MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

You’ve Got That McLovin’ Feeling

August 19, 2007
Weekend Finals
Domestic Market Share

You can’t get me to say that Superbad was super good but the film that one critic extolled as “the Lawrence of Arabiaof teen pics” out-grossed the field with an estimated $31.4 million in another upbeat movie going session. The super total largely compensated for poor openings for The Invasion that ranked fifth overall with $5.8 million and the Roman epic The Last Legion that soldiered on with $2.6 million.

The session was also choc-a-block with incoming niche entries that ranged from good returns of $1.2 million for the black comedy Death at a Funeral to potent limited forays of non-fiction fare The 11th Hour and King of Kong: A Fistful of Quarters. But there was no bloom for the Bollywood hybrid Marigold, the cross-cultural American Fusion or the Mexican scam thriller 7 Dias.

Industry trackers were predicting a close race between Superbad and the second weekend of Rush Hour 3 but the modest expectations for the former could largely be ascribed to antiquated methods of gauging interest. Anyone hanging out at the mall could have seen the strong youth interest in the tale of a couple of geeks seizing an opportunity to party with the cool kids. The strong response from the core appeal crowd has strong crossover potential like the early summer sensation Knocked Up.

Weekend revenues inched toward a $125 million tally for a 19% decline from a week earlier as signs of the seasonal sunset drew ever closer. However, it exceeded last year’s sum by 14% when the much anticipated Snakes on a Plane led with a nonetheless disappointing $15.2 million debut.

The latest kick at the can update/remake of Invasion of the Body Snatchers abbreviated not only the title but the threat of the original. One critic aptly observed that its lead’s cool demeanor made it difficult to discern them from the emotionless pod people taking over the nation. It also suffered from an insufficiently palpable modern parable that fueled its inspiration.

The session saw the brunt of holdover titles generally experiencing 40% declines. Becoming Jane continued its roll out but clearly maxed out as it stayed roughly consistent at the box office despite doubling its theater count.

Pictures dipping a toe in the marketplace saw tales of global warming and gaming finding the most temperate response.Leonard DiCaprio‘s venture into Gore territory with The 11th Hour heated up with averages of close to $15,000 from four venues while King of Kong, the oddly compelling saga of a video game rivalry, had $10,000 plus averages from five sessions. Despite critical hosannas for the indie black comic Delirious, its roughly $17,000 gross at five sites was decidedly lukewarm.

