MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Charlie, Sweeney & Dewey vs. Alvin, Wilie & Nick

December 23, 2007
Weekend Estimates
Limited Releases
Domestic Market Share

National Treasure: Book of Secrets led pre-Christmas movie shopping with an estimated $46.2 million. However, while the news was good for last week’s chart toppers I Am Legend and Alvin and the Chipmunks, initial biz for the glut of seasonal debs ranged from problematic to dire.

The star laden Charlie Wilson’s War bowed to $9.8 million while the morbid musical Sweeney Todd grossed $9.3. Trailing them were the romantic P.S. I Love You with $6.6 million and Walk Hard trod in with a discordant $4.1 million.

The frame also saw OK bows for a pair of Bollywood entries, Taare Zameen Par and Welcomeand a dull response for the skiing doc Steep. Juno expanded well while the initial platform for The Kite Runner was encouraging.

The portal into holiday film going is going to be precarious and erratic with holidays creating daily shifts that will resemble a fever chart. The brightest spot is that the Tuesday placement of Christmas and New Years will extend the season through to January 7, 2008.

Still, the initial thrust indicates several films lack the necessary traction to sustain the rigors of a crowded marketplace. The fact that weekend box office exceeds last year’s business is deceptive as more films debuted this year and volume rather than individual potency is a key factor to the increase along with the week day placement of the calendar holiday.

National Treasure 2 bowed Friday to $17.1 million with the anticipation of a $50 million plus weekend. But its Saturday business dipped 9% slowing its momentum. Similarly Sweeney Toddtook a 26% drop; P.S. I Love You declined 10% and Walk Hard lessened its pace by 9%. Only Charlie Wilson got an uptick of 32%.

Overall weekend revenues chimed in with approximately $163 million for a slim 1% boost from seven days earlier. It was 36% improved from 2006 when Night at the Museum opened to $30.4 million. Through December 23 domestic box office for the year passed $9.22 billion; inching up to last year’s $9.23 billion total for the year. The remaining eight days of 2007 will see improved box office results but admissions won’t be much better than flat.

The National Treasure sequel appears sufficiently strong to weather the holiday as are Legend and Alvin and his freres. Of greater concern to the industry are the fortunes of Charlie and Sweeney; both high profile/budget and gross participation vehicles. The former at least appears to be getting an assist from word-of-mouth but the adaptation of the Stephen Sondheim musical could well evolve as more specialized than mainstream.

However, the shocker of the frame was the well received spoof musical bio Walk Hard that looked like a strong candidate for sleeper success. In a season sparse on comedy the film seemed like a natural but its abject rejection appears devoid of a second wind.

The beneficiary of Hard’s (bad) luck now appears to be Juno, the surprisingly appealing black comic yarn of teen pregnancy. It continues to expand beyond niche crowds and if it can maintain commercial potency when it goes wide next weekend it seems headed for the holiday season’s unexpected hit status.

Still to be revealed is the picture (s) that will capitalize on year end kudos a la last year’s Pan’s Labyrinth and Babel. With the broadcast fate of so many awards shows still uncertain, the inter-relationship between gold and glory has been playing out erratically much to the chagrin of studio wranglers as well as those that dole out honors.

– Leonard Klady

Weekend Estimates – December 21-23, 2007

Title
Distributor
Gross (averag
% change
Theater
Cume
National Treasure: Book of Secrets
BV
46.2 (12,060)
3832
46.2
I Am Legend
WB
34.4 (9,510)
-55%
3620
137.7
Alvin and the Chipmunks
Fox
29.1 (8,320)
-34%
3499
85
Charlie Wilson’s War
Uni
9.8 (3,820)
2575
9.8
Sweeney Todd
Par
9.3 (7,430)
1249
9.3
P.S. I Love You
WB
6.6 (2,680)
2454
6.6
The Golden Compass
New Line
4.4 (1,500)
-50%
2953
48.9
Enchanted
BV
4.2 (1,530)
-24%
2752
98.4
Walk Hard
Sony
4.1 (1,540)
2650
4.1
Juno
Fox Searchlight
3.5 (11,480)
144%
304
6.5
Atonement
Focus
2.0 (6,630)
9%
297
5.8
No Country for Old Men
Miramax
1.7 (1,420)
-39%
1222
36.7
The Kite Runner
Par Vantage
1.2 (3,080)
146%
377
1.9
The Perfect Holiday
FreeStyle
1.1 (860)
-53%
1247
4.6
This Christmas
Sony
.92 (1,050)
-59%
879
47.7
Fred Claus
WB
.78 (670)
-65%
1155
70.6
August Rush
WB
.47 (670)
-73%
701
29.5
Weekend Total ($500,000+ Films)
$159.30
% Change (Last Year)
36%
% Change (Last Week)
1%
Also debuting/expanding
Taare Zameen Par
UTV
.30 (4,330)
70
0.3
The Savages
Fox Searchlight
.21 (3,520)
118%
60
0.79
Welcome
Studio 18
.21 (5,180)
40
0.21
Diving Bell and the Butterfly
Miramax
.11 (3,890)
91%
28
0.4
Steep
Sony Classics
22,800 (1,340)
17
0.02

Top Releases – To December 20, 2007*

Title
Distributor
Gross
Pirates of the Caribbean: At World’s
BV
962,303,742
Harry Potter & the Order of the Pho
WB
943,920,441
Spider-Man 3
Sony
890,976,387
Shrek the Third
Par
798,117,586
Transformers
Par
706,517,505
Ratatouille
BV
616,019,260
The Simpsons Movie
Fox
525,671,887
300
WB
455,946,644
The Bourne Ultimatum
Uni
441,830,793
Night at the Museum *
Fox
394,697,927
Live Free or Die Hard
Fox
380,932,208
Ocean’s 13
WB
310,940,968
Fantastic Four: Rise of the Silver S
Fox
286,723,816
Wild Hogs
BV
253,658,370
Rush Hour 3
New Line
250,236,551
Ghost Rider
Sony
229,847,486
Mr. Bean’s Holiday
Uni/Wk Title
225,254,813
Knocked Up
Uni
218,921,224
The Pursuit of Happyness *
Sony
209,859,635
Hairspray
New Line
198,089,793
* does not include 2006 box office

Domestic Market Share – December 20, 2007

Distributor (releases)
Gross (Millions)
Mkt Share
Paramount (20) 1466.6 16.50%
Sony (28) 1223.1 13.80%
Buena Vista (19) 1190.3 13.40%
Warner Bros. (29) 1181.5 13.30%
Universal (19) 1057.3 11.90%
Fox (21) 828.8 9.30%
New Line (14) 461.7 5.20%
Lions Gate (20) 369.1 4.20%
MGM (25) 347.6 3.90%
Miramax (13) 114.1 1.30%
Focus (9) 110.1 1.20%
Fox Searchlight (14) 103.9 1.20%
Picturehouse (7) 56.9 0.70%
Par Vantage (7) 53 0.60%
Other * (299) 310.7 3.50%
* none greater than 0.45% 8766.2 100.00%
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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