Transformers One” landed in fourth and Universal and Blumhouse's “Speak No Evil” rounded out the top five.
The other big new release of the weekend, Lionsgate's “White Bird,” flopped with just $1.5 million from just over 1,000 locations, despite an A+ CinemaScore.
Overall, the weekend is up from the same frame last year, but “Joker's” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.
Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first. It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “'Harlequin,” alongside the film.
In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”
The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.
“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”
It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film “Megalopolis,” entered the Joker chat with an Instagram post.
“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful ‘The Hangover’ he’s always one step ahead of the audience never doing what they expect.”
“Megalopolis,” meanwhile, dropped a terminal 74% in its second weekend with just over $1 million, bringing its total just shy of $6.5 million against a $120 million budget.
Deadline editor Anthony D’Alessandro thinks the problem started with the idea to make the Joker sequel a musical. “No fan of the original movie wanted to see a musical sequel,” he wrote on Saturday.
The first film was also divisive and the subject of much discourse, then about whether it might send the wrong message to the wrong type of person. And yet people still flocked to see what the fuss was about. “Joker” went on to pick up 11 Oscar nominations, including best picture and best director, and three wins. It also made over $1 billion and was the highest-grossing R-rated film of all time, until this summer when Marvel's “Deadpool & Wolverine" took the crown.