MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

How Long Came a Spider

May 13, 2007
Weekend Finals
Weekend Estimates
Domestic Market Share

Spider-Man 3 declined 60% for an estimated $60.2 million weekend. It handily beat out a quartet of new releases that included second and third place finishes for 28 Weeks Later at $10.1 million and Georgia Rule with $5.8 million. The other national freshmen were Delta Farce grossing $3.2 million and The Exeking out $1.4 million.

The frame was also flush with limited and exclusive bows with the retro Brand Upon the Brain reviving the silent film with a single day fury of $13,400 from a single venue.

Expectations of a steep fall for Spider-Man 3 were right on target. However, the drop staved off what would be considered precipitous erosion and its $242 million domestic gross (and counting) has thrust it into the top grossing title of the year. Upcoming and highly anticipated Shrek the Third and Pirates of the Catibbean: At World’s End will spend the season trying to catch up to what appears to be a formidable lead.

The horror sequel 28 Weeks Later had a solid debut elevated by generally laudatory reviews. The kudos and good will generated by the first installment brought in a wider crowd than is normally typical for a zombie movie.

Results for Georgia Rule were softer than anticipated. It had a clear field for the plus 25 audience but clearly proved not to be the picture that demo was waiting to see.

Overall weekend ticket sales topped $105 million for a 46% drop from the record-breaking Spider-Man 3launch. However, the figure still managed a 6% improvement from 2006 when Mission: Impossible III’s second session led with $25 million and the opening of Poseidon set sail with $22.1 million.

Audiences failed to laugh heartily for Delta Farce. It appears that attempts to turn Larry the Cable Guy into the new millennium Ernest are as futile as the search for WMDs. And the oft-delayed The Ex marked its spot with an absence of distinction.

Holdover releases generally experienced 30% to 50% declines with Disturbia and Fracture showing comparatively better strength and Lucky You becoming the season’s first instant casualty with prospects of a $10 million domestic gross a very long shot.

Expansions of both Waitress and Away from Her continued to show muscle in a summer that could well evolve as a hallmark for alternative fare. Still, don’t expect more than a few benefactors as evidenced by the frame’s arrival of a dozen niche entries.

Neither Salon nor Blind Dating displayed much of a commercial pulse and The Hip Hop Project failed to translate positive reviews into box office. Bollywood entry Life in a Metro was a disappointment andProvoked – also from India – fell short of expanding came up short of expanding the appeal of films from that nation.

The mockumentary Chalk was off to a good start on a single screen but the solo highlight shone on Brand Upon the Brain. Filmmaker Guy Maddin’s idiosyncratic oeuvre embraced a true silent film with its first commercial run at Manhattan’s Village East that included a live orchestra, foley crew and narrator. Limited event runs in major centers will be followed by regular engagements with sound on film that recall the successful strategy employed by Napoleon two decades back.

