MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Oy Chihuahua!

Nick and Norah’s Infinite Playlist displayed some promise with an $11.9 million debut that ranked third overall and Bill Maher’s holy screed Religulous was resolute with $3.5 million in limited wide release. However, there weren’t sufficient laughs in the $3.6 million gross of the political satire An American Carol, which marked the first wide opener for Vivendi, and few will learn the secret of How to Lose Friends & Alienate People based on its $1.4 million start. Flash of Geniusfailed the IQ test with $2.3 million and Blindness proved short-sighted at $2.1 million.

Niche and regional fare was generally flat with the distinct exception of Rachel Getting Married, which generated near capacity crowds of $242,000 at nine venues. However, a pair of starters on the Bollywood circuit, Kidnap and Drona, had softish, virtually identical bows of roughly $120,000 from respective exposures in 60 and 90 theaters. Giggles, not roars, greeted the doc Allah Made Me Funny with box office of $36,200 at 14 stands and American indie The Business of Being Robbed had a sturdy $8,750 bow in a single Manhattan venue.

Still, the onslaught of fresh movies was sufficient to overcome individual strength, and box office rose 14% from last weekend. It experienced an even sharper upturn of 37% from 2007 when the second weekend of The Game Plan led from scrimmage with $16.6 million and the debut of The Heartbreak Kid grossed $14 million.

The Disney pedigree and a paucity of family-targeted fare had industry pundits predicting Chihuahua opening around $30 million and it pretty much played to expectations. Even better was the fact that exit polls generated a potent satisfaction level that holds out promise for sustained and extended multiplex play that’s eluded most of the company’s non-traditional animated fare.

Exit response was also strong for Nick and Norah’s Infinite Playlist, particularly among avid movie goers that demographically constitute its core appeal. Reviews were generally upbeat and the smart, romantic yarn shows signs of crossover appeal on the order (but not ultimate potency) of Superbad or Knocked Up.

Advanced ticket sales per MovieTickets.com also showed Chihuahua and Nick and Norah as front runners with upcomingHigh School Musical 3 wedged in between. No other title in the pack scored higher than 6% and their grosses reflected the dilemma of being a second or third choice in a crowded marketplace.

Most curious among the freshmen releases was the decision to open broadly on Blindness, which emerged from Toronto on a positive note. Its specialized nature suggested TLC handling and the against-the-grain option clearly didn’t work out. Less distinctly specialized fare Appaloosa and The Duchess have mined the platform strategy in recent weeks with both the western by Ed Harris and the period drama with Keira Knightly expanding effectively in their current third weekend in the marketplace. Going out fast also has ill-served the black comic Choke that’s experiencing a fast burn.

In the current Darwinian realm of movie performance the less than 50% sophomore sessions for Eagle Eye, Nights in Rodanthe and Fireproof were all positive notes and significant contributors to the viewing upturn that should at least continue with next weekend’s launch of the DiCaprio/Crowe Body of Lies.

