As 2005 segued into 2006 The Chronicles of Narnia and King Kong once again battled for the weekend box office crown and respectively grossed an estimated $33.3 million and $31.5 million. Activity at the nation’s multiplexes was generally brisk, just not quite as brisk as it had been in 2004 when one places the comparable 3-day spans side by side. Initial figures for the calendar year show box office revenues taking a 6% hit and admissions declining into the low double digits. The industry expectations for Kong fell short while Narnia and Fun with Dick and Jane have performed in excess of prognostications. However, the balance ultimately swung toward the negative.

The brunt of major releases held steady or experienced modest boosts from the Christmas weekend. Family pictures did just a bit better and Brokeback Mountain appears to be the major beneficiary of awards buzz this season.

The traditional log jamb of 11th hour “for your consideration” titles did not occur. Woody Allen’s highly lauded Match Point bowed on eight screens last Wednesday and drew a fast $210,000; adding another $530,000 for the filmmaker’s most impressive initial returns in more than the decade. The only other film wading into the fray was the offbeat comic thriller The Matador with a close to $90,000 gross from four venues. The second weekend of Terence Malick’s The New World at three locations had a 34% upturn and though it’s not official, its national bow next month will see the version currently in theaters trimmed by about 20 minutes.

Going right to the wire, Universal hit domestic revenues of $1 billion on December 31 to rank third in overall market share. Industry insiders were buzzing late last week on the news that Sony plans to include an additional $80 million in box office gross based on its acquisition date of MGM though that company’s distribution department continued to function through the release of Jiminy Glick.

Market share remains a sort of dining out award as opposed to providing an effective measure of profitability. However, determining what ought to be included or disregarded in a studio’s annual gross is problematic. Though specialized divisions have a fair degree of autonomy in such areas as production and acquisition, it’s often the case that marketing and distribution duties will fall to the mother entity. Warner Bros. for instance did most of the bookings for Warner Independent of March of the Penguins when it expanded nationally and Fox has handled the distribution of Searchlight’sThe Ringer. Conversely, Universal handed over distribution chores to Focus on Pride and Prejudice and similar free flow occurs with regularity at the majors and their adjuncts based on either entities ability to manage distribution and marketing chores.

Regardless of ranking, there’s not a single player that emerged unblemished in 2004. Every single one had a conspicuous failure as well as a mix of potent performers that often exceeded bean counter projections. One didn’t have to wait seven years to witness a segue from lean to fat; the peaks and troughs were visible during the calendar and most conspicuously evident at Disney. Sony and Paramount. But in all instances one could draw a sigh of relief in the knowledge that libraries and ancillaries continued to bolster the bottom line.

… and to all a happy new year.

– by Leonard Klady

Top Worldwide Grosses – To December 29, 2005

Domestic Market Share – To December 29, 2005

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