MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Posted Sunday, March 29th, 2009 - Comments Off on Monster Smash
Be Sociable, Share!

Monster Smash

The debut of Monsters vs. Aliens scared up an estimated $57.3 million to handily take control of weekend movie viewing.The Haunting in Connecticut, a more traditional chiller, also bowed to an impressive $23.2 million and the two top sellers accounted for approximately 55% of the frame’s admissions.

The session also saw a rather flaccid bow for the schematic thriller 12 Rounds of $5.2 million. Regional and limited openers were largely unimpressive including a $330,000 gross for the inspirational documentary The Cross at 221 venues and an 87,500 box office for the children’s adventure Grande ourse in Quebec. Best of the exclusive newcomers were the American indie Goodbye Solo with $28,100 from three screens and the French import Shall We Kiss? that generated $27,600 at four smooches.

Overall box office shot up substantially; reversing the downturns of recent weeks.

The first outing since DreamWorks Animation’s announcement of 100% 3-D production, Monsters vs. Aliens continued to fuel the enthusiasm for stereoscopic cinema. The picture had 1,550 3-D playdates (roughly 90% of available venues) that represented 38% of engagements and those playdates accounted for 57% of its weekend gross. The family appeal of the movie assisted the non-3-D showings which tend to have an even higher percentage of box office for live-action stereo films.

The Haunting in Connecticut exceeded expectations of a high teen result. It also bowed day-and-date in the UK where it grossed $1.6 to rank third. Reviews were tepid but it emerged as the genre choice date film for the session.

Business approached $145 million for an eye-popping 35% b.o. boost from the immediate prior weekend. It was an even sturdier 39% improved from 2008 when the launch of 21 led with a $24.1 million gross and the third weekend of Horton Hears a Who added $17.7 million to its larder.

Last week’s leader Knowing as well as fellow freshmen I Love You, Man and Duplicity, all held reasonable well. The Nic Cage vehicle also saw some brisk international bows that included best in show rankings in the UK ($3.4 million) and Australia ($1.4 million).

Sunshine Cleaning added 103 theaters and maintained strong per screens while Sin Nombre’s second weekend ebbed modestly in six consistent locations. The award season holdovers have largely evaporated along with first quarter hits. So, there was a very lean 14 titles in the marketplace that grossed in excess of $500,000 and those ranks aren’t likely to swell before the onslaught of summer blockbusters in May.

