MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Next Can’t Happen Too Soon…

April 29, 2007
Weekend Finals
Domestic Market Share

The weekend box office buzz primarily focused on next weekend’s debut of Spider-Man 3 rather than anything with currency. And it was for good reason! Disturbia was for the third weekend the top grosser with an estimated $9.1 million and a quartet of freshmen releases failed to spark much audience interest.

The spooky teen thriller The Invisible ranked second with $7.7 million while another paranormal yarn –Next starring Nicolas Cage – followed at $6.9 million. Further down the list were The Condemned, a tale of prisoners in a survival game that grossed $3.6 million and the teen musical Kickin’ It Old School with $2.4 million.

The news wasn’t much better for niche and alternative fare though Bollywood’s Ta Ra Rum Pum opened well at $370,000 and there were good per screens for Jindabyne and Hong Kong import Triad Election. Otherwise there was barely a flicker for such varied fare as the thriller Wind Chill, American independentDiggers and fest favorite Snow Cake.

Overall business took a sharp hit again with weekend revenues inching toward $75 million. It repped a 16% decline from the prior frame and was 28% behind the comparable 2006 session when debuting entries RV, United 93 and Stick It topped the charts with respective box office of $16.4 million, $11.5 million and $10.8 million..

Weekend business was lower than any frame in 2006 and one has to reel back to 2005 to find a film that topped the charts with less than a $10 million gross. While box office for the year to date is 1.5% better than last year’s record, it was as high as 12% improved until April’s onslaught of mediocre performers.

So, all eyes are on Spider-Man 3 to provide a reversal of fortunes. Industry expectations are that the web spinner will ensnare at least $100 million in its opening weekend and as much as $125 million. While last year’s hopes for Mission: Impossible III were considerably lower, its $47.7 million opening salvo was also significantly below expectations.

Spider-Man 3 has considerable weight to lift following weeks of growing indifference to pictures that were perceived as second-rate are sometimes cynical rip offs of past popular entries. Among the debuting product, only The Invisible registered what could be considered an acceptable engagement average for a programmer with both The Condemned and Kickin’ barely registering a blip on the commercial radar screen. The inability of Cage to draw in audiences for a critically well received thriller was crushing forNext but, reviews aside, similar fates have befallen Perfect Stranger and Fracture in recent weeks.

While summer promises some strong Bollywood entries and Ta Ra Rum Pum’s performance certainly bodes well for crystal gazers, the past weekend’s niche entries were generally less favorably received.Wind Chill’s theatrical presence appeared to be fulfilling contractual obligations and the strategy of simultaneous DVD and HDNet launches for the likes of Diggers (and Color Me Kubrick in April) appears to be least impressive for movie theaters and unlikely to spawn commercial imitators.

