MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Some Enchanted Turkey …

November 25, 2007
Weekend Estimates
Domestic Market Share

The Thanksgiving holiday frame was definitely rich on stuffing with the time travel princess ofEnchanted emerging most magical with an estimated $34.8 million during the weekend and $49.5 million from its Wednesday launch.

The table was overflowing with new entrees and scant on sides. The Afrocentric This Christmasranked second with a hearty $18.5 million and Hitman was dead on target in fourth position with $12.8 million. The other national bows had to settle for leftovers with the poignant musical dramaAugust Rush sweeping up $9.4 million and the Stephen King chiller The Mist not so scary with $8.6 million.

Alternative and platform fare mostly steered clear with a couple of notable exceptions. The Bob Dylan psycho portrait I’m Not There sampled 130 auditoriums to the tune of $940,000 in its first five-day exposure. There was also rather buoyant response to the drama Starting Out in the Evening that generated averages of about $11,600 from seven venues.

In terms of box office it was a virtual carbon copy of Thanksgiving 2006 when second weekends ofHappy Feet and Casino Royale topped the frame with respective tallies of $37 million and $30.7 million and the top holiday release was Déjà vu at $20.6 million. However, that also means fewer actual tickets were sold and with more pictures in the marketplace, it meant smaller pieces of the pie, pumpkin notwithstanding.

The only significant surprise was a rather more than precipitous drop for Beowulf‘s second weekend. The bells and whistles attendant with the ancient Nordic saga anticipated a stronger pull for families but the picture is skewing toward young males as it progresses and appears to be less fearsome than opening numbers presaged.

The holiday rush pretty much cleared the table of early season platforms with Into the Wild the only early entry still standing in general release. The other limited exposure surprises continue to be the independent warmity Bella and Octogenarian Sidney Lumet’s tough as nails thriller Before the Devil Knows You’re Dead.

Todd Haynes‘ Dylan touchstone I’m Not There bowed to encouraging but less than superlative response and one can only hope critical acclaim in the coming weeks will bolster its appeal.

– Leonard Klady

Weekend Estimates – November 9-11, 2007

Title
Distributor
Gross (average)
% chang Theaters Cume
Enchanted
BV
34.8 (9,320)
3730 49.5
This Christmas
Sony
18.5 (9,950)
1858 26.9
Beowulf
Par
16.2 (5,050)
-41% 3218 56.4
Hitman
Fox
12.8 (5,200)
2458 20.8
Bee Movie
Par
11.9 (3,400)
-15% 3507 112.1
Fred Claus
WB
10.5 (2,920)
-12% 3603 52.9
August Rush
WB
9.4 (4,060)
2310 13.3
American Gangster
Uni
9.2 (3,290)
-28% 2799 115.8
The Mist
MGM
8.6 (3,530)
2423 12.6
Mr. Magorium’s Wonder Emporium
Fox
7.8 (2,450)
-19% 3168 22.1
No Country for Old Men
Miramax
7.7 (9,000)
152% 860 16.3
Dan in Real Life
BV
3.2 (2,140)
-25% 1502 42.4
Lions for Lambs
MGM
1.3 (860)
-55% 1527 13.9
Love in the Time of Cholera
New Line
.89 (1,040)
-54 852 3.4
Before the Devil Knows Your Dead
Thinkfilm
.83 (3,190)
34% 260 3.2
Bella
Roadside Att
.71 (1,970)
-31% 360 6.1
I’m Not There
Weinstein C
.69 (5,310)
130 0.94
Into the Wild
Par Vantage
.68 (1,920)
-21% 354 15
Weekend Total ($500,000+ Films)
$155.70
% Change (Last Year)
-1%
% Change (Last Week)
54%
Also debuting/expanding
Margot at the Wedding
Par Vantage
.39 (11,200)
384% 35 0.58
Starting Out in the Evening
Roadside At.
81,300 (11,610)
7 0.08
Midnight Eagle
Shochiku
3,160 (1,630)
2 0.01

Domestic Releases – To November 15, 2007

Title
Distributor
Gross
Spider-Man 3
Sony
336,635,065
Shrek the Third
Par
323,109,978
Transformers
Par
319,272,199
Pirates of the Caribbean: At World’s End
BV
309,481,737
Harry Potter & the Order of the Phoeni
WB
291,829,680
The Bourne Ultimatum
Uni
227,077,350
300
WB
210,702,543
Ratatouille
BV
205,978,785
The Simpsons Movie
Fox
183,017,628
Wild Hogs
BV
168,602,747
Knocked Up
Uni
148,835,304
Rush Hour 3
NLC
140,125,968
Live Free or Die Hard
Fox
134,529,403
Fantastic Four: Rise of the Silver Surfer
Fox
131,921,738
Night at the Museum *
Fox
125,041,114
Superbad
Sony
121,733,216
I Now Pronounce You Chuck & Larry
Uni
120,039,902
Hairspray
NLC
119,382,487
Blades of Glory
Par
118,628,332
Ghost Rider
Sony
117,257,346

Domestic Market Share – November 15, 2007

Distributor (releases)
Gross (millions)
Mrkt Share
Paramount (18)
1346.3
16.30%
Sony (27)
1174.9
14.20%
Warner Bros. (28)
1107.7
13.40%
Buena Vista (18)
1087.1
13.10%
Universal (19)
1016.9
12.30%
Fox (19)
761.7
9.20%
New Line (12)
423.6
5.10%
Lions Gate (20)
363.1
4.40%
MGM (23)
303.1
3.70%
Focus (8)
108.3
1.30%
Fox Searchlight (12)
100.9
1.20%
Miramax (9)
82.7
1.00%
Picturehouse (7)
56.9
0.70%
Paramount Vantage (6)
48.5
0.60%
Other * (275)
289.7
3.50%
8271.4
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