MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Tu Tu Much …

September 30, 2007
Weekend Estimates
Domestic Market Share

The ground war multiplex to multiplex encounter between the family friendly The Game Plan and the Rambo-unctious The Kingdom led to a one-two finish respectively estimated at $22.9 million and $17.8 million. The solid, relatively predictable box office failed to spike business as hold over titles generally experienced 50% declines.

The frame also featured a flaccid national bow for the couple’s drama Feast of Love of $1.7 million and was chock-a-block with expansions and regional and limited openings. Hot off New York Film Festival screenings Lust, Caution had a potent single screen bow of $62,800 while The Darjeeling Limited, that opened Saturday, scored $141,600 at two sites.

The hard hitting Rwanda drama Shake Hands with the Devil bowed to an impressive $170,000 in Canada and French import Odette Toulemonde was OK with $78,800 in Quebec. However, there was little bite for the doc Sharkwater that waded into Florida waters with $49,200 and the international sex commerce of Trade barely stirred interest with $101,000 from 90 houses.

Employing The Pacifier template, The Game Plan cast tough guy Dwayne “The Rock” Johnsonas a gridiron giant forced to turn domestic with the arrival of a hitherto unknown pre-teen daughter. Whatever substantive issues might have been inherent in the material were passed off laterally for porridge that’s pure mush. But the pure hokum should sustain well in the coming weeks.

The Kingdom also looks to benefit in the lack of immediate competition. The visceral thriller about FBI investigators tracking down terrorists in Saudi Arabia has a faux political agenda and a discomfiting racist bent that will restrict its international passport. It should nonetheless get decent domestic mileage as a flag waver.

The two films accounted for about 45% of weekend business that translated into a 6% drop for last weekend and a further 9% abatement from last year. In 2006, debuts of Open Season and The Guardian held the top positions with bows of $23.6 million and $18 million. Industry pundits anticipate soft business to continue through October but for the moment yearly box office is running about 6.5% better than a year earlier.

Whatever potential the emotionally charged Feast of Love may have had with adult viewers was largely lost in an indifferent campaign and lukewarm reviews. Meanwhile, slow steady expansions for the Beatles homage Across the Universe and the survival saga Into the Wild displayed sustained interest while the Iraq aftermath of In the Valley of Elah continued to lose commercial traction.

Toronto fest premiere Shake Hands with the Devil focusing on the Canadian general in charge of U.N. forces during the Rwanda genocide bowed north of the border to good returns that will still demand the TLC campaigns necessary to sustain non-warm bath movies in a sated marketplace

– Leonard Klady

Weekend Estimates – September 28-30, 2007

Title
Distributor
Gross (averag
% change
Theaters
Cume
The Game Plan
BV
22.9 (7,390)
3103
22.9
The Kingdom
Uni
17.8 (6,370)
2793
17.8
Resident Evil: Extinction
Sony
7.8 (2,750)
-67%
2828
36.6
Good Luck Chuck
Lions Gate
6.1 (2,350)
-55%
2612
23.4
3:10 to Yuma
Lions Gate
4.0 (1,340)
-35%
3006
43.8
The Brave One
WB
3.6 (1,290)
-50%
2837
30.8
Mr. Woodcock
New Line
2.9 (1,320)
-41%
2195
19.5
Eastern Promises
Focus/Alliance
2.8 (2,000)
-50%
1408
11.2
Sydney White
Uni
2.6 (1,240)
-50%
2106
8.5
Across the Universe
Sony
2.1 (6,110)
6%
339
5.5
The Bourne Ultimatum
Uni
1.7 (1,170)
-41%
1461
222.8
Feast of Love
MGM
1.7 (1,400)
1200
1.7
Superbad
Sony
1.6 (1,040)
-49%
1517
118.8
In the Valley of Elah
WIP
1.5 (1,960)
18%
762
3.3
Transformers
Par
1.2 (2,340)
-17%
509
315.2
Rush Hour 3
New Line
1.1 (970)
-49%
1152
137.6
Halloween
MGM
.85 (680)
-61%
1245
56.1
Dragon Wars
FreeStyle
.83 (600)
-68%
1376
10.1
Mr. Bean’s Holiday
Uni
.66 (520)
-63%
1262
31.7
Into the Wild
Par Vantage
.64 (19,390)
202%
33
0.94
Balls of Fury
Focus
.52 (600)
-69%
867
32.1
Weekend Total ($500,000+ Films)
$84.90
% Change (Last Year)
-9%
% Change (Last Week)
-6%
Also debuting/expanding
Death at a Funeral
MGM
.25 (920)
-41%
273
7.6
The Jane Austen Book Club
Sony Classics
.19 (4,660)
28%
41
0.4
Shake Hands with the Devil
Seville
.17 (3,140)
55
0.17
The Darjeeling Limited
Fox Searchlight
141,600 (70,800)
2
0.14
Trade
Roadside
101,200 (1,120)
90
0.1
Assassination of Jesse Jame
WB
94,100 (18,520)
-36%
5
0.3
Odette Toulemonde
Eqinoxe
78,800 (2,540)
31
0.08
Lust, Caution
Focus
62,800 (62,800)
1
0.06
Sharkwater
FreeStyle
49,200 (820)
60
0.05
Outsourced
Shadow
35,500 (4,440)
8
0.04
The Price of Sugar
Mitropoulos
3,370 (3,370)
1
0.01

Top Domestic Grosses – To September 26, 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 26, 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