– Leonard Klady

Weekend Finals – April 27 – 29, 2007

Title
Distrib
Weekend
% Change
Theaters
Cume
Wks
1
1
Disturbia
Par
9,023,835 -31% 3047 52,109,598 3
2
New
The Invisible
BV
7,717,309 2019 7,717,309 1
3
New
Next
Par
7,133,049 2725 7,133,049 1
4
2
Fracture
New Line
6,814,714 -38% 2443 21,075,259 2
5
3
Blades of Glory
Par
5,164,364 -33% 3056 108,050,741 5
6
6
Hot Fuzz
Focus
4,876,867 -17% 1272 12,601,055 2
7
5
Meet the Robinsons
BV
4,840,972 -30% 2461 88,354,540 5
8
4
Vacancy
Sony
4,112,502 -46% 2551 13,780,060 2
9
New
The Condemned
Lions Gate
3,807,595 2310 3,807,595 1
10
7
Are We Done Yet?
Sony
3,450,922 -33% 2701 43,868,838 4
11
8
In the Land of Women
WB
2,657,425 -44% 2155 8,566,083 2
12
New
Kickin’ It Old School
FreeStyle
2,541,419 1816 2,541,419 1
13
9
Perfect Stranger
Sony
2,172,323 -47% 2197 21,590,618 3
14
10
Wild Hogs
BV
1,840,994 -35% 1602 158,723,493 9
15
11
300
WB
1,387,466 -38% 1005 206,897,885 8
16
17
The Hoax
Miramax
760,550 -38% 981 6,228,666 4
17
15
Shooter
Par
751,524 -46% 718 45,787,042 6
18
21
The Namesake
Fox Searchlight
721,024 -5% 320 10,771,198 8
19
13
The Reaping
WB
712,294 -57% 933 24,064,624 4
20
14
Grindhouse
Weinstein Co.
576,130 -59% 618 23,887,068 4
21
12
Pathfinder
Fox
540,516 -71% 782 9,436,054 3
22
19
TNMT
WB
492,467 -49% 710 53,051,256 6
23
18
Firehouse Dog
Fox
463,494 -55% 659 12,689,837 4
24
New
Ta Ra Rum Pum
Yash Raj
425,102 85 425,102 1
25
27
Black Book
Sony Classics
391,356 68% 103 1,174,583 4
26
16
Redline
Chicago Pics
381,329 -71% 610 6,678,765 3
27
33
Year of the Dog
Par Vantage
309,318 132% 131 627,916 3
28
24
The Lives of Others
Sony Classics
305,838 -2% 189 9,067,448 12
29
20
Aqua Teen Hunger Team
First Look
265,716 -69% 363 5,265,735 3
30
23
Night at the Museum
Fox
260,796 -33% 284 250,210,624 19
31
22
Premonition
Sony
223,028 -46% 327 47,852,604 7
32
26
Ghost Rider
Sony
186,578 -22% 283 115,802,596 11
33
25
Amazing Grace
IDP
174,883 -31% 259 20,674,957 10
34
28
Norbit
Par
170,972 -15% 220 95,323,496 12
35
29
The Last Mimzy
New Line
147,812 -20% 279 20,520,225 6
36
32
Deep Sea 3-D
WB
131,850 -7% 35 26,804,471 61
37
36
After the Wedding
IFC
113,873 1% 41 572,218 5
38
42
The Valet
Sony Classics
111,313 65% 16 205,511 2
39
35
Avenue Montaigne (Orchest
Thinkfilm/Sevill
108,763 -6% 52 1,637,450 30
40
40
The Wind That Shakes the
IFC/Christal
103,673 13% 50 1,625,755 7
41
41
A vos marques … Party
Christal
99,649 35% 61 1,531,808 5
42
31
The Hills Have Eyes II
Fox
87,803 -39% 149 20,506,614 6
43
30
Reign Over Me
Sony
81,416 -55% 144 19,661,987 6
44
38
Miss Potter
MGM
77,873 -14% 102 2,554,250 18
45
37
Music and Lyrics
WB
72,941 -30% 148 50,437,750 11
46
39
Bridge to Terabithia
BV
66,699 -26% 123 81,175,178 11
47
61
Zodiac
Par
66,687 126% 177 33,048,353 9
48
45
Roving Mars
BV
60,210 16% 12 6,929,991 66
49
51
Journey from the Fall
ImaginAsia
60,100 34% 13 498,000 6
50
58
La Vie en Rose
TVA
59,202 71% 38 1,438,763 7
51
57
Ne le dis a personne
Seville
58,371 62% 18 117,640 2
52
55
Moliere
Christal
57,876 51% 27 262,236 3
53
44
Magnificent Desolation
Imax
52,133 -3% 10 18,884,901 83
54
50
Wild Safari 3-D
nWave
47,154 -1% 8 12,930,355 108
55
43
Daddy’s Little Girl
Lions Gate
44,840 -27% 105 31,554,898 11
56
49
Pan’s Labyrinth
Picturehouse
44,249 -9% 67 37,457,946 18
57
46
The Host
Magnolia
44,118 -14% 63 2,079,462 8
58
RE
Romeo & Juliet: Sealed wit
Indican
43,308 27 293,701 6
59
52
The Number 23
New Line
42,490 -2% 134 35,626,798 10
60
54
Dead Silence
Uni
33,996 -17% 78 16,662,897 7
61
New
Diggers
Magnolia
32,867 17 32,867 1
62
72
Quand j’etais chanteur
Equinoxe
32,251 64% 8 65,923 2
63
69
Happy Feet
WB
30,095 33% 93 197,961,083 24
64
48
The Lookout
Miramax
28,758 -41% 54 4,587,858 5
65
New
Jindabyne
Sony Classics
28,298 6 28,298 1
66
47
Pride
Lions Gate
27,350 -45% 49 7,084,950 6
67
63
The TV Set
Thinkfilm
25,876 -7% 19 146,359 4
68
62
Breach
Uni
25,757 -12% 69 33,133,318 11
69
59
Sharkwater
Alliance
24,853 -21% 30 572,941 6
70
New
Fakers
Indican
22,750 7 22,750 1
71
67
Into Great Silence (Die Gro
Zietgeist/Mongr
22,572 -8% 13 570,865 19
72
73
I Think I Love My Wife
Fox Searchlight
20,975 22% 49 12,505,467 7
73
82
The Italian
Sony Classics
20,155 86% 25 458,217 1
74
New
Wind Chill
Sony
20,146 42 20,146 1
75
65
Because I Said So
Uni/TVA
20,039 -26% 43 43,829,735 13
76
64
The Queen
Miramax
19,510 -29% 33 56,402,097 31
Source: Nielsen EDI; MCN

