MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Torpid Racer!

Iron Man rigidly held sway in the marketplace despite a 49% box office decline with an estimated $50.2 million gross. That proved to be bad news for the bow of Speed Racer that was expected to rank a close second but wound up fighting a hard race with the romantic comedy What Happens in Vegas. Estimates place Vegas marginally ahead at $20.1 million but within a statistical margin of error that could reverse the order when actuals are reported Monday.

The frame also saw a number of expansions as well as a clutch of newcomers in regional and niche exploitation. The fantasy adventure The Fall racked up very good initial response of $72,700 from nine venues while the literary adaptation ofThe Stone Angel on a comparable number of screens grossed $53,200 in Canada. There was also a buoyant bow for the indie drama After the Rains of $44,300 at six sites and OK returns of $24,500 for the French spy parody OSS 117 – Cairo,Nest of Spies in seven exploits. The non-fiction Surfwise crested the wave with $9,650 from a single screen and pre-Juno Ellen Page in The Tracy Fragments generated $3,500 from one Manhattan screen following a $50,000 gross in Canada.

Overall revenues bumped up 17% from 2007 on estimates of $125 million while declining 23% from last week’s Iron Man launch. Twelve months back Spider-Man 3 ruled with a $58.2 million sophomore session with freshmen entries 28 Weeks Later and Georgia Rule eating the dust with respective tallies of $9.8 million and $6.8 million.

Apart from the frame’s new entries, industry eyes were focused on how steep a decline Iron Man would experience. Pundits braced for a 60% hit but in light of diminished competition the comic book fugitive could boast of a slightly better than 50% rigor.

It’s unclear what messages Speed Racer’s studio was receiving but clearly they were not positive and one suspects both tracking studies and preview responses contributed to lowered expectations leading up to opening day. The ad campaign presumed little more than its title was necessary as a lure and that proved ill-founded as the film struggled to $20 million in its debut. Officially, Warner Bros. is “disappointed” and concerned that its audience is “very young” and those kids that adored the television anime appear to have focused their nostalgia on another pulp hero.

What Happens in Vegas conversely made all the right moves including a sneak preview to build up word of mouth. While critics were not particularly impressed, audiences found sufficient humor and chemistry in the mix to surpass target projections.

The situation internationally reflected an even sharper contrast between Speed and Vegas. Both films bowed in such countries as Spain, Germany and the U.K. and in each instance Vegas outpaced the hotrodder by three to five times. Vegas also beat Iron Man for weekend bragging rights in Germany and Spain but Speed Racer ranked second to the sturdy superhero in Mexico and Brazil.

Slow roll outs for such specialized fare as The Visitor, Young@Heart and Son of Rambow continue to weather well in these early days of summer. However, the rapid expansion of Redbelt proved to be a dud as it expanded from six to 1,379 venues and instantly discovered despite its martial arts backdrop that it had decidedly niche limitations.

Among new entries The Fall that had been much ballyhooed at Toronto in 2006 finally found distribution and initial response was encouraging for its commercial struggle. OSS 117 – Cairo, Nest of Spies also had its travails finding an outlet following enthusiastic response on the festival circuit. One imagines its mix of slapstick and parody will compare favorably when agent Max Smart hits screens next month.