– Leonard Klady

Weekend Finals

Title Distrib Weekend % Change Theaters Cume Wks
1 New Monsters vs. Aliens Par 59,321,095 – 4104 59,321,095 1
2 New The Haunting in Connecticut Lions Gate 23,004,765 – 2732 23,004,765 1
3 1 Knowing Summit 14,702,187 -40% 3337 46,217,199 2
4 2 I Love You, Man Par 12,671,533 -29% 2717 37,078,306 2
5 3 Duplicity Uni 7,672,485 -45% 2579 25,754,865 2
6 4 Race to Witch Mountain BV 5,801,775 -55% 3268 53,459,752 3
7 New 12 Rounds Fox 5,329,240 – 2331 5,329,240 1
8 5 Watchmen WB 2,732,439 -60% 2010 103,273,462 4
9 7 Taken Fox 2,695,342 -34% 1961 137,068,886 9
10 6 The Last House on the Left Uni 2,644,295 -54% 2251 28,492,330 3
11 17 Sunshine Cleaning Overture 1,274,007 90% 167 2,477,704 3
12 8 Slumdog Millionaire Fox Searchlight 1,164,903 -56% 840 139,341,484 20
13 9 Medea Goes to Jail Lions Gate 1,133,085 -56% 1128 89,067,436 6
14 11 Paul Blart: Mall Cop Sony 840,596 -54% 1082 142,503,850 11
15 12 He’s Just Not That Into You WB 473,269 -62% 506 92,510,829 8
16 15 Gran Torino WB 438,481 -41% 478 145,815,056 16
17 20 Hotel for Dogs Par 314,942 -22% 381 71,353,470 11
18 New The Cross Gener8Xion 309,455 – 221 309,455 1
19 19 The Reader Weinstein Co. 308,495 -42% 324 33,484,347 16
20 10 Coraline Focus 305,224 -86% 360 73,929,936 8
21 23 Bedtime Stories BV 255,834 -20% 261 111,317,996 14
22 14 Confessions of a Shopaholic BV 254,390 -66% 358 43,461,723 7
23 39 Curious Case of Benjamin Button Par 208,157 69% 246 127,023,019 14
24 21 Under the Sea 3D WB 206,601 -42% 37 4,304,715 7
25 26 Two Lovers Magnolia 183,444 -11% 137 2,236,389 7
26 25 Entre les murs (The Class) Sony Classics 181,697 -12% 123 3,064,397 11
27 16 Fired Up Sony 178,979 -74% 377 17,117,989 6
28 24 Dede a travers les brumes TVA 163,240 -33% 71 1,026,185 3
29 42 Gomorrah IFC/E1 111,955 -1% 52 1,141,598 7
30 32 Bolt BV 110,321 -34% 178 115,382,543 19
31 40 Bride Wars Fox 102,085 -16% 143 58,470,843 12
32 35 Marley and Me Fox 98,123 -29% 129 142,992,475 14
33 31 The Wrestler Fox Searchlight 93,910 -44% 143 25,964,913 15
34 41 The Great Buck Howard Magnolia 93,645 -19% 56 256,021 2
35 27 Push Summit 92,307 -53% 123 31,156,387 8
36 New Grande ourse: La Cle des possibles Alliance 86,978 – 44 86,978 1
37 38 Inkheart WB 82,732 -35% 152 17,203,561 10
38 33 Doubt Miramax 82,339 -45% 115 33,337,239 16
39 30 The Uninvited Par 74,688 -58% 170 28,573,173 9
40 28 The Pink Panther 2 Sony 71,186 -63% 125 36,040,719 8
41 47 Sin Nombre Focus 70,167 -14% 6 185,874 2
42 43 Last Chance Harvey Overture 64,408 -42% 135 14,716,436 14
43 45 One Week Mongrel 63,964 -38% 37 908,968 4
44 44 Revolutionary Road Par Vantage 63,113 -43% 142 22,877,808 14
45 18 Miss March Fox Searchlight 60,837 -91% 169 4,485,877 3
46 46 Underworld: Rise of the Lycans Sony 59,002 -40% 118 46,708,665 10
47 New Aa Dekham Zara Eros 54,060 – 32 54,060 1
48 51 Che IFC/E1 52,509 -22% 41 1,707,880 16
49 29 The International Sony 52,208 -72% 86 25,582,401 7
50 36 Street Fighter: Legend of Chun-Li Fox 51,808 -63% 81 8,556,885 5
51 50 Defiance Par Vantage 48,982 -27% 80 28,471,671 13
52 63 Dolphins and Whales 3D 3D Entertainment 43,699 34% 6 5,781,986 59
53 52 Frost/Nixon Uni 43,545 -30% 74 18,665,576 17
54 37 Twilight Summit 42,434 -68% 150 191,449,475 19
55 59 Everlasting Moments IFC 42,197 18% 23 228,766 4
56 34 Friday the 13th WB 39,994 -73% 94 64,782,751 7
57 83 Tokyo Sonata Regent 38,735 162% 10 103,045 3
58 New Goodbye Solo Roadside Attract. 38,042 – 3 38,042 1
59 62 Crossing Over Weinstein Co. 36,095 3% 42 402,469 5
60 54 Fly Me to the Moon Summit 36,034 -23% 9 13,365,080 33
61 66 Sea Monsters: A Prehistoric Adventure NatGeo 35,439 16% 15 21,154,606 78
62 48 Milk Focus 35,394 -55% 54 31,789,774 18
63 49 New in Town Lions Gate 33,720 -53% 71 16,768,003 9
64 60 Magnificent Desolation Imax 32,554 -9% 4 27,974,542 184
65 79 Brothers at War IDP 31,784 205% 15 84,814 3
66 72 Valentino: The Last Emperor Truly Indie 31,106 43% 2 89,527 2
67 57 Wendy and Lucy Oscilloscope 30,328 -21% 32 745,566 16
68 58 Space Station 3D Imax 30,260 -19% 8 78,213,144 363
69 55 Yes Man WB 30,265 -31% 59 97,680,195 15
70 53 My Bloody Valentine 3D Lions Gate 29,146 -49% 86 51,690,508 10
71 New Shall We Kiss? Music Box 28,680 – 4 28,680 1
72 74 Deep Sea 3D WB 21,849 8% 3 37,678,529 161
73 89 You Changed My Life ABS 20,748 74% 3 37,446 2
74 69 Waltz with Bashir Sony Class/E1 18,420 -25% 46 2,220,157 14
75 61 Tokyo! Liberation 18,409 -49% 8 142,743 4
76 64 Jag Jeondayan de Mele H & H 17,111 -47% 8 583,550 6
Source: EDI/MCN