Estimates – April 27-29, 2007

Title
Distributor
Gross (avera
% change
Theater
Cume
Disturbia
Par
9.1 (3,000)
-30%
3047
52.2
The Invisible
BV
7.7 (3,820)
2019
7.7
Next
Par
6.9 (2,530)
2725
6.9
Fracture
New Line
6.6 (2,720)
-40%
2443
21.1
Blades of Glory
Par
5.1 (1,660)
-34%
3056
108
Meet the Robinsons
BV
4.8 (1,960)
-31%
2461
88.3
Hot Fuzz
Focus
4.7 (3,670)
-20%
1272
12.4
Vacancy
Sony
4.1 (1,620)
-46%
2551
13.8
The Condemned
Lions Gate
3.6 (1,570)
2310
3.6
Are We Done Yet?
Sony
3.4 (1,250)
-35%
2701
43.8
In the Land of Women
WB
2.7 (1,260)
-42%
2155
8.6
Kickin’ It Old School
FreeStyle
2.4 (1,330)
1816
2.4
Perfect Stranger
Sony
2.2 (1,010)
-46%
2197
21.6
Wild Hogs
BV
1.9 (1,160)
-34%
1602
158.7
300
WB
1.4 (1,350)
-40%
1005
206.9
The Hoax
Miramax
.77 (780)
-37%
981
6.2
Shooter
Par
.72 (1,010)
-48%
718
45.8
The Namesake
Fox Searchligh
.71 (2,220)
-6%
320
10.8
The Reaping
WB
.63 (670)
-62%
933
24
Grindhouse
Weinstein Co.
.56 (910)
-60%
618
23.9
TMNT
WB
.51 (720)
-47%
710
52.8
Weekend Total ($500,000+ Films)
$70.50
% Change (Last Year)
-28%
% Change (Last Week)
-16%
Also debuting/expanding
Ta Ra Rum Pum
Yash Raj
.37 (4,410)
85
0.37
Jindabyne
Sony Classics
28,700 (4,780)
6
0.03
Diggers
Magnolia
26,800 (1,580)
17
0.03
Wind Chill
Sony
18,300 (440)
42
0.02
Sing Now or Forever Hold Your Pe
Strand
16,100 (1,450)
11
0.02
Triad Election
Tartan
10,400 (10,400)
1
0.01
Zoo
Thinkfilm
7,200 (7,200)
1
0.01
Snow Cake
IFC
4,900 (1,220)
4
0.01

Domestic Market Share: Jan 1 – April 26, 2007

Distributor (releases)
Gross
Mrkt Share
Sony (14) 461.1 17.10%
Paramount (11) 457.9 17.00%
Warner Bros. (16) 443.7 16.50%
Buena Vista (11) 345.9 12.80%
Fox (12) 257.9 9.60%
Universal (8) 202.2 7.50%
New Line (6) 83.1 3.10%
MGM (9) 78.2 2.90%
Lions Gate (6) 56.6 2.10%
Fox Searchlight (6) 54.5 2.00%
Miramax (4) 41.4 1.50%
Picturehouse (2) 37.1 1.40%
Weinstein Co. (5) 24.7 0.90%
Focus (2) 24.2 0.90%
Paramount Vantage (3) 24.2 0.90%
Sony Classics (7) 23.3 0.80%
IDP (4) 21.2 0.80%
Other * (86) 59.8 2.20%
* none greater than 0.4% 2697 100.00%
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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