by Leonard Klady

Weekend Finals

Title
Distrib
Weekend
% Change
Theaters
Cume
Wks
1
1
Spider-Man 3
Sony
58,166,256 -61% 4252 240,236,828 2
2
New
28 Weeks Later
Fox
9,807,292 2303 9,807,292 1
3
New
Georgia Rule
Uni
6,773,870 2523 6,773,870 1
4
2
Disturbia
Par
4,732,839 -19% 3106 66,220,865 5
5
New
Delta Farce
Lions Gate
3,420,645 1931 3,420,645 1
6
3
Fracture
New Line
2,953,145 -20% 2202 31,032,946 4
7
4
The Invisible
BV
2,315,286 -29% 1943 15,659,122 3
8
7
Meet the Robinsons
BV
1,802,543 -31% 1640 94,296,510 7
9
5
Next
Par
1,738,056 -40% 2017 14,738,075 3
10
9
Hot Fuzz
Focus
1,716,670 -23% 1236 18,991,668 4
11
8
Blades of Glory
Par
1,450,594 -40% 1436 113,874,366 7
12
New
The Ex
MGM
1,394,229 1009 1,394,229 1
13
6
Lucky You
WB
1,195,342 -56% 2525 4,818,316 2
14
10
Are We Done Yet?
Sony
940,504 -46% 1010 47,342,077 6
15
11
Vacancy
Sony
817,962 -47% 906 17,894,639 4
16
13
Wild Hogs
BV
701,479 -23% 717 161,049,135 11
17
38
Waitress
Fox Searchlight
656,688 614% 65 808,932 2
18
36
Away from Her
Lions Gt/Mongre
437,809 295% 77 673,473 2
19
18
The Namesake
Fox Searchlight
418,003 -14% 271 12,070,226 10
20
19
Black Book
Sony Classics
370,351 -14% 182 2,282,722 6
21
16
Perfect Stranger
Sony
322,969 -44% 346 23,380,738 5
22
12
The Condemned
Lions Gate
301,294 -76% 508 7,070,511 3
23
17
Ghost Rider
Sony
283,626 -46% 304 116,655,186 13
24
15
In the Land of Women
WB
275,289 -65% 455 10,652,576 4
25
20
300
WB
259,552 -38% 230 208,323,517 10
26
14
Kickin’ It Old Skool
FreeStyle
215,121 -73% 277 4,126,874 3
27
30
The Valet
Sony Classics
197,096 60% 66 616,991 4
28
32
TNMT
WB
191,660 61% 404 53,491,142 8
29
24
The Lives of Others
Sony Classics
185,979 -16% 130 9,690,825 14
30
25
Firehouse Dog
Fox
163,553 -13% 352 13,163,214 6
31
23
Year of the Dog
Par Vantage
163,101 -27% 152 1,177,245 5
32
22
The Hoax
Miramax
139,926 -44% 206 6,960,360 6
33
27
Shooter
Par
116,285 -29% 152 46,411,361 8
34
26
Night at the Museum
Fox
116,148 -35% 200 250,603,633 21
35
39
Deep Sea 3-D
WB
108,372 17% 25 27,242,173 63
36
35
Premonition
Sony
106,815 -4% 108 48,066,930 9
37
31
The Last Mimzy
New Line
105,368 -13% 205 20,812,786 8
38
34
After the Wedding
IFC
103,870 -7% 55 881,489 7
39
New
The Salon
Bigger Pictures
92,362 210 92,362 1
40
33
Norbit
Par
88,180 -23% 151 95,594,067 14
41
45
The Hills Have Eyes II
Fox
81,364 49% 115 20,693,511 8
42
50
Roving Mars
BV
79,351 56% 10 7,159,302 68
43
40
Avenue Montaigne (Orchestra
Thinkfilm/Seville
76,484 -9% 50 1,909,629 32
44
41
The Wind That Shakes the B
IFC/Christal
71,841 -14% 56 1,875,287 9
45
37
Amazing Grace
IDP
70,800 -32% 150 20,988,223 12
46
60
Reign Over Me
Sony
70,586 146% 177 19,801,603 8
47
29
Grindhouse
Weinstein Co.
70,427 -46% 95 24,437,669 6
48
28
Ta Ra Rum Pum
Yash Raj
65,337 -60% 44 768,802 3
49
New
Life in a … Metro
UTV
62,477 35 62,477 1
50
New
Blind Dating
IDP
61,877 74 61,877 1
51
43
Pathfinder
Fox
58,362 -9% 74 9,793,043 5
52
46
Wild Safari 3-D
nWave
55,178 4% 10 13,185,485 110
53
21
The Reaping
WB
51,616 -83% 160 24,830,388 6
54
New
Brand Upon the Brain
Vitagraph
46,412 1 63,837 1
55
47
Miss Potter
MGM
45,089 -12% 62 2,731,707 20
56
New
Brooklyn Rules
Slow Hand
41,811 1 41,811 1
57
54
Paris je t’aime
First Look
40,494 3% 2 101,881 2
58
51
Bridge to Terabithia
BV
38,336 -17% 65 81,294,537 13
59
81
Americanizing Shelley
Rocky Mountain
36,450 251% 4 60,975 3
60
53
Magnificent Desolation
Imax
33,258 -22% 7 19,043,279 85
61
New
The Hip Hop Project
Thinkfilm
32,520 42 32,520 1
62
73
Jindabyne
Sony Classics
31,434 64% 16 99,341 3
63
48
Music and Lyrics
WB
30,607 -40% 73 50,562,555 13
64
52
A vos marques … Party
Christal
29,103 -35% 42 1,644,902 7
65
New
Home of the Brave
MGM
25,261 44 25,261 1
66
49
Redline
Chicago Pics
23,754 -53% 51 6,858,335 5
67
62
Dead Silence
Uni
20,865 -22% 51 16,732,800 9
68
63
Into Great Silence (Die Gross
Zietgeist/Mongre
20,632 -21% 16 653,495 21
69
59
Daddy’s Little Girl
Lions Gate
18,661 -36% 44 31,622,400 13
70
61
Pan’s Labyrinth
Picturehouse
18,360 -31% 37 37,541,055 20
71
66
The Host
Magnolia
17,886 -19% 34 2,151,913 10
72
71
The TV Set
Thinkfilm
17,885 -13% 12 202,436 6
73
64
Ne le dis a personne
Seville
17,072 -31% 14 192,700 4
Source: Nielsen EDI; MCN