– Leonard Klady


Weekend Finals – October 3-5, 2008

Title Distrib Weekend % Change Theaters Cume Wks
1 New Beverly Hills Chihuahua BV 29,300,465 3215 29,300,465 1
2 1 Eagle Eye Par 17,709,817 -39% 3516 54,614,521 2
3 New Nick and Nora’s Infinite Playlist Sony 11,311,751 2421 11,311,751 1
4 2 Nights in Rodanthe WB 7,368,259 -45% 2702 25,088,183 2
5 39 Appaloosa WB 5,050,310 3346% 1045 5,605,167 3
6 3 Lakeview Terrace Sony 4,561,227 -34% 2574 32,201,255 3
7 5 Burn After Reading Focus 4,120,129 -33% 2397 51,678,103 4
8 4 Fireproof IDP 3,987,509 -42% 852 12,410,216 2
9 New An American Carol Vivendi 3,656,000 1639 3,656,000 1
10 New Religulous Lions Gate 3,409,643 502 3,428,633 1
11 New Flash of Genius Uni 2,251,075 1098 2,251,075 1
12 New Blindness Miramax 1,950,260 1690 1,950,260 1
13 6 Igor MGM 1,739,078 -68% 2332 17,073,170 3
14 9 Miracle at St. Anna BV 1,736,302 -50% 1185 6,329,692 2
15 8 Righteous Kill Overture 1,609,959 -57% 1789 37,696,040 4
16 10 The Family That Preys Lions Gate 1,589,086 -49% 933 35,190,864 4
17 7 My Best Friend’s Girl Lions Gate 1,563,164 -60% 1702 17,610,847 3
18 11 Ghost Town Par 1,469,919 -50% 1456 11,526,769 3
19 New How to Lose Friends & Alienate Peopl MGM 1,430,294 1750 1,430,294 1
20 19 The Duchess Par Vantage 893,990 59% 127 1,950,786 3
21 13 The Dark Knight WB 828,213 -52% 663 525,831,387 12
22 12 The Women Picturehouse 745,269 -72% 1139 25,936,550 4
23 14 Choke Fox Searchlight 514,223 -61% 432 2,322,557 2
24 17 Vicky Christina Barcelona MGM 406,256 -39% 221 21,060,253 8
25 15 The House Bunny Sony 353,149 -72% 695 48,027,409 7
26 16 Tropic Thunder Par 326,593 -72% 485 109,472,162 8
27 New Rachel Getting Married Sony Classics 293,369 9 293,369 1
28 18 Mamma Mia! Uni 286,515 -50% 382 142,725,960 12
29 24 Wall-E BV 210,231 -14% 226 221,127,808 15
30 New Drona Eros 199,329 90 237,647 1
31 20 Journey to the Center of the Earth WB 178,357 -66% 210 100,101,513 13
32 48 Step Brothers Sony 165,926 85% 243 100,815,781 11
33 22 Death Race Uni 160,945 -61% 266 35,939,585 7
34 27 Get Smart WB 154,822 -35% 265 130,047,888 16
35 28 The Mummy: Tomb of Dragon Emperor Uni 150,296 -35% 276 102,721,186 10
36 31 Kung Fu Panda Par 143,801 -30% 250 215,395,021 18
37 New Kidnap Studio 18 138,000 60 138,000 1
38 21 Fly Me to the Moon Summit 132,780 -74% 178 11,907,364 8
39 New Chintakayala Ravi Ficus 123,517 26 123,517 1
40 25 Mirrors Fox 121,664 -50% 203 30,415,298 8
41 35 Hancock Sony 115,368 -37% 198 229,148,347 14
42 29 Babylon A.D. Fox 102,555 -55% 155 22,333,252 6
43 37 Space Chimps Fox 101,571 -39% 232 29,942,542 12
44 23 Traitor Overture 100,218 -61% 188 23,147,191 6
45 38 Tell No One Music Box 97,624 -34% 75 5,639,027 14
46 76 Swing Vote BV 89,903 387% 176 16,229,781 10
47 41 Elegy IDP 74,252 -39% 70 3,383,637 9
48 40 Indiana Jones & Kingdom of Crystal Sk Par 72,250 -49% 128 316,957,122 20
49 36 Pineapple Express Sony 72,061 -59% 96 87,483,552 9
50 46 Man on Wire Magnolia 69,888 -29% 65 2,509,822 11
51 30 Forever Strong Crane 68,283 -69% 66 385,926 2
52 33 Star Wars: The Clone Wars WB 67,153 -64% 166 34,853,585 8
53 26 Disaster Movie Lions Gate 62,100 -74% 140 14,069,282 6
54 43 C’est pas moi, je le jure! Seville 61,264 -43% 36 213,875 2
55 47 Frozen River Sony Classics 59,336 -36% 57 1,996,900 10
56 49 Transsiberian First Look 56,098 -36% 58 2,026,565 12
57 32 Bangkok Dangerous Lions Gate 45,480 -77% 103 15,195,406 5
58 New Paris Equinoxe 45,458 11 45,458 1
59 56 Deep Sea 3-D WB 44,028 -17% 10 36,473,293 136
60 54 Hellboy II: The Golden Army Uni 38,969 -32% 70 76,013,667 13
61 New Allah Made Me Funny Truly Indie 38,867 14 38,867 1
62 50 Sea Monsters: A Prehistoric Adventure nWave 38,457 -49% 25 19,144,336 53
63 44 The Longshots MGM 37,598 -64% 102 11,299,040 7
64 53 Hashar Eros 37,105 -36% 8 115,392 2
65 75 The Children of Huang Shi Sony Classics 35,987 90% 40 1,013,776 20
66 65 A Secret Strand 33,433 2% 8 257,918 5
67 RE For the First Time ABS 31,061 2 232,388 6
68 57 Battle in Seattle Vitagraph 28,542 -47% 40 167,866 3
69 58 Bottle Shock FreeStyle 26,143 -47% 30 3,986,011 9
70 51 Sisterhood of the Traveling Pants 2 WB 25,086 -58% 80 43,905,471 9
71 62 Dolphins and Whales 3-D 3D Entertainment 24,639 -27% 7 4,785,334 34
72 42 Towelhead WB 24,393 -79% 38 351,094 4
73 63 Trouble the Water Zeitgeist 23,917 -28% 13 323,457 7
74 77 A Girl Cut in Two IFC 22,131 29% 13 279,394 8
75 55 Wanted Uni 21,798 -60% 47 134,503,662 15
76 52 Iron Man Par 20,015 -66% 74 318,333,214 23
77 68 Il y a longtemps que je t’aime Metropole 19,518 -23% 11 167,107 4
78 45 Magnificent Desolation Imax 18,734 -82% 4 26,014,813 159
79 59 I Served the King of England Sony Classics 17,683 -56% 17 446,355 6
Source: MCN/EDI

