MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Wulf at the Door

November 18, 2007
Weekend Estimates
Domestic Market Share

The venerable Nordic saga Beowulf handily led the frame with a debut estimated at $27.5 million. However, other premieres proved less fulsome including just fair results of $9.9 million for the family friendly Mr. Magorium’s Wonder Emporium and a dull $1.9 million for the long gestating adaptation of Love in the Time of Cholera. Overall business continued to experience audience erosion.

Niche debuts also reflected feast or famine results with the latter exemplified in the $80,000 tally forMargot at the Wedding in two locations. Conversely the omnibus drama Southland Tales and the Iraq war vignette Redacted struggled unsuccessfully to draw in an audience with both falling short of a $2,000 theater average from respectively 63 and 13 playdates.

Expectations were high for Beowulf bolstered by the surprise potency of 300 earlier in the year. Tracking prognostications ranged between $30 million and $35 million but the bygone tale of blood and passion fell slightly short of anticipation. Less surprising was the grossing chasm between the roughly 650 theaters in 3-D and/or Imax and the 2,500 plus conventional engagements. According to the distributor the enhanced versions accounted for roughly 40% of the picture’s box office.

Weekend revenues should clock in at close to $107 million that rolled back 7% from the prior weekend. That was a more extreme 27% plummet from 2006 when Happy Feet and Casino Royale duked it out for respective openings of $41.5 million and $40.8 million. The steady decline since Labor Day coupled with current and anticipated talent strikes has rattled the industry and the current yearly cume of $8.38 billion has whittled down to a 4.8% advance (and flat attendance) from 12 months ago.

Holdover fare generally experienced slightly sharper drops than has been the norm. American Gangster became the first fall release to garner a $100 million domestic gross and Bee Movie will pass that mark next weekend but no other film currently in the marketplace will hit that benchmark.

Fred Claus had one of the better holds of the frame and that contributed to the less than stellar debut of Mr. Magorium’s Wonder Emporium that’s targeted kids and parents for the upcoming Thanksgiving box office burst. Both films will square off against Enchanted that’s expected to reign in the turkey trot.

Gabriel Garcia Marquez’s beloved novel Love in the Time of Cholera has daunted film adaptation for two decades and most critics would argue the eventual screen adaptation squandered the source’s power and emotion. Audiences largely gave it a pass, opting instead for the first platform of No Country for Old Men.

Most of the early fall platforms have peaked early and the few that include Bella and Before the Devil Knows You’re Dead that remain on the ascendant cannot see the start of December award accolades too soon. In the coming weeks I’m Not There, Atonement, The Kite Runner, Youth Without Youth and There Will Be Blood will also jump on the kudos bandwagon.

Controversial festival favorite Redacted that’s culled from current Iraq War experiences failed to turn the tide for recent hot button movies. As with last year’s acclaimed United 93, audiences here and abroad are loath to see contemporary tales that hit close to home emotionally and politically.

– Leonard Klady

Weekend Estimates – November 9-11, 2007

Title
Distributor
Gross (averag
% chang
Theate
Cume
Beowulf
Par
27.5 (8,730)
3153
27.5
Bee Movie
Par
14.4 (3,610)
-44%
3984
93.9
American Gangster
Uni
13.4 (4,310)
-44%
3110
101.2
Fred Claus
WB
12.3 (3,410)
-34%
3603
36.1
Mr. Magorium’s Wonder Emporium
Fox
9.9 (3,123)
3164
9.9
Dan in Real Life
BV
4.4 (2,320)
-26%
1901
37
No Country for Old Men
Miramax
3.0 (20,540)
148%
148
4.9
Lions for Lambs
MGM
2.7 (1,200)
-60%
2216
11.4
Saw IV
Lions Gate
2.2 (1,030)
-56%
2097
61.7
Love in the Time of Cholera
New Line
1.9 (2,180)
852
1.9
The Game Plan
BV
1.2 (850)
-52%
1374
87.4
Bella
Roadside Attract
1.1 (2,350)
17%
456
5.1
Michael Clayton
WB
1.0 (1,420)
-42%
695
37.1
Om Shanti Om
Eros
.94 (8,030)
-47%
117
3.1
30 Days of Nights
Sony
.91 (1,000)
-58%
915
39.1
P2
Summit
.86 (440)
-59%
1938
3.6
Into the Wild
Par Vantage
.82 (1,600)
-26%
511
13.9
Gone Baby Gone
Miramax
.81 (1,530)
-44%
530
18.4
Why Did I Get Married?
Lions Gate
.78 (1,240)
-47%
629
54.4
Across the Universe
Sony
.58 (1,250)
-36%
464
23.3
Before the Devil Knows You’re Dead
Thinkfilm
.55 (3,640)
-17%
151
2.1
Lars and the Real Girl
MGM
.53 (2,170)
-25%
244
4.2
The Darjeeling Limited
Fox Searchlight
.52 (1,820)
-41%
285
10.2
Weekend Total ($500,000+ Films)
$102.30
% Change (Last Year)
-27%
% Change (Last Week)
-7%
Also debuting/expanding
Southland Tales
IDP
.12 (1,780)
63
0.12
Margot at the Wedding
Par Vantage
79,600 (39,800)
2
0.08
Dialogue avec mon jardinier
Equinoxe
33,200 (3,690)
9
0.03
Redacted
Magnolia
22,800 (1,760)
13
0.02
Breakfast with Scot
Mongrel
9,820 (3,270)
3
0.01
Smiley Face
First Look
5,700 (5,700)
1
0.01
Eleven Men Out
Regent
1,010 (1,010)
1
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