MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Posted Sunday, June 1st, 2008 - Comments Off on Sexyyyyyy…
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Sexyyyyyy…

In possibly the first pleasant surprise of the season Sex and the City led weekend movie going with an estimated $56.1 million in its debut session. Also unexpected was a potent $20.6 million bow for the horror programmer The Strangers that ranked third in the frame lineup. Together they provided for a thrust that translated into a significant boost from 2007 grosses.

Response to limited releases was generally good with the mocumentary The Foot First Way generating $34,300 at four sites and the similarly themed verity Bigger, Stronger, Faster adding up $29,700 at six venues. American indie Saving Grace had an encouraging start of $22,300 in a pair of exclusives and the genre thriller Stuck proved a passable amusement with an $8,400 gross form two encounters.

While the critics were generally ho-hum about the big screen Sex and the City, there was no sign of indifference from devotees of the further exploits of Carrie and her posse. Expectations of an opening salvo between $35 million and $40 million were shattered when Friday figures tallied up to more than $26 million. However, Saturday experienced a sharper than anticipated 34% drop that was more typical of arcs for concert films with high first day “want see.”

Warner Bros. distribution president Dan Fellman said first day exits reflected an extraordinarily high 85% female attendance. The film also set a new benchmark for the debut of an R-rated comedy; shattering the $45 million bow ofAmerican Pie. Sex additionally ranked in the top 10 for advance ticket sales that suggested box office estimates were conservative about the film’s potency.

Sex and the City went day-and-date in a handful of overseas venues generating uniformly strong response. Among initial results was a $10 million weekend in Great Britain following $7.5 million from Wednesday/Thursday business. It grossed $5 million in Germany and an opening day gross of $1.3 million in France from 550 theaters.

The Strangers – a tale of a vacationing couple terrorized by thugs – was largely viewed as counter-programming with limited chances to prevail in the competitive marketplace. But reviews were generally upbeat and word-of-mouth proved sufficiently strong to provide a slight boost for Saturday returns in a genre that generally experiences double-digit second day declines.

Weekend box office should by close to $170 million for a slim 1% decline from last weekend’s three-day portion of the Memorial weekend session. There was a demonstrable 28% improvement from 2007 when the second weekend of The Pirates of the Caribbean finale grossed $44.2 million and the bow of Knocked Up followed with $30.7 million.

The anticipated 50% to 60% drop for Indiana Jones and the Kingdom of the Crystal Skull fell roughly in the middle of the range but such films as Iron Man and What Happens in Vegas are holding well against the competition. Nonetheless, the number of films in wide release continues to erode rapidly with just 10 movies grossing in excess of $1 million during the past weekend.

