MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Bit By Norbit …

February 11, 2007
Weekend Estimates
Domestic Market Share

The audience Norbit hard with the Eddie Murphy comedy commanding the weekend with an estimated $33.3 million. The strong bow nonetheless allowed Hannibal Rising to chomp down on a sizeable $12.9 million gross in a frame that rebounded from the Super Bowl but still lagged behind last year’s post performance. The session also featured a potent bow for German Oscar nomineeThe Lives of Others that recorded a screen average of $16,380 in limited release.

Echoes of Big Momma reverberated through Norbit but that did little to deter ticket sales. Expectations for the low brow comedy were in the $22 million to $25 million range though fears of a depressed market had some predicting it would miss that target. Rather it fed into audience expectations and a hunger for something silly that translated into a more voracious response.

In his fourth screen outing Hannibal the cannibal supped well but not sumptuously. When Hannibal Rising was announced, eyeballs rolled with the prospect of a tale of his early years. The commercial result initially suggests that a reasonably sized crowded were willing to sit at the table but the arch villain appears to have run his course barring another adventure with Anthony Hopkins.

Weekend revenues bumped up to close to $110 million or a 20% rebound from seven days earlier. Grosses were still 10% behind 2006 when the top four entries were new releases headed by The Pink Panther at $20.2 million and Final Destination 3 close behind with $19.2 million.

In its limited-wide debut The Last Sin Eater proved barely tempting with a $230,000 gross and engagement averages of $550.

Continuing titles generally experienced drops of one-third to one-half with the exception of the indomitable Night at the Museum and movies that figure significantly in the Oscar race that concludes in two weeks. None of the contenders were adding significantly to their screen counts butLetters from Iwo Jima, Babel, Venus and The Last King of Scotland all experienced marginal box office boosts.

Additionally, The Queen, Notes on a Scandal and Pan’s Labyrinth experienced less than double-digit erosion. There’s a strong indication that post-event business for titles that fail to strike gold could experience precipitous commercial drops.

The highly lauded political thriller The Lives of Others saw very good response of $210,000 from 13 initial forays. Its late theatrical arrival may have been a strategic misstep considering the surprising commercial momentum of Pan’s Labyrinth.

The session’s other limited freshman was India’s politically charged Black Friday but it got lost in translation with a lean $2,000 average in nine locations. It certainly strayed from typical fare on the Bollywood circuit.

– Leonard Klady

Weekend Estimates – February 8-11, 2007

Title
Distributor
Gross (average)
% change
Theaters
Cume
Norbit
Par
33.3 (10,610)
3136
33.3
Hannibal Rising
MGM
12.9 (4,300)
3003
12.9
Because I Said So
Uni
9.0 (3,550)
-32%
2529
25.6
The Messengers
Sony
7.0 (2,760)
-53%
2529
24.5
Night at the Museum
Fox
5.8 (2,140)
-11%
2702
232.2
Epic Movie
Fox
4.3 (1,530)
-47%
2806
35.3
Smokin’ Aces
Uni
3.8 (1,740)
-37%
2199
30.9
Pan’s Labyrinth
Picturehouse
3.3 (2,910)
-8%
1143
26.4
Dreamgirls
Par
2.9 (1,260)
-26%
2284
96.9
The Pursuit of Happyness
Sony
2.4 (1,330)
-21%
1777
160.5
The Queen
Miramax
2.4 (1,550)
-7%
1564
48.9
Stomp the Yard
Sony
2.3 (1,140)
-43%
2045
59
Letter from Iwo Jima
WB
1.7 (2,210)
2%
781
9.9
Catch and Release
Sony
1.7 (1,100)
-34%
1561
14.4
Babel
Par Vantage
1.7 (1,830)
1%
919
32
Notes on a Scandal
Fox Searchlight
1.5 (2,340)
-7%
649
13.9
The Departed
WB
1.4 (1,790)
-40%
766
130.8
The Last King of Scotland
Fox Searchlight
1.3 (2,440)
2%
540
11.4
Freedom Writers
Par
1.0 (860)
-47%
1125
35.7
Children of Men
Uni
.84 (1,720)
-29%
489
33.9
Blood Diamond
WB
.79 (1,750)
-12%
451
55.1
Volver
Sony Class/Seville
.66 (1,260)
-12%
525
11.8
Arthur and the Invisibles
MGM
.65 (730)
-36%
890
13.6
Charlotte’s Web
Par
.62 (760)
-26%
820
80.9
The Painted Veil
WIP
.53 (1,9300
7%
275
6.4
Happy Feet
WB
.51 (1,060)
-10%
483
193.3
Weekend Total ($500,000+ Films)
$104.30
% Change (Last Year)
-10%
% Change (Last Week)
20%
Also debuting/expanding
Venus
Miramax
.48 (3,610)
27%
132
1.9
The Last Sin Eater
Bigger Pics
.23 (550)
429
0.23
The Lives of Others
Sony Classics
.21 (16,380)
13
0.21
Factory Girl
MGM
.19 (10,970)
121%
18
0.32
Black Friday
Adlabs
18,300 (2,030)
9
0.02

Domestic Market Share: Jan 1 – February 7, 2007

Distributor (releases)
Gross
Percentage
Sony (9)
174.5
20.40%
Fox (8)
162.1
18.90%
Paramount (6)
123.5
14.40%
Universal (5)
115.2
13.50%
Warner Bros. (10)
73.4
8.60%
MGM (7)
44.1
5.20%
Buena Vista (8)
22.7
2.60%
Picturehouse (1)
22.5
2.60%
Miramax (2)
19.6
2.30%
Fox Searchlight (4)
19.2
2.20%
Lions Gate (3)
15.9
1.90%
Focus (1)
15.9
1.90%
New Line (3)
11.7
1.40%
Sony Classics (3)
10.6
1.20%
Par Vantage (1)
10.5
1.20%
Warner Independent (2)
5.5
0.60%
Other * (26)
9.1
1.10%
856
100.00%
Be Sociable, Share!

Comments are closed.

Klady

Quote Unquotesee all »

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