Estimates – March 27-29, 2009

Title Distributor Gross (average % change Theaters Cume
Monsters vs. Aliens Par 57.3 (13,960) – 4104 57.3
The Haunting in Connecticut Lions Gate 23.2 (8,510) – 2732 23.2
Knowing Summit 14.4 (4,300) -42% 3337 45.9
I Love You Man Par 12.3 (4,540) -31% 2717 36.7
Duplicity Uni 7.5 (2,900) -47% 2579 25.6
Race to Witch Mountain BV 5.5 (1,670) -57% 3268 53.1
12 Rounds Fox 5.2 (2,220) – 2331 5.2
Watchmen WB 2.7 (1,320) -61% 2010 103.2
Taken Fox 2.6 (1,310) -37% 1961 136.9
Last House on the Left Uni 2.5 (1,120) -56% 2251 28.4
Sunshine Cleaning Overture 1.3 (7,664) 90% 167 2.5
Slumdog Millionaire Fox Searchlight 1.1 (1,330) -58% 840 139.3
Medea Goes to Jail Lions Gate 1.0 (910) -60% 1128 89
Paul Bart: Mall Cop Sony .8 (720) -42% 1082 142.4
He’s Just Not That Into You WB .46 (910) -63% 506 92.5
Gran Torino WB .44 (920) -41% 478 145.8
The Cross Gener8Xion .33 (1,510) – 221 0.33
Coraline Focus .31 (870) -85% 360 73.9
Weekend Total ($500,000+ Films) – $137.40 – – –
% Change (Last Year) – 39% – – –
% Change (Last Week) – 35% – – –
Also debuting/expanding
Grande ourse: la cle des possibles Alliance 87,500 (1,990) – 44 0.09
Sin Nombre Focus 71,200 (11,870) -12% 6 0.19
AA Dekhen Zara Eros 47,000 (1,470) – 32 0.05
Goodbye Solo Roadside At. 28,100 (9,370) – 3 0.03
Shall We Kiss? Music Box 27,600 (6,900) – 4 0.03
Before Tomorrow Alliance 9,800 (2,450) – 4 0.01
American Swing Magnolia 9,700 (9,700) – 1 0.01
The Education of Charlie Banks Anchor Bay 7,700 (2,570) – 2 0.01
Spinning Into Butter Screen Media 5,400 (1,350) – 4 0.01

Domestic Market Share – January 1 – March 26, 2009

Distributor (releases) Gross (millions) Mrkt Share
Warner Bros. (15) 465.9 20.40%
Sony (9) 306.7 13.50%
Fox (6) 288.2 12.60%
Paramount (6) 202.9 8.90%
Fox Searchlight (5) 182.2 8.00%
Buena Vista (8) 176.6 7.70%
Lions Gate (6) 163.8 7.20%
Universal (7) 119.6 5.20%
Focus (2) 90.9 4.00%
Summit (4) 84.2 3.70%
Paramount Vantage (2) 50.9 2.20%
MGM (3) 42.3 1.90%
Weinstein Co. (6) 33.3 1.50%
Miramax (3) 22.3 1.00%
Overture (3) 16.1 0.70%
Other * (71) 34.6 1.50%
* none greater than 0.4% 2280.5 100.00%
Be Sociable, Share!

Comments Off on Monster Smash

Comments are closed.

Klady

Most Recent Comments Archives

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