– Leonard Klady

Weekend Finals – May 30-June 1, 2008

Title Distrib Weekend % Change Theaters Cume Wks
1 New Sex and the City WB 56,848,056 – 3285 56,848,056 1
2 1 Indiana Jones & Kingdom of Crystal Sk Par 44,754,615 -55% 4264 215,635,899 2
3 New The Strangers Uni/Alliance 20,997,985 – 2466 20,997,985 1
4 3 Iron Man Par 13,541,264 -34% 3650 276,166,336 5
5 2 Chronicles of Narnia: Prince Caspian BV 12,704,545 -44% 3801 115,362,725 3
6 4 What Happens in Vegas Fox 6,681,097 -27% 3086 65,904,971 4
7 5 Speed Racers WB 2,259,031 -43% 2070 40,677,371 4
8 7 Baby Mama Uni 2,194,320 -35% 1784 56,117,805 6
9 6 Made of Honor Sony 1,913,035 -43% 1905 42,878,354 5
10 8 Forgetting Sarah Marshall Uni 1,059,840 -40% 768 60,485,980 7
11 10 The Visitor Overture 553,704 -23% 270 5,322,550 8
12 9 Harold & Kumar Escape Guantanamo WB 487,021 -47% 474 36,967,086 6
13 11 Horton Hears a Who Fox 367,734 -23% 428 152,571,420 12
14 42 The Fall Roadside Attract. 345,138 597% 108 646,364 4
15 12 Forbidden Kingdom Lions Gate 247,656 -41% 262 51,730,925 7
16 13 Then She Found Me Thinkfilm/TVA 244,812 -39% 150 2,840,511 6
17 15 Nim’s Island Fox 230,671 -22% 350 46,109,150 9
18 14 Young@Heart Fox Searchlight 220,190 -32% 197 2,840,511 8
19 16 21 Sony 204,891 -35% 336 83,025,091 10
20 17 College Road Trip BV 195,596 -36% 241 44,531,764 13
21 22 Sea Monsters: A Prehistoric Adventure nWave 189,845 16% 48 13,430,080 35
22 19 Son of Rambow Par Vantage 165,570 -31% 139 1,175,679 5
23 20 Prom Night Sony/Alliance 137,033 -34% 203 43,995,413 8
24 18 Drillbit Taylor Par 121,119 -62% 142 32,700,565 11
25 23 Dolphins and Whales 3-D 3D Entertainment 114,539 -1% 15 2,035,377 15
26 21 Roman de Gare IDP 104,267 -33% 35 648,202 5
27 37 U2 3D nWave 88,611 10% 11 8,232,943 19
28 32 Superhero Movie MGM 82,780 -5% 157 25,638,520 10
29 27 The Counterfeiters Sony Classics 80,161 -22% 97 5,154,980 15
30 26 10,000 B.C. WB 69,505 -34% 139 94,647,446 13
31 29 Street Kings Fox Searchlight 65,113 -35% 98 26,238,385 8
32 24 Before the Rains Roadside Attract. 64,932 -39% 44 445,280 4
33 25 88 Minutes Sony 63,770 -38% 86 17,194,916 7
34 35 The Ruins Par 63,700 -22% 140 17,348,436 9
35 60 Space Station 3-D Imax 63,467 116% 8 75,242,680 319
36 31 Leatherheads Uni 60,015 -33% 138 31,199,215 9
37 75 Edge of Heaven Metropole 55,954 129% 9 192,815 5
38 43 The Bank Job Lions Gate 52,959 2% 130 30,028,592 13
39 33 Reprise Miramax 50,720 -40% 14 253,785 3
40 46 The Children of Huang Shi Sony Classice 45,392 6% 17 111,137 2
41 36 Priceless IDP 45,116 -36% 35 1,358,226 10
42 41 La Piege Americain Alliance 43,298 -41% 40 370,394 4
43 30 National Treasure: Book of Secrets BV 37,104 -60% 64 219,932,519 23
44 40 Redbelt Sony Classics 37,019 -33% 41 2,279,073 5
45 62 Dans une galaxie pres de chez vous 2 TVA 36,758 22% 24 1,714,439 7
46 39 Shine a Light Par Vantage 36,460 -49% 17 5,279,073 9
47 New The Foot Fist Way Par Vantage 36,391 – 4 36,391 1
48 47 The Stone Angel Alliance 36,090 -25% 15 281,500 4
49 64 The Band’s Visit Sony Classics 34,774 26% 42 3,002,385 17
50 53 Deep Sea 3-D WB 34,260 -3% 10 35,397,194 118
51 66 Mama est chez les coiffeurs Equinoxe 34,227 35% 24 503,215 5
52 80 Shutter Fox 34,211 117% 37 25,876,782 11
53 New Bigger, Stronger, Faster Magnolia 31,576 – 6 31,576 1
54 55 Fugitive Pieces Maximum/IDP 31,386 -7% 26 449,048 5
55 45 The Bucket List WB 29,348 -34% 57 93,452,056 23
56 28 The Spiderwick Chronicles Par 28,058 -76% 53 71,656,162 16
57 98 Emma Smith: My Story Candlelight 27,872 99% 13 532,761 6
58 44 Smart People Miramax 27,367 -46% 48 9,496,882 8
59 54 Flawless Magnolia 26,355 -21% 28 1,146,525 10
60 52 Magnificent Desolation Imax 25,752 -37% 7 23,977,530 140
61 70 Surfwise Magnolia 24,447 14% 9 86,172 4
62 63 Fool’s Gold WB 24,408 -14% 46 70,255,449 17
63 67 Never Back Down Summit 24,389 -21% 8 24,848,292 11
64 68 Roving Mars BV 24,367 -3% 10 8,808,315 123
65 48 My Blueberry Nights Weinstein Co. 23,248 -39% 46 766,989 9
66 New Savage Grace IFC 22,311 – 2 22,311 1
67 50 War Inc. First Look 19,970 -43% 2 74,474 2
68 69 In Bruges Focus 19,649 -17% 28 7,670,371 17
69 73 Vantage Point Sony 19,363 -9% 23 73,073,540 15
70 49 Under the Same Moon Weinstein Co. 18,618 -49% 41 12,461,368 11
71 34 Bujjigaadu: Made in Chennai Tollywood 18,334 17 133,998 2
Source: MCN/EDI