– Leonard Klady

Weekend Finals – August 17-19, 2007

Title
Distrib
Weekend
% Change
Theaters
Cume
Wks
1 New Superbad
Sony
33,052,411 2948 33,052,411 1
2 1 Rush Hour 3
New Line
21,353,361 -56% 3778 87,676,529 2
3 2 The Bourne Ultimatum
Uni
19,874,370 -40% 3701 164,694,690 3
4 3 The Simpsons Movie
Fox
6,829,648 -39% 3162 165,271,443 4
5 New The Invasion
WB
5,951,409 2776 5,951,409 1
6 4 Stardust
Par
5,651,343 -38% 2565 19,493,894 2
7 5 Hairspray
New Line
4,502,455 -30% 2389 100,805,456 5
8 6 Underdog
BV
3,848,791 -39% 2551 31,927,488 3
9 8 Harry Potter & the Order of Phoenix
WB
3,656,379 -33% 1955 278,762,117 6
10 7 I Now Pronounce You Chuck & Larry
Uni
3,601,545 -39% 2258 110,484,335 5
11 12 Becoming Jane
Miramax
2,935,129 1% 1186 9,083,790 3
12 New The Last Legion
Weinstein Co.
2,746,312 2002 2,746,312 1
13 9 No Reservations
WB
2,363,459 -39% 1604 36,518,274 4
14 10 Daddy Day Camp
Sony
1,950,823 -43% 2332 8,918,854 2
15 11 Transformers
Par
1,948,099 -40% 1206 306,487,922 7
16 13 Ratatouille
BV
1,643,850 -31% 1403 196,620,846 8
17 New Death at a Funeral
MGM
1,282,973 260 1,282,973 1
18 16 El Cantante
Picturehouse
640,627 -54% 374 6,686,803 3
19 14 Hot Rod
Par
571,780 -74% 811 13,106,020 3
20 19 Les 3 p’tits cochons
Christal
451,023 -2% 100 1,437,415 2
21 15 Bratz
Lions Gate
439,599 -69% 533 8,893,678 3
22
18
Live Free or Die Hard
Fox
393,816 -42% 503 121,649,320 8
23 24 Evan Almighty
Uni
334,535 10% 413 98,416,370 9
24 23 Knocked Up
Uni
297,005 -5% 297 147,306,660 12
25 20 Talk to Me
Focus
261,506 -35% 185 3,944,509 6
26 21 Chak De! India
Yash Raj
246,984 -30% 56 732,426 2
27 22 Shrek the Third
Par
239,693 -24% 303 321,811,363 14
28 25 Ocean’s Thirteen
WB
214,259 -29% 297 116,651,343 11
29 59 Arctic Tale
Par Vantage
207,346 726% 227 369,592 4
30 28 Once
Fox Searchlight
203,102 -22% 105 7,309,077 14
31 29 Fantastic Four: Rise of Silver Surfer
Fox
200,577 -13% 229 131,117,315 10
32 27 Sicko
LGF/Alliance
200,411 -25% 159 23,616,424 9
33 34 2 Days in Paris
IDP/Seville
176,086 1% 20 443,258 2
34 32 Surf’s Up
Sony
159,208 -14% 236 58,645,467 11
35 26 Rescue Dawn
MGM
158,542 -41% 278 5,141,295 7
36 35 Deep Sea 3-D
WB
152,092 -7% 30 31,593,570 77
37 31 La Vie en Rose
TVA/Picturehouse
132,284 -29% 96 9,019,539 22
38 36 I Know Who Killed Me
Sony
117,724 -19% 65 7,233,485 4
39 49 Rocket Science
Picturehouse
117,212 100% 40 203,768 2
40 38 No End in Sight
Magnolia
107,812 -9% 33 404,462 4
41 17 Skinwalkers
FreeStyle
103,137 -81% 339 957,935 2
42 37 Pirates of Caribbean: At World’s End
BVI
100,195 -27% 123 307,771,457 13
43 33 Sunshine
Fox Searchlight
94,616 -48% 85 3,376,207 5
44 42 The Ten
Thinkfilm
82,775 -19% 47 442,042 3
45 41 1408
MGM
74,718 -29% 102 71,045,248 9
46 40 My Best Friend
IFC/Christal
73,496 -35% 51 958,626 6
47 39 License to Wed
WB
69,191 -39% 94 43,016,065 7
48 43 Nancy Drew
WB
65,136 -35% 132 25,498,513 10
49 New The 11th Hour
WIP
60,583
4 60,583 1
50 30 Who’s Your Caddy?
MGM
56,763 -70% 63 5,501,498 4
51 51 Moliere
Sony Classics
52,658 4% 34 233,083 4
52 44 Spider-Man 3
Sony
52,585 -32% 111 336,530,303 16
53 New The King of Kong: Fistful of Dollars
Picturehouse
51,493 5 51,493 1
54 New Contre toute esperance
Seville
50,073 12 50,073 1
55 48 Waitress
Fox Searchlight
47,418 -21% 52 18,785,635 16
56 45 Goya’s Ghosts
IDP
43,169 -35% 26 667,372 5
57 50 Magnificent Desolation
Imax
41,226 -22% 7 20,721,822 100
58 54 Dinosaurs: Giants of Patagonia
Sky High
39,802 1% 11 1,109,597 21
59 52 Paris je t’aime
First Look
36,865 -11% 25 5,010,133 15
60 46 Broken English
Magnolia
35,986 -45% 31 889,987 9
61 47 Wild Hogs
BV
32,850 -48% 64 168,563,801 25
62 55 Wild Safari 3-D
nWave
30,111 -23% 10 14,724,987 124
63 53 Meet the Robinsons
BV
29,136 -29% 69 97,755,357 21
64 56 This is England
IFC
29,074 -13% 11 147,138 4
65 New Marigold
Adlabs
27,702 54 27,702 1
66 58 Golden Door
Miramax
20,808 -23% 28 1,037,499 13
67 New Delirious
Peace Arch
19,030 5 19,030 1
68 63 Space Station
Imax
16,424 -3% 2 63,736,807 279

