MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Grind Who Stole Easter?

April 8, 2007
Weekend Finals
Domestic Market Share

The mood was eggstatic as the Easter weekend frame eggceeded 2006 business with a quartet of new releases. However, last weekend toppers Blades of Glory and Meet the Robinsons once again held top spots with respective estimated grosses of $23.2 million and $17.1 million.

Freshmen entries generally opened well with the Ice Cube family comedy Are We Done Yet?Posting $15 million and the exploiters Grindhouse and The Reaping close behind at $11.8 million and $10.1 million. The animal hijinx of Firehouse Dog barely registered a one-alarm alert at $4 million.

Additionally The Hoax had an encouraging $1.5 million in limited wide exposure; the limited bow of Dutch Oscar submission Black Book showed muscle with a $12,600 average at 9 locations; Quebec’s Festin de raquin had a fair bow of $95,000 and the spoof The TV Set had an okaytransmission of $36,400 in 8 venues.

Overall business approached $127 million, dipping 5% from the prior weekend. Still that was 11% better than 12 months earlier and 7% improved from Easter weekend 2006 that fell 51 weeks ago. One year ago Scary Movie 4 bowed to $40.2 million, so the current session is benefiting from volume and that has the distribution sector more than a little anxious as the summer onslaught looms.

Holiday movie going generally translated into better than normal holds with Blades off 30% and Robinsons dipping 32% and 300 and Wild Hogs continuing to be highly competitive in the crowded marquee.

Following on the success of Are We There Yet? Ice Cube‘s embracing Are We Done Yet?opened comparably with $19.2 million in 5 days (the earlier entry grossed $18.5 during the 4 day King holiday session). It’s once again showing strong response among the African American community and significant spillover appeal.

The head-to-head pitting of Grindhouse and The Reaping was a virtual tie to the surprise of pundits that gave a more pronounced edge to the former on the potency of filmmakers Quentin Tarantinoand Robert Rodriguez. However at a three hour plus running time Grindhouse had fewer showtimes. Nonetheless both films are expected to have significant second weekend drops and that translates into low than anticipated box office returns.

The cute canine Firehouse Dog proved to be barking up the wrong tree theatrically but hopefully received enough attention to generate future disproportional DVD sales.

The warmly reviewed The Hoax on the infamous bogus Howard Hughes autobiography hit a chord in upscale exposure. It grossed $1.5 million and a $6,250 theater average. Still there’s no indication the film can expand significantly from that base. Paul Verhoeven’s vigorous Second World War saga of resistance Black Book also clicked in the niches and should fan out well in major urban arenas. The initial returns for The TV Set were less conclusive, suggesting a more cautious expansion and perhaps a need to readdress its marketing strategy.

– Leonard Klady

Weekend Estimates – April 6-8, 2007

Title
Distributor
Gross (averag
% chang
Theaters
Cume
Blades of Glory
Par
23.2 (6,890)
-30%
3372
68.6
Meet the Robinsons
BV
17.1 (5,000)
-32%
3413
52.3
Are We Done Yet?
Sony
15.0 (5,220)
2877
19.2
Grindhouse
Weinstein Co.
11.8 (4,490)
2624
11.8
The Reaping
WB
10.1 (3,880)
2603
12.1
300
WB
8.7 (3,240)
-24%
2674
193.7
Wild Hogs
BV
6.9 (2,450)
-20%
2825
145.5
Shooter
Par
5.9 (2,500)
-30%
2353
36.7
TNMT
WB
4.9 (1,730)
-47%
2811
46.6
Firehouse Dog
Fox
4.0 (1,400)
2860
5.3
Premonition
Sony
3.2 (1,840)
-38%
1752
44.7
Reign Over Me
Sony
2.5 (1,420)
-35%
1747
17.4
The Namesake
Fox Searchlight
1.7 (5,100)
11%
335
6.9
The Last Mimzy
New Line
1.6 (780)
-57%
2104
19.5
The Hills Have Eyes II
Fox
1.5 (1,290)
-64%
1169
19.1
The Hoax
Miramax
1.5 (6,250)
235
1.5
The Lookout
Miramax
1.0 (1,070)
-50%
955
3.8
Amazing Grace
IDP
.77 (1,440)
-9%
536
19.5
The Lives of Others
Sony Classics
.53 (2,390)
-13%
222
7.2
Dead Silence
Uni
.43 (1,360)
-68%
316
16.3
Weekend Total ($500,000+ Films)
$121.10
% Change (Last Year)
11%
% Change (Last Week)
-5%
Also debuting/expanding
Black Book
Sony Classics
.11 (12,580)
9
0.11
Festin de raquin
Equinoxe
95,300 (2,270)
42
0.1
After the Wedding
IFC
53,200 (7,000)
13%
7
0.12
The TV Set
Thinkfilm
36,400 (4,550)
8
0.04
Killer of Sheep
Milestone
33,100 (16,550)
27%
2
0.08
Who Loves the Sun
Christal
16,800 (4,200)
4
0.02
Whole New Thing
Picture This
5,100 (5,100)
1
0.01