Estimates – May 30 – June 1, 2008

Title Distributor Gross (average % change * Theaters Cume
Sex and the City WB 56.1 (17,080) – 3285 56.1
Indian Jones & Kingdom of Crystal S Par 45.8 (10,740) -54% 4264 216.7
The Strangers Uni 20.6 (8,360) – 2466 20.6
Iron Man Par 13.9 (3,810) -32% 3650 276.5
Chronicles of Narnia: Prince Caspian BV 13.1 (3,440) -43% 3801 115.7
What Happens in Vegas Fox 6.9 (2,230) -25% 3086 66.1
Baby Mama Uni 2.2 (1,240) -34% 1784 56.1
Speed Racer WB 2.1 (1,030) -46% 2070 40.6
Made of Honor Sony 2.0 (1,030) -41% 1905 42.9
Forgetting Sarah Marshall Uni 1.0 (1,330) -42% 768 60.5
The Visitor Overture .58 (2,150) -20% 270 5.4
Harold & Kumar Escape Guantanam WB .52 (1,100) -44% 474 37
Horton Hears a Who Fox .39 (900) -18% 433 152.6
The Fall Roadside Attract .31 (3,300) 463% 94 .61
Then She Found Me Thinkfilm/TVA .26 (1,820) -32% 143 2.5
Forbidden Kingdom Lions Gate .24 (910) -43% 262 51.7
Nim’s Island Fox .23 (670) -22% 350 46.1
Young@Heart Fox Searchlight .21 (1,080) -34% 197 2.8
Son of Rambow Par Vantage .17 (1,200) -31% 139 1.2
Weekend Total ($500,000+ Films) – $164.80 – – –
% Change (Last Year) – 28% – – –
% Change (Last Week) – -1% – – –
Also debuting/expanding
The Foot First Way Par Vantage 34,200 (8,550) – 4 0.03
Bigger, Stronger, Faster Magnolia 29,700 (4,950) – 6 0.03
Savage Grace IFC 22,300 (11,150) – 2 0.02
Stuck Thinkfilm 8,400 (4,200) – 2 0.01
Wonders are Many Actual 2,150 (2,150) – 1 0.01

Domestic Market Share – To May 29, 2008

Distributor (releases) Gross Market Share
Paramount (10) 674.5 19.00%
Fox (12) 567.9 16.00%
Warner Bros. (14) 459.3 12.90%
Sony (14) 377.8 10.60%
Buena Vista (9) 376.2 10.60%
Universal (9) 272.6 7.70%
Lions Gate (8) 202.4 5.70%
Fox Searchlight (5) 149.3 4.20%
Par Vantage (8) 70.8 2.00%
New Line (4) 61.8 1.70%
Focus (4) 59.8 1.70%
Miramax (5) 47.7 1.30%
MGM (9) 46.2 1.30%
Summit (2) 34.8 1.00%
Overture (3) 25.6 0.70%
Other * (146) 126.7 3.60%
– 3553.4 100.00%

Top Domestic Grossers – To May 22, 2008

Title Distributor Gross
Iron Man Par 232,167,416
Horton Hears a Who Fox 151,451,618
Juno Fox Searchlight 115,528,466
10,000 B.C. WB 94,399,183
The Bucket List WB 92,598,405
National Treasure: Book of Secrets BV 86,509,816
21 Sony 81,310,815
Cloverfield Par 80,048,433
Jumper Fox 79,747,602
27 Dresses Fox 76,799,867
Vantage Point Sony 73,022,962
The Spiderwick Chronicles Par 71,485,087
Alvin and the Chipmunks Fox 70,235,929
Fool’s Gold WB 70,182,818
The Chronicles of Narnia: Prince Caspian BV 68,045,010
Hannah Montana/Miley Cyrus Concert in 3- BV 65,281,781
Step Up 2: The Streets BV 58,017,783
I Am Legend WB 57,047,856
Forgetting Sarah Marshall Uni 56,528,970
The Forbidden Kingdom Lions Gate 50,802,603
* does not include 2007 box office
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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