Audiences reject Iraq war at box office

It doesn’t matter how many Oscar winners are in front of or behind the camera — audiences are proving to be conscientious objectors when it comes to this fall’s surge of antiwar and anti-Bush films.

Both “In the Valley of Elah” and, more recently, “Rendition” drew minuscule crowds upon their release, which doesn’t bode well for the ongoing stream of films critical of the Iraq war and the Bush administration’s wider war on terror.

“Rendition,” which features three Oscar winners in key roles, grossed $4.1 million over the weekend in 2,250 screens for a ninth-place finish. A re-release of “The Nightmare Before Christmas” beat it, and it’s 14 years old.

“Rendition” follows an Egyptian-American who gets kidnapped by U.S. authorities who think he’s a terrorist. Reese Witherspoon plays the man’s wife, Meryl Streep dials up her dark side as the official who keeps his disappearance a secret and Alan Arkin is a senior senator with the power to influence the case. Meanwhile, the man is shipped off to an unnamed North African country, where he is tortured for information.

“Elah” boasts Tommy Lee Jones, Charlize Theron and Susan Sarandon, another Oscar-winning triumvirate, under professionally red-hot director Paul Haggis, who won his own Oscar for “Crash.” Mr. Haggis’ drama focuses on the disappearance of an Iraq war veteran upon his return home.

Beyond the fiction features, the anti-Iraq war documentary “No End in Sight” (box office: $1.4 million) couldn’t capture the indie crowd, beating a swift retreat to DVD next Tuesday despite glowing reviews.

Brandon Gray, president and publisher of www.boxofficemojo.com, says audiences seek out movies for inspiration, for laughter and to be moved.

“Many of these recent dramas fail on all those fronts,” Mr. Gray says. “They’re too heavy handed in their presentation.”

“Rendition” director Gavin Hood — who wrote and directed “Tsotsi,” winner of the 2006 best foreign language film Oscar — has been quoted as saying he doesn’t want his new film to preach. But audiences who can’t figure out where he stands on the rendition policy must have dozed off after the opening credits.

The current crop of antiwar films simply don’t offer new insights into the Iraq conflict, Mr. Gray says.

“You might hear this stuff from the commentators or on the Internet,” he says. “It’s not that interesting to see it fictionalized.”

“The Kingdom,” a more ambivalent film, which shows U.S. forces smiting a terrorist cell, has pulled in a more respectable $43 million (so far).

“ ’The Kingdom’ looked like ‘CSI: Riyadh.’ It danced around the issues,” Mr. Gray says.

Hollywood shouldn’t soft-pedal its beliefs, he argues.

“You really can’t try to take on subject matter like this and appeal to all views at the same time,” he says. “They act like they’re saying something when they’re actually not saying anything.”

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