Estimates – March 30 – April 1, 2007

Title
Distributor
Gross (average
% chang
Theater
Cume
Blades of Glory
Par
33.1 (9,810)
3372
33.1
Meet the Robinsons
BV
25.7 (7,530)
3413
25.7
300
WB
11.2 (3,730)
-44%
3004
179.7
TNMT
WB
9.1 (2,910)
-63%
3120
38.4
Wild Hogs
BV
8.3 (2,600)
-40%
3200
135.3
Shooter
Par
7.9 (2,820)
-45%
2806
27.1
Premonition
Sony
5.1 (1,790)
-47%
2831
39.3
The Last Mimzy
New Line
4.0 (1,330)
-60%
3017
16.2
The Hills Have Eyes II
Fox
3.9 (1,580)
-60%
2465
15.8
Reign Over Me
Sony
3.7 (2,240)
-50%
1671
13.4
Peaceful Warrior (reissue)
Uni
2.0 (3,230)
615
2
The Lookout
Miramax
1.9 (2,030)
955
1.9
The Namesake
Fox Searchlight
1.5 (6,450)
17%
237
4.6
Pride
Lions Gate
1.4 (930)
-60%
1518
5.1
Dead Silence
Uni
1.3 (1,300)
-63%
974
14.5
Amazing Grace
IDP
.88 (1,440)
-40%
612
18.3
I Think I Love My Wife
Fox Searchlight
.84 (1,410)
-70%
597
11.7
Bridge to Tarabithia
BV
.54 (630)
-77%
854
80.3
The Lives of Others
Sony Classics
.53 (2,200)
-29%
241
6.5
Ghost Rider
Sony
.51 (880)
-70%
578
114.2
Weekend Total ($500,000+ Films)
$123.40
% Change (Last Year)
-9%
% Change (Last Week)
-6%
Also debuting/expanding
After the Wedding
IFC
43,500 (8,700)
5
0.04
Killer of Sheep
Milestone
20,700 (10,350)
2
0.02
Radiant City
Odeon
12,100 (6,050)
2
0.01
Live Free or Die
Thinkfilm
10,600 (2,120)
5
0.01
Race You to the Bottom
Regent
1,840 (1,840)
1
0.01

Domestc Grosses – Jan 1 – March 29, 2007

Title
Distributor
Gross
300
WB
168,507,482
Night at the Museum *
Fox
131,293,564
Wild Hogs
BV
126,965,903
Ghost Rider
Sony
113,693,575
Norbit
Par
94,276,649
Bridge to Terabithia
BV
79,712,054
Dreamgirls *
Par
65,970,706
The Pursuit of Happyness *
Sony
65,528,342
Stomp the Yard
Sony
61,492,898
Music and Lyrics
WB
49,462,266
Because I Said So
Uni/Seville
42,584,445
Epic Movie
Fox
39,622,977
Freedom Writers
Par
36,643,426
Pan’s Labyrinth *
Picturehouse
36,208,861
Smokin’ Aces
Uni
35,742,305
The Messengers
Sony
35,638,903
The Number 23
NLC
35,193,167
Children of Men *
Uni
34,427,386
Premonition
Sony
34,242,317
Breach
Uni
32,594,645
* does not include 2006 box office

Domestic Market Share: Jan 1 – March 22, 2007

Distributor (releases)
Gross
Percentage
Sony (10)
312.7
18.00%
Paramount (8)
252.7
14.50%
Warner Bros. (13)
241.4
13.90%
Fox (9)
210.5
12.10%
Buena Vista (10)
178.9
10.30%
Universal (6)
178.3
10.20%
MGM (8)
76.3
4.40%
Lions Gate (4)
47.2
2.70%
New Line (4)
44.4
2.60%
Picturehouse (2)
35.3
2.00%
Fox Searchlight (5)
30.9
1.80%
Miramax (2)
30.3
1.70%
Par Vantage (2)
22.5
1.30%
Sony Classics (4)
16.9
1.00%
Focus (1)
16.4
0.90%
IDP (3)
12.9
0.70%
Other * (56)
33.2
1.90%
*none greater than 0.45%
1740.8
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