• Genre: Comedy
  • Release Date: 07/18/2008
  • Running Time: 80 mins
  • Director: Wayne Price
  • Cast: Mevlut Akkaya, Lucas Akoskin, Alex Aldi, Brian Arcuri, Tim Bauman, Brian Blessinger, Peter Bogdanovich, Fabrizio Brienza, Malik Burke, Ashley Chaney
  • Producer: Mevlut Akkaya
  • Writer: Lucas Akoskin, Wayne Price
  • Distributor: Gigantic Pictures
  • Offical Site: Click Here
  • Buy Tickets

Box Office

  1. Four Christmases, 31.7 million, 46.7 million
  2. The Dark Knight, 26.1 million, 441.6 million
  3. Bolt, 26.6 million, 66.9 million
  4. Pineapple Express, 23.2 million, 41.3 million
  5. Twilight, 26.4 million, 119.7 million
  6. The Mummy: Tomb of the Dragon Emperor, 16.5 million, 71.0 million
  7. The Sisterhood of the Traveling Pants 2, 10.7 million, 19.6 million
  8. Quantum of Solace, 19.5 million, 142.1 million
  9. Step Brothers, 9.1 million, 81.1 million
  10. Australia, 14.8 million, 20.0 million
  11. Mamma Mia!, 8.2 million, 104.1 million
  12. Madagascar: Escape 2 Africa, 14.5 million, 159.5 million
  13. Journey to the Center of the Earth, 4.9 million, 81.8 million
  14. Transporter 3, 12.3 million, 18.5 million
  15. Role Models, 5.3 million, 57.9 million
  16. Hancock, 3.3 million, 221.7 million
  17. The Boy in the Striped Pajamas, 1.7 million, 5.2 million
  18. WALL-E, 3.1 million, 210.2 million
  19. Milk, 1.4 million, 1.9 million
  20. Swing Vote, 3.1 million, 12.0 million
Movie Title, Weekly Earnings, Total Earnings

The Doorman

In The Doorman, director Wayne Price uses documentary techniques, including a pitch meeting with his actual producer, to suggest that his study of Trevor (Lucas Akoskin), a doorman whose gigs at the world's hottest clubs have brought him micro-celebrity status, is too good not to be true. And for a while, you might believe it: The parade of ladies pushing boobs and busses in his face in the hopes of getting past the velvet rope seems depressingly authentic, and then there's Trevor himself, a sharp-dressed wag—as metrosexual, apparently, as a bag of rainbows—who gets a warm greeting from Padma Lakshmi and testimonials from club owners like Amy Sacco. About halfway through, though, Trevor's exploits (ecstatically deluded and on a power bender, he alienates his employers and is summarily exiled from the glamorous life) go from hard-to-follow to hard-to-want-to. Price moves from disturbing believability to lame laugh grabs, setting his satirical agenda off-kilter. Not until the goofy closing credits does the film hit its tonal stride and nail what could have been its saving, salient theme: the absurd lines that fancy people draw (and obey) to make themselves feel special on a Saturday night. — Michelle Orange

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