Estimates – August 17-19, 2007

Title
Distributor
Gross (averag
% change
Theate
Cume
Superbad
Sony
31.4 (10,660)
2948
31.4
Rush Hour 3
New Line
21.6 (5,710)
-56%
3778
87.9
The Bourne Ultimatum
Uni
19.1 (5,170)
-42%
3701
163.9
The Simpson Movie
Fox
6.7 (2,130)
-40%
3162
165.2
The Invasion
WB
5.8 (2,100)
2776
5.8
Stardust
Par
5.3 (2,060)
-42%
2565
19.1
Hairspray
New Line
4.1 (1,720)
-36%
2389
100.4
Underdog
BV
3.7 (1,440)
-43%
2551
31.7
Harry Potter & the Order of the Phoenix
WB
3.5 (1,790)
-35%
1955
278.6
I Now Pronounce You Chuck & Larry
Uni
3.4 (1,500)
-42%
2258
110.3
Becoming Jane
Miramax
2.9 (2,430)
-1%
1186
9
The Last Legion
Weinstein Co.
2.6 (1,300)
2002
2.6
No Reservations
WB
2.3 (1,440)
-40%
1604
36.5
Transformers
Par
1.9 (1,590)
-41%
1206
306.5
Daddy Day Camp
Sony
1.7 (750)
-49%
2332
8.7
Ratatouille
BV
1.4 (1,010)
-40%
1403
196.4
Death at a Funeral
MGM
1.2 (4,470)
260
1.2
El Cantante
Picturehouse
.62 (1,660)
-56%
374
6.7
Hot Rod
Par
.58 (710)
-74%
811
13.1
Weekend Total ($500,000+ Films)
$119.80
% Change (Last Year)
14%
% Change (Last Week)
-19%
Also debuting/expanding
Talk to Me
Focus
.26 (1,420)
-25%
185
3.9
Arctic Tale
Par Vantage
.19 (830)
656%
227
0.35
The 11th Hour
WIP
58,800 (14,700)
4
0.06
The King of Kong
Picturehouse
51,500 (10,300)
5
0.05
Marigold
Adlabs
28,900 (540)
54
0.03
Delirious
Peach Arch
16,900 (3,380)
5
0.02
American Fusion
Wildcat
12,200 (870)
14
0.01
Splinter
Magnolia
9,600 (3,200)
3
0.01
7 Dias
Xenon
9,100 (1,140)
8
0.01

Top Limited Releases: To August 16, 2007

Title
Distributor
Gross
Waitress
Fox Searchlight
18,738,217
Notes on a Scandal
Fox Searchlight
16,889,774
The Last King of Scotland
Fox Searchlight
13,987,084
The Namesake
Fox Searchlight
13,569,248
The Lives of Others
Sony Classics
11,249,027
Deep Sea 3-D
WB
9,256,011
La Vie en Rose
TVA/Picturehouse
8,887,255
Volver
Sony Class/Seville
8,667,708
The Painted Veil
WIP
7,552,537
Once
Fox Searchlight
7,105,975
Becoming Jane
Mrmx
6,148,661
El Cantante
Picturehouse
6,046,176
Away from Her
Mongrel/Lions Gate
5,693,776
Rescue Dawn
MGM
4,982,753
Paris je t’aime
First Look
4,973,268
Black Book
Sony Classics
4,397,827
Magnificent Desolation
Imax
3,979,862
Talk to Me
Focus
3,683,002
Sunshine
Fox Searchlight
3,281,591
Venus
Mrmx
3,233,893
* none greater than 710 playdates

Domestic Market Share: To August 16, 2007

Distributor (Releases)
Gross
Market Share
Paramount (16)
1184.5
18.30%
Warner Bros. (22)
962.2
14.90%
Buena Vista (15)
925.3
14.30%
Sony (19)
897.2
13.90%
Universal (13)
718.4
11.10%
Fox (16)
702.7
10.90%
New Line (8)
271.6
4.20%
MGM (15)
191.9
3.00%
Lions Gate (13)
132.2
2.00%
Fox Searchlight (11)
88.2
1.40%
Focus (4)
56.3
0.90%
Picturehouse (4)
53.1
0.80%
Miramax (7)
50.7
0.80%
Par Vantage (5)
34.7
0.50%
Sony Classics (12)
33.8
0.50%
Other * (172)
163.8
2.50%
6466.6
100%
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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