MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Good is Better ‘n Evil …

September 23, 2007
Weekend Estimates
Summer Market Share

Mammy Yokum used to say that “Good is better ‘n evil cause it’s nicer.” Obviously the comic book matriarch isn’t abreast with the new Hollywood that decreed Resident Evil: Extinction the weekend box office champ with an estimated $23.9 million debut to runner up Good Luck Chuck at $13.6 million.

The session’s other national freshman Sydney White was rather forlorn in sixth position with $5.2 million and a number of last week’s debs including Eastern Promises began expanding on their platforms.

The frame was also rife with new entries testing the waters and the results ranged from boiling returns for the likes of Into the Wild and The Assassination of Jesse James by that Coward Robert Ford to temperate response for The Jane Austen Book Club. Limited and regional openers including Sea of Dreams and Randy and the Mob were largely subsumed by the wave of new titles.

The third entry in the Resident Evil franchise performed pretty much as anticipated though its gross was slightly better than prior outings. The same was true for the comic inanities of Good Luck Chuck and it didn’t appear to matter that both films largely appealed to the same viewing quadrant.

Sydney White, a tale of sorority outcasts, may have looked good on paper as effective counter programming but didn’t translate at the ticket counter. It certainly puts the lie to studies that have concluded women make the ultimate conclusion when couples go to the movies.

Overall business was inching toward $97 million for a tidy 23% boost from the immediate prior weekend but still experienced a slight 3% decline from 2006. Twelve months back preems ofJackass Number Two and Fearless were top of the charts with respective bows of $29 million and $10.6 million. So far this year three of the six majors have recorded revenues of excess of $1 billion and once again there’s a strong possibility all six sisters will hit that level – a previously unrealized precedent.

Industry pundits weren’t quite sure why Eastern Promises decided to open limited a week ago. It came as no surprise that the London-set tale of the ultra violent Russian mafia would have its critical supporters but it was a bit of a long shot that media endorsement would expand its appeal. Its first weekend in wide release certainly provided no indication to the contrary and its distributor faces an uphill climb to equal filmmaker David Cronenberg‘s prior returns for A History of Violence.

More obvious platforms also appeared to be confronting some hard driving to buck the tide of new movies. The Beatles’ homage Across the Universe added 253 engagements and maintained a healthy $7,350 average and a quite respectable 42% decline on the 23 screens it opened on seven days earlier. However the Iraq War-themed In the Valley of Elah was struggling with a $3,810 average and 54% drops in the nine venues it opened a week ago.

The almost across the board hosannas for Into the Wild, the surprisingly effective tale of redemption and tragedy, translated into high capacity crowds and a buoyant $50,000 plus average in four situations. The mixed reviews for Jesse James nonetheless translated into an impressive $29,500 average from five playdates and factoring in its 160 minute running time improves the picture. The $148,000 bow of The Jane Austen Book Club at 25 sites shaped up as the niche equivalent of Sydney White business.

– Leonard Klady

Weekend Estimates – September 14-16, 2007

Title
Distributor
Gross (average) % chang Theaters Cume
Resident Evil: Extinction
Sony
23.9 (8,470)
2828 23.9
Good Luck Chuck
Lions Gate
13.6 (5,190)
2612 13.6
The Brave One
WB
7.3 (2,650)
-46% 2755 25
3:10 to Yuma
Lions Gate
5.9 (2,020)
-34% 2902 37.4
Eastern Promises
Focus/Alliance
5.6 (3,980)
922% 1404 6.4
Sydney White
Uni
5.2 (2,480)
2104 5.2
Mr. Woodcock
New Line
4.9 (2,200)
-44% 2237 15.6
Superbad
Sony
3.0 (1,310)
-41% 2305 116.1
The Bourne Ultimatum
Uni
2.8 (1,410)
-31% 2009 220.2
Dragon Wars
FreeStyle
2.2 (990)
-56% 2246 8.3
Rush Hour 3
New Line
2.2 (1,330)
-35% 1620 136.1
Halloween
MGM
2.1 (910)
-57% 2338 54.5
Across the Universe
Sony
2.0 (7,350)
204% 276 3
Mr. Bean’s Holiday
Uni
1.6 (950)
-41% 1702 30.6
Balls of Fury
Focus
1.6 (880)
-52% 1832 31.2
Transformers
Par
1.4 (3,690)
199% 385 313.6
In the Valley of Elah
WIP
1.2 (3,810)
803% 317 1.4
Shoot ‘Em Up
New Line
.74 (610)
-72% 1208 12.1
The Nanny Diaries
MGM
.71 (540)
-66% 1325 25.2
Hairspray
New Line
.67 (880)
-46% 758 117.4
Stardust
Par
.58 (940)
-52% 614 37.4
Weekend Total ($500,000+ Films)
$72.40
% Change (Last Year)
-3%
% Change (Last Week)
23%
Also debuting/expanding
Death at a Funeral
MGM
.37 (1,200)
-40% 312 7.1
The Hunting Party
MGM
.34 (1,030)
242% 329 0.53
Into the Wild
Par Vantage
.2 (50,310)
4 0.2
Assassination of Jesse James
WB
.15 (29,460)
5 0.15
The Jane Austen Book Club
Sony Classics
.15 (5,910)
25 0.15
Sea of Dreams
Success
29,200 (520)
56 0.03
Randy and the Mob
Capricorn
15,100 (3,020)
5 0.02
The Last Winter
IFC
8,300 (4,150)
2 0.01
Beauty Remains
Emerging
2,620 (1,310)
2 0.01

Top Domestic Grosses – To September 20, 2007

Title
Distributor
Gross
Spider-Man 3
Sony
336,635,065
Shrek the Third
Par
322,782,958
Transformers
Par
312,151,771
Pirates of the Caribbean: At W
BV
309,182,318
Harry Potter & the Order of t
WB
289,527,287
The Bourne Ultimatum
Uni
217,367,170
300
WB
210,702,543
Ratatouille
BV
202,680,025
The Simpsons Movie
Fox
181,375,422
Wild Hogs
BV
168,602,747
Knocked Up
Uni
148,645,145
Live Free or Die Hard
Fox
134,168,034
Rush Hour 3
NLC
133,889,025
Fantastic Four: Rise of the Silv
Fox
131,779,552
Night at the Museum *
Fox
125,041,114
I Now Pronounce You Chuck &
Uni
118,652,235
Blades of Glory
Par
118,628,332
Ghost Rider
Sony
117,257,346
Ocean’s Thirteen
WB
117,154,724
Hairspray
NLC
116,732,382

Domestic Market Share – To September 20, 2007

Distributor (releases) Gross
Percentage
Paramount (16) 1217.6 16.90%
Warner Bros. (24) 1020.1 14.20%
Sony (22) 1018.8 14.10%
Buena Vista (15) 948.6 13.20%
Universal (15) 838.4 11.60%
Fox (17) 737.7 10.20%
New Line (10) 381.7 5.30%
MGM (19) 277.4 3.80%
Lions Gate (16) 191.7 2.70%
Fox Searchlight (11) 90.5 1.30%
Focus (6) 87.3 1.20%
Miramax (7) 62.6 0.90%
Picturehouse (7) 56.6 0.80%
Other (230) * 271.5 3.80%
*none greater than 0.5% 7200.5 100.00%
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Klady

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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