– Leonard Klady


Weekend Finals – May 9-11, 2008

Title Distrib Weekend % Change Theaters Cume Wks
1 1 Iron Man Par 51,190,629 -48% 4111 177,825,024 2
2 New What Happens in Vegas Fox 20,172,474 3215 20,172,474 1
3 New Speed Racers WB 18,561,337 3606 18,561,337 1
4 2 Made of Honor Sony 8,116,323 -45% 2734 26,791,494 2
5 3 Baby Mama Uni 6,225,790 -38% 2627 40,836,370 3
6 5 Forgetting Sarah Marshall Uni 3,837,240 -37% 2376 50,781,745 4
7 4 Harold & Kumar Escape Guantanamo WB 3,106,424 -49% 2264 30,667,308 3
8 6 Forbidden Kingdom Lions Gate 2,169,323 -48% 1724 48,530,104 4
9 7 Nim’s Island Fox 1,463,622 -45% 1601 44,395,857 6
10 8 Prom Night Sony/Alliance 1,012,986 -58% 1465 42,785,107 5
11 45 Redbelt Sony Classics 1,012,435 1379 1,109,674 2
12 9 21 Sony 851,385 -57% 978 80,434,035 7
13 16 The Visitor Overture 729,212 20% 217 2,475,492 5
14 11 Horton Hears a Who Fox 605,347 -55% 770 150,699,120 9
15 10 88 Minutes Sony 534,104 -65% 625 16,460,014 4
16 13 Drillbit Taylor Par 508,095 -30% 267 31,760,807 8
17 22 Then She Found Me Thinkfilm/TVA 467,577 103% 153 890,591 3
18 19 Young@Heart Fox Searchlight 388,928 23% 145 1,444,646 5
19 30 10,000 B.C. WB 347,407 128% 409 94,042,448 10
20 New Bhoothnath Eros 330,246 64 330,246 1
21 15 Expelled: No Intelligence Allowed Rocky Mountain 328,836 -51% 402 7,235,324 4
22 14 Street Kings Fox Searchlight 240,553 -66% 297 25,649,703 5
23 17 Leatherheads Uni 239,445 -58% 424 30,730,820 6
24 51 Son of Rambow Par Vantage 154,151 187% 36 227,154 2
25 24 The Counterfeiters Sony Classics 148,775 -27% 122 4,661,883 12
26 23 The Spiderwick Chronicles Par 139,068 -35% 218 71,334,121 13
27 18 Smart People Miramax 137,843 -58% 163 9,204,863 5
28 27 Fool’s Gold WB 137,264 -18% 216 70,057,055 14
29 39 Jumper Fox 127,459 56% 124 79,617,110 13
30 28 Sea Monsters: A Prehistoric Adventur nWave 125,148 -22% 47 12,475,078 32
31 34 The Bucket List WB 105,380 -21% 169 93,223,440 20
32 26 Under the Same Moon Weinstein Co. 98,682 -49% 138 12,273,323 8
33 21 Dans une galaxie pres de chez vous 2 TVA 91,143 -65% 79 1,448,144 4
34 37 Fugitive Pieces Maximum/IDP 86,402 -15% 38 219,576 2
35 41 U2 3D nWave 85,013 7% 10 7,867,852 16
36 New The Fall Roadside Attract. 79,611 9 79,611 1
37 38 Priceless IDP 76,895 -20% 38 1,085,673 7
38 35 Vantage Point Sony 74,090 -42% 152 72,914,605 12
39 25 Superhero Movie MGM 73,170 -64% 131 25,380,619 7
40 31 Meet the Browns Lions Gate 71,761 -52% 103 42,047,149 8
41 40 Dolphins and Whales 3-D 3D Entertainment 71,472 -11% 14 1,489,666 12
42 20 Shine a Light Par Vantage 70,456 -75% 61 5,031,562 5
43 32 Never Back Down Summit 69,460 -52% 120 24,685,255 8
44 42 National Treasure: Book of Secrets BV 66,543 -10% 115 219,548,127 20
45 73 Roman de Gare IDP 64,516 186% 15 134,098 2
46 12 Deception Fox 63,219 -93% 126 4,427,267 3
47 36 College Road Trip BV 62,778 -46% 147 43,572,241 10
48 33 The Ruins Par 62,651 -56% 100 17,037,079 6
49 29 Mama est chez les coiffeurs Equinoxe 61,848 -60% 42 277,835 2
50 54 My Blueberry Nights Weinstein Co. 56,806 21% 57 551,857 6
51 New The Stone Angel Alliance 55,182 8 55,182 1
52 44 Miss Pettigrew Lives for a Day Focus 49,873 -29% 98 12,229,144 10
53 48 Flawless Magnolia 49,256 -14% 48 987,315 7
54 New Before the Rains Roadside Attract. 48,159 8 48,159 1
55 50 In Bruges Focus 39,814 -28% 57 7,550,836 14
56 46 The Bank Job Lions Gate 37,490 -39% 64 29,798,098 10
57 53 Space Station 3-D Imax 37,380 -23% 8 74,946,404 317
58 49 Shutter Fox 33,211 -41% 79 25,752,754 8
59 New OSS 117: Cairo, Nest of Spies Music Box 31,418 9 31,418 1
60 58 Magnificent Desolation Imax 30,371 -14% 4 23,730,972 137
61 43 The Other Boleyn Girl Sony 28,713 -59% 89 27,091,702 11
62 55 Deep Sea 3-D WB 27,359 -29% 10 35,196,664 115
63 60 Standard Operating Procedure sony Classics 26,701 -15% 21 96,234 3
64 New The Babysitters Peace Arch 23,518 22 23,518 1
65 68 Roving Mars BV 22,982 -6% 10 8,651,463 120
66 63 Welcome Home Roscoe Jenkins Uni 21,430 -26% 44 42,458,878 14
67 66 Emma Smith: My Story Candlelight 20,994 -27% 19 449,933 5
68 57 Step Up 2 the Streets BV 20,037 -47% 47 57,931,554 13
69 67 Penelope Summit 19,836 -21% 44 9,985,759 11
70 56 The Life Before Her Eyes Magnolia 19,633 -52% 19 201,091 4
71 72 Flight of the Red Balloon IFC 19,588 -17% 13 265,004 6
72 82 Definitely, Maybe Uni 19,512 12% 37 32,245,860 13
73 71 Jellyfish Zeitgeist 18,498 -22% 12 145,793 6
Source: MCN/EDI