Estimates – May 11-13, 2007

Title Distributor Gross (averag % change Theater Cume
Spider-Man 2 Sony 60.2 (14,160) -60% 4252 242.3
28 Weeks Later Fox 10.1 (4,660) 2303 10.1
Georgia Rule Uni 5.8 (2,280) 2523 5.8
Disturbia Par 4.7 (1,510) -20% 3106 66.2
Delta Farce Lions Gate 3.2 (1,680) 1931 3.2
Fracture New Line 2.8 (1,280) -23% 2202 30.9
The Invisible BV 2.2 (1,120) -33% 1943 15.5
Meet the Robinsons BV 1.6 (980) -39% 1640 94.1
Hot Fuzz Focus 1.6 (1,290) -28% 1236 18.9
Next Par 1.5 (760) -47% 2017 14.5
The Ex MGM 1.4 (1,410) 1009 1.4
Blades of Glory Par 1.4 (960) -43% 1436 113.8
Lucky You WB 1.1 (440) -59% 2525 4.7
Are We Done Yet? Sony 1.0 (970) -44% 1010 47.4
Vacancy Sony .79 (870) -49% 906 17.9
Waitress Searchlight .63 (9,690) 586% 65 0.78
Wild Hogs BV .58 (810) -36% 717 160.9
Weekend Total ($500,000+ Films) $100.60
% Change (Last Year) 6%
% Change (Last Week) -46%
Also debuting/expanding
Away from Her Mongrel/Lions .31 (5,500) 180% 56 0.47
Years of the Dog Par Vantage .15 (1,010) -31% 152 1.16
The Salon Bigger Pics 79,900 (3,810) 210 0.08
Blind Dating IDP 63,200 (900) 70 0.06
Life in a Metro UTV 51,600 (1,470) 35 0.05
The Hip Hop Project Thinkfilm 34,300 (820) 42 0.03
Provoked Eros 13,500 (1,230) 11 0.01
Brand Upon the Brain Vitagraph 13,400 (13,400) 1 0.03
Chalk Hart Sharp 7,850 (7,850) 1 0.01
Show Business Regent 6,730 (6,730) 1 0.01
Day Night Day Night IFC 5,840 (5,840) 1 0.01
I Don’t Want to Sleep Alone Strand 4,320 (4,320) 1 0.01

Domestic Grosses: To May 10, 2007

Title
Distributor
Gross
300
WB
208,063,965
Spider-Man 3
Sony
182,070,572
Wild Hogs
BV
160,347,656
Night at the Museum *
Fox
134,665,331
Ghost Rider
Sony
116,371,560
Blades of Glory
Par
112,423,772
Norbit
Par
95,505,887
Meet the Robinsons
BV
92,493,967
Bridge to Terabithia
BV
81,256,201
Dreamgirls *
Par
66,370,036
The Pursuit of Happyness *
Sony
65,771,807
Stomp the Yard
Sony
61,591,536
Disturbia
Par
61,488,026
TMNT
WB
53,299,482
Music and Lyrics
WB
50,531,948
Premonition
Sony
48,066,930
Are We Done Yet?
Sony
46,401,573
Shooter
Par
46,295,077
Because I Said So
Uni/Seville
42,861,457
Epic Movie
Fox
39,739,367

Domestic Market Share: To May 10, 2007

Distributor (releases)
Gross
Mrkt Share
Sony (16)
661.5
21.80%
Paramount (12)
500.6
16.50%
Warner Bros. (17)
457.2
15.10%
Buena Vista (12)
372.1
12.30%
Fox (12)
260.2
8.60%
Universal (8)
202.4
6.70%
New Line (6)
97.2
3.20%
MGM (10)
78.6
2.60%
Lions Gate (7)
63.6
2.10%
Fox Searchlight (7)
56.4
1.80%
Miramax (4)
42.9
1.40%
Picturehouse (2)
37.2
1.20%
Focus (2)
33.7
1.10%
Weinstein Co. (5)
25.8
0.90%
Sony Classics (8)
25.7
0.90%
Paramount Vantage (3)
24.9
0.80%
IDP (4)
21.6
0.70%
Other * (96)
69.9
2.30%
3031.5
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