Estimates – October 3-5, 2008

Title Distributor Gross (average) % change * Theaters Cume

Beverly Hills Chihuahua

BV 28.9 (8,980) 3215 28.9

Eagle Eye

Par 17.8 (5,050) -39% 3516 54.7

Nick and Nora’s Infinite Playlist

Sony 11.9 (4,930) 2421 11.9

Nights at Rodanthe

WB 7.4 (2,740) -45% 2702 25.1

Appaloosa

WB 5.0 (4,810) 3322% 1045 5.6

Lakeview Terrace

Sony 4.5 (1,740) -36% 2574 32.1

Burn After Reading

Focus 4.1 (1,720) -34% 2397 51.7

Fireproof

IDP 3.9 (4,600) -42% 852 12.3

An American Carol

Vivendi 3.6 (2,210) 1639 3.6

Religulous

Lions Gate 3.5 (6,990) 502 3.5

Flash of Genius

Uni 2.3 (2,090) 1098 2.3

Blindness

Miramax 2.1 (1,250) 1690 2.1

The Miracle of St. Anna

BV 1.7 (1,440) -50% 1185 6.3

Igor

MGM 1.7 (710) -69% 2332 17

The Family That Preys

Lions Gate 1.6 (1,720) -49% 933 35.2

Righteous Kill

Overture 1.6 (900) -57% 1789 37.7

Ghost Town

Par 1.5 (1,030) -48% 1456 11.6

My Best Friend’s Girl

Lions Gate 1.5 (900) -60% 1702 17.6

How to Lose Friends & Alienate People

MGM 1.4 (780) 1750 1.4

The Duchess

Par Vantage .88 (6,930) 56% 127 1.9

The Women

Picturehouse .81 (710) -69% 1139 26

The Dark Knight

WB .79 (1,190) -53% 663 525.8

Choke

Fox Searchlight .52 (1,200) -61% 432 2.3
Weekend Total ($500,000+ Films) $109
% Change (Last Year) 37%
% Change (Last Week) 14%
Also debuting/expanding
Vicky Christina Barcelona MGM .41 (1,860) -38% 221 21.1
Rachel Getting Married Sony Classics .24 (26,890) 9 0.24
Drona Eros .12 (1,370) 90 0.12
Kidnap Studio 18 .12 (1,940) 60 0.12
Allah Made Me Funny Truly Indie 36,200 (2,590) 14 0.04
Paris Equinoxe 34,600 (1,080) 32 0.03

The Pleasure of Being Robbed

IFC 8,750 (8,750) 1 0.01

Domestic Market Share – To October 5, 2008

Distributor (releases) Gross Mrkt Share
Warner Bros. (23) 1472.8 20.00%
Paramount (15) 1280.4 17.40%
Sony (20) 978.4 13.30%
Universal (16) 957.8 13.00%
Fox (19) 779.9 10.60%
Buena Vista (12) 659.1 8.9%
Lions Gate (14) 283.4 3.80%
Fox Searchlight (6) 152.8 2.10%
Focus (6) 112.4 1.50%
MGM (13) 98.4 1.30%
Overture (6) 91.2 1.20%
Paramount Vantage (11) 73.9 1.00%
New Line (4) 61.8 0.80%
Picturehouse (7) 61.6 0.80%
Miramax (6) 54.6 0.70%
Summit (3) 46.6 0.60%
Other * (249) 208.9 2.70%
* none greater than 0.4% 7374 100.00%

Top Limited Releases – To October 5, 2008

Title Distributor Gross
The Dark Knight WB 525,003174
Iron Man Par 318,313,199
Indiana Jones and the Kingdom of the Crystal Skull Par 316,884,872
Hancock Sony 229,032,979
Wall-E BV 220,917,577
Kung Fu Panda Par 215,251,220
Horton Hears a Who Fox 154,529,439
Sex and the City WB 152,647,258
Mamma Mia! Uni 142,439,445
The Chronicles of Narnia BV 141,682,713
The Incredible Hulk Uni 134,617,678
Wanted Uni 134,481,864
Get Smart WB 129,893,066
Juno* Fox Searchlight 115,568,583
Tropic Thunder Par 109,145,569
The Mummy: Tomb of the Dragon Emperor Uni 102,570.809
Stepbrothers Sony 100,649,855
You Don’t Mess With the Zohan Sony 100,112,110
Journey to the Center of the Earth WB 99,923,156
10,000 B.C. WB 94,819,450

*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