People like Sandra Bullock movies. Get over it.
Last weekend, “The Blind Side” did much better than expected, confounding those that expected all women to go to the “Twilight” sequel and/or be turned off by the football and men to steer clear of a tearjerker starring of all things, a middle-aged woman. Guess what? Some women had no interest in seeing “The New Moon” and some men didn’t fear the femme mixed with sports. “The Blind Side” earned $35 million its opening weekend, topping Sandra Bullock’s best, for “The Proposal” earlier this year.
Moviegoers gave it extremely high marks — it received an A+ Cinemascore rating, only the second this year after “Up,” the LA Times noted.
Yet there were those — yes, you, Steve Zeitchik — that strained for some other explanation, as in a possible halo effect of “New Moon” that even he couches as a reach. Variety barely mentioned the film’s perf, devoting much more space to “New Moon” and per screen averages of speciality pics such as “Precious,” “The Fantastic Mr. Fox” and “Broken Embraces.” It was up to The Wrap to point out the accomplishment of Bullock’s football weepie. Dan Frankel suggests that the movie ended up in the media’s blind spot in the “New Moon” frenzy.
Maybe. But this isn’t the first time this has happened with Bullock. The media tends to have a blind spot to ALL her movies lately. Patrick Goldstein wrote that helmer John Lee Hancock has finally made it out of movie jail with the success of “The Blind Side,” a fate that apparently befell the director after the abject failure of “The Alamo.” (Gawker’s Richard Rushfield amusingly riffs on the notion of director jail here.)
Isn’t it time we forgive Bullock for the crime of commercial taste? She’s never been edgy. Sure, some of her movies are duds (“All About Steve,” anyone?) but people generally like her and her movies. Deal with it.