Estimates – May 9-11, 2008

Title Distributor Gross (average) % change * Theaters Cume
Iron Man Par 50.2 (12,220) 49% 4111 176.9
What Happens in Vegas Fox 20.1 (6,240) 3215 20.1
Speed Racer WB 20.0 (5,550) 3606 20
Made of Honor Sony 7.6 (2,790) -48% 2734 26.3
Baby Mama Uni 5.7 (2,170) -43% 2627 40.3
Forgetting Sarah Marshall Uni 3.7 (1,560) -39% 2376 50.7
Harold & Kumar 2 WB 3.2 (1,400) -48% 2264 30.7
Forbidden Kingdom Lions Gate 1.9 (1,120) -54% 1724 48.3
Nim’s Island Fox 1.2 (760) -54% 1601 44.1
Prom Night Sony/Alliance 1.0 (700) -58% 1465 42.8
Redbelt Sony Classics 1.0 (710) 1379 1.1
21 Sony .82 (840) -59% 978 79.58
The Visitor Overture .76 (3,500) 25% 217 2..5
Horton Hears a Who Fox .54 (700) -60% 770 150.09
88 Minutes Sony .50 (800) -68% 625 15.92
Then She Found Me Thinkfilm/TVA .43 (2,820) 88% 153 0.75
Weekend Total ($500,000+ Films) $118.20
% Change (Last Year) 17%
% Change (Last Week) -23%
Also debuting/expanding
Young@Heart Fox Searchlight .34 (2,360) 9% 145 1.4
Son of Rambow Par Vantage .14 (3,860) 157% 36 0.21
The Fall Roadside At. 72,700 (8,080) 9 0.07
The Stone Angel Alliance 53,200 (5,920) 9 0.05
Before the Rains Roadside At. 44,300 (7,380) 6 0.04
OSS 117: Cairo, Nest of Spies Music Box 24,500 (3,500) 7 0.02
The Babysitters Peace Arch 20,100 (960) 21 0.02
Surfwise Magic Lantern 9,650 (9,650) 1 0.01
A Previous Engagement Buccaneer 8,200 (820) 10 0.01
Noise Thinkfilm 3,400 (1,700) 2 0.01
The Tracy Fragments Thinkfilm 3,100 (3,100) 1 0.01

Domestic Market Share – To May 8, 2008

Distributor (releases) Gross Market Share
Fox (11) 502.9 17.10%
Warner Bros. (13) 410.2 14.00%
Paramount (9) 365.6 12.40%
Sony (14) 349.8 11.90%
Buena Vista (8) 271.9 9.20%
Universal (9) 240.1 8.20%
Lions Gate (8) 196.9 6.70%
Fox Searchlight (5) 146.9 5.00%
Par Vantage (8) 69.6 2.40%
New Line (4) 61.8 2.10%
Focus (4) 59.5 2.00%
Miramax (4) 47.1 1.60%
MGM (9) 45.9 1.60%
Summit (2) 34.6 1.20%
Overture (3) 22.6 0.80%
Other * (128) 112.3 3.80%
* none greater than 0.55% 2937.7 100.00%

To Domestic Grossers – To May 8, 2008

Title Distributor Gross
Horton Hears a Who Fox 150,093,773
Iron Man Par 126,634,395
Juno * Fox Searchlight 115,515,102
10,000 B.C. WB 93,695,041
The Bucket List WB 92,370,699
National Treasure: Book of Secrets * BV 86,217,902
Cloverfield Par 80,048,433
21 Sony 79,582,650
Jumper Fox 79,489,642
27 Dresses Fox 76,767,400
Vantage Point Sony 72,840,515
The Spiderwick Chronicles Par 71,195,053
Alvin and the Chipmunks * Fox 70,200,185
Fool’s Gold WB 69,919,791
Hannah Montana/Miley Cyrus Conce BV 65,274,822
Step Up 2: The Streets BV 57,911,517
I Am Legend * WB 57,047,856
Forgetting Sarah Marshall Uni 46,944,505
The Forbidden Kingdom Lions Gate 46,360,781
College Road Trip BV 43,509,463
* does not include 2007 box office
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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