MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

That’s No Lady…

Tyler Perry evaded the “terrible twos” as his ribald, comic Madea’s Family Reunion was the clear weekend viewing favorite with an estimated $30.4 million. However, he didn’t get much support as two other national debuts – the animated Doogal and the thriller Running Scared – performed indifferently and most holdover titles experienced 40% to 60% declines that translated to rollbacks in the audience.

The crude, rude observation of contemporary African Americans that propelled Perry’s Diary of a Mad Black Woman to hit status in 2005 was once again in evidence in his new outing. Lions Gate was confident in Madea’s appeal and upped its exposure to close to 2,200 theaters to mixed results. While crossover locations displayed no great strength, the target audience came out with greater force in key venues and this reunion is moving toward a $75 million gross if it follows the original’s commercial trajectory.

Holdover titles dominated the frame with the Arctic adventure Eight Below and The Pink Pantherdisplaying the greatest resilience while the teen comedy Date Movie had an all too familiar 50% plus drop. Overall business for the span should ring in at about $117 million for a 10% decline compared with the three-day portion of last weekend’s holiday period. Revenue was also off by 6% for the comparable weekend of 2005.

The British-French animated acquisition Doogal arrived with little fanfare or commercial zip with $3.4 million to rank eighth in the lineup. Originally titled The Magic Roundabout, the film was redubbed for the U.S. Overseas the film had a spotty record in 2005.

The action-thriller Running Scared performed with comparable listlessness of $2.9 million to rank one notch below. Of greater note was the first significant expansion for Tommy Lee Jones’ acting-directing effort Three Burials of Melquiades Estrada. The Cannes-preemed effort grossed close to $1 million from 300 plus venues.

The situation in the niches was generally as bleak with the notable exception of Tsotsi, the South African social drama that’s won a clutch of festival awards and is on the Oscar short list in the foreign-language category. The film grossed $76,800 from six screens.

Otherwise debuting fare failed to spark including respective grosses of $23,200 from four playdates and $5,100 in three exposures for the acclaimed non-fiction pictures Unknown White Male andStreet Fight. The gritty Australian award-winning drama Little Fish received a wide berth with a $5,400 box office from a single site. And Bollywood entry Taxi No. 9211 limped to $61,300 from 36 theaters on the circuit.

– by Leonard Klady


Weekend Estimates – February 17-20, 2006

Title Distributor Gross (average) % change Theaters Cume
Medea’s Family Reunion Lions Gate 30.4 (13,840) 0 2194 30.4
Eight Below BV 15.6 (5,090) -23% 3072 45
The Pink Panther Sony 11.2 (3,390) -33% 3313 61
Date Movie Fox 9.2 (3,180) -52% 2898 33.9
Curious George Uni 7.1 (2,720) -40% 2609 43.2
Firewall WB 6.2 (2,250) -31% 2740 36.8
Final Destination 3 New Line 5.3 (1,933) -48% 2726 44.7
Doogal Weinstein Co. 3.4 (1,500) 0 2318 3.4
Running Scared New Line 2.9 (1,820) 0 1611 2.9
Freedomland Sony 2.8 (1,200) -51% 2361 10.7
Big Momma’s House 2 Fox 2.4 (1,580) -47% 1535 65.7
When a Stranger Calls Sony 2.4 (1,160) -52% 2060 45.4
Nanny McPhee Uni 2.4 (1,240) -37% 1906 42.6
Brokeback Mountain Focus 2.3 (1,680) -29% 1355 75.4
Capote Sony Classics 1.0 (2,290) -9% 454 23.4
Three Burials of Melquiades Estrada Sony Classics .96 (2,990) 405% 322 1.8
Mrs. Henderson Presents Weinstein Co. .94 (1,860) 2% 504 7.1
Match Point DreamWorks .87 (1,960) -30% 443 21.5
TransAmerica Weinstein Co. .84 (2,650) 39% 317 4.8
Walk the Line Fox .74 (1,500) -52% 492 117.5
The Chronicles of Narnia BV .67 (1,140) -49% 589 288.1
Underworld: Evolution Sony .66 (1,280) -56% 517 61.4
Good Night, and Good Luck WIP .61 (2,240) -18% 272 30.3
Munich Uni .51 (1,570) -24% 325 46.1
Weekend Total ($500,000+ Films) $111.40 0 0 0
% Change (Last Year) 0 -6% 0 0 0
% Change (Last Week) 0 -10% 0% 0 0
Also debuting/expanding
Heart of Gold Par Classics .19 (4,820) 14% 40 0.51
Night Watch Fox Searchlight .18 (5,200) 103% 34 0.31
Tsotsi Miramax 76,800 (12,800) 0 6 0.08
Taxi No. 9211 UTV 61,300 (1,700) 0 36 0.06
Spymate Thinkfilm 52,500 (780) 0 67 0.05
Unknown White Male Wellspring 23,200 (5,800) 0 4 0.02
Little Fish First Look 5,400 (5,400) 0 1 0.01
Street Fight Frontier 5,100 (1,700) 0 3 0.01

Top Domestic Grossers: January 1 – February 23, 2006

The Chronicles of Narnia * BV 78,042,182
Big Momma’s House 2 Fox 63,279,373
Underworld: Evolution Sony 60,711,490
Brokeback Mountain * Focus 60,647,522
King Kong * Uni 57,699,360
Fun with Dick and Jane * Sony 55,953,571
Hoodwinked Weinstein Co. 49,900,596
The Pink Panther Sony 49,745,736
Hostel Lions Gate 47,382,554
When a Stranger Calls Sony 42,957,359
Glory Road BV 41,767,205
Nanny McPhee Uni 40,232,920
Final Destination 3 NLC 39,448,909
Last Holiday Par 38,150,772
Curious George Uni 36,133,915
Cheaper by the Dozen 2 * Fox 35,351,439
Memoirs of a Geisha * Sony 34,274,181
Munich * Uni 33,301,185
Firewall WB 30,613,260
Eight Below BV 29,333,448

Domestic Market Share: January 1 – February 23, 2006

Distributor (releases) Gross Percentage
Sony (10) 252.5 19.80%
Fox (8) 188.5 14.80%
Buena Vista (10) 181.4 14.20%
Universal (6) 177.8 14.00%
Warner Bros. (6) 81.6 6.40%
Weinstein Co. (6) 77.2 6.10%
Focus (4) 76.7 6.00%
New Line (4) 53.1 4.20%
Lions Gate (3) 48.3 3.80%
Paramount (4) 42.7 3.30%
DreamWorks (3) 21.9 1.70%
Fox Searchlight (3) 18.6 1.50%
Sony Classics (7) 15.9 1.20%
Rocky Mountain (1) 11.3 0.90%
Warner Independent (3) 7.4 0.60%
Other * (47) 18.9 1.50%
* none greater than 0.4% 1273.8 100.00%
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Klady

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon