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Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Posted Sunday, March 15th, 2009 - Comments Off on Witch Way to the Front
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Witch Way to the Front

Race to Witch Mountain ambled to the top of weekend ticket sales with an estimated $24.8 million. The frame’s other national debuts also showed predictable potency. The horror remake Last House on the Left ranked third with a $14.6 million gross and the twenty-something comedy Miss March mustered $2.3 million.

Additionally there were a slew of limited releases entering the fray; most noticeably a sturdy $211,000 bow for the Sundance-preemed Sunshine Cleaning at four venues. Also upbeat was the two-screen, $25,200 box office for Tokyo Sonata and a $36,300 tally for the doc Brothers at War from seven screens.

Coupled with the sizeable sophomore drop of Watchmen it added up to overall average returns and that, unfortunately, translated into the first comparable box office drop in three months. The industry has been justly touting the vigor of movie going while quietly fretting over perceived commercial weakness of the second quarter release schedule. Barring the unexpected, mavens are hunkering down for trying times through May.

The sequel to Disney’s 1975 programmer, Race to Witch Mountain, turned out surprisingly better artistically than anyone could have predicted. While that didn’t appreciably alter its opening weekend strength, it could pay off in handsome dividends in subsequent weeks even with the release of Monsters vs. Aliens in the offing. Witch Mountain now has the potential to cross over from family viewing to appeal to the young adult crowd. Exit polling indicated 45% of its initial audience was younger than 17 years of age.

Last House on the Left — also a remake of a bygone cult horror favorite — hit its audience target but doesn’t appear to have enduring stamina. Miss March also looks like a short-timer and the lineup for the next four weeks seems to populated with largely fungible fare.

Weekend business clocked in just shy of $100 million in sales that translated into a 15% decline from seven days earlier. It was a slightly steeper 18% erosion from 2008 when the opening of Horton Hears a Who grossed $45 million.

The 68% decline of Watchmen domestically wasn’t quite as dire as some pundits predicted but it’s hardly a cause for rejoicing. Considering the opportunity potential, a break-even scenario and few future exploitable components, this is money ill spent that sucks up the unanticipated rewards of Gran Torino and He’s Just Not That Into You.

Sunshine Cleaning’s opening salvo bodes well for the wry tale of young women in transition and has taken on unexpected resonance since its festival bow 13 months back. Plans for a ramped up expansion are already being considered but the fragility of the yarn may require considerable nurturing.

– Leonard Klady

Weekend Finals: March 13-15, 2009

Title Distrib Weekend % Change Theaters Cume Wks
1 New Race to Witch Mountain BV 24,402,214 – 3187 24,402,214 1
2 1 Watchmen WB 17,817,301 -68% 3611 55,214,334 2
3 New The Last House on the Left Uni 14,118,685 – 2401 14,118,685 1
4 3 Taken Fox 6,568,651 -10% 2858 126,752,054 7
5 2 Medea Goes to Jail Lions Gate 5,108,532 -40% 2203 83,187,594 4
6 4 Slumdog Millionaire Fox Searchlight 5,002,777 -26% 2578 132,602,820 18
7 5 Paul Blart: Mall Cop Sony 3,119,151 -25% 2281 137,785,983 9
8 6 He’s Just Not That Into You WB 2,939,484 -27% 1890 89,038,259 6
9 7 Coraline Focus 2,718,231 -16% 1768 69,240,852 6
10 New Miss March Fox Searchlight 2,409,156 – 1742 2,409,156 1
11 8 Confessions of a Shopaholic BV 1,941,638 -37% 1591 41,295,158 5
12 10 Fired Up Sony 1,645,380 -34% 1518 15,430,103 4
13 11 Gran Torino WB 1,505,408 -26% 1102 143,829,449 14
14 12 The Reader Weinstein Co. 1,309,669 -32% 1002 31,887,248 14
15 9 Jonas Brothers: 3D Concert Experience BV 940,270 -67% 968 18,241,586 3
16 15 The International Sony 716,479 -46% 549 24,975,097 5
17 14 Friday the 13th WB 595,165 -59% 780 64,361,909 5
18 18 Hotel for Dogs Par 577,927 -46% 804 70,040,394 9
19 17 Push Summit 539,468 -53% 615 30,564,529 6
20 16 The Pink Panther 2 Sony 536,634 -58% 627 35,421,960 6
21 19 The Wrestler Fox Searchlight 449,060 -40% 456 25,450,588 13
22 13 Street Fighter: Legend of Chun-Li Fox 430,323 -71% 453 8,158,438 3
23 23 Two Lovers Magnolia 403,154 5% 134 1,632,251 5
24 24 Bedtime Stories BV 384,016 4% 295 110,485,991 12
25 21 The Uninvited Par 352,095 -22% 411 28,133,091 7
26 27 Entre les murs (The Class) Sony Classics 333,337 14% 120 2,456,132 9
27 New Dede a travers les brumes TVA 313,188 – 72 313,188 1
28 31 Under the Sea 3D WB 301,140 24% 50 3,219,072 5
29 26 Doubt Miramax 289,388 -15% 275 32,888,223 14
30 22 Curious Case of Benjamin Button Par 270,835 -38% 281 126,532,358 12
31 25 Twilight Summit 259,817 -26% 338 191,098,026 17
32 20 Milk Focus 233,060 -60% 228 31,549,014 16
33 New Sunshine Cleaning Overture 219,190 – 4 219,190 1
34 32 One Week Mongrel 205,414 -9% 64 596,847 2
35 29 Marley and Me Fox 192,222 -25% 222 142,611,757 12
36 30 Inkheart WB 187,856 -25% 289 16,840,355 8
37 28 New in Town Lions Gate 187,336 -31% 239 16,554,406 7
38 36 Underworld: Rise of the Lycans Sony 181,866 -8% 240 46,414,310 8
39 37 Bolt BV 176,552 -8% 204 114,922,555 17
40 34 Revolutionary Road Par Vantage 157,766 -28% 181 22,575,245 12
41 38 Last Chance Harvey Overture 157,426 -7% 203 14,413,492 12
42 35 Defiance Par Vantage 155,864 -26% 202 28,260,750 11
43 39 Bride Wars Fox 149,771 -2% 186 58,134,881 10
44 33 Frost/Nixon Uni 148,245 -34% 182 18,475,446 15
45 41 Gomorrah IFC 141,383 6% 39 776,006 5
46 44 Che IFC/E1 102,664 18% 38 1,500,943 13
47 56 Crossing Over Weinstein Co. 102,331 115% 38 272,175 3
48 40 Yes Man WB 82,141 -43% 102 97,554,197 13
49 42 Valkyrie MGM 74,865 -39% 167 82,989,109 12
50 49 The Unborn Uni 72,118 -3% 93 42,839,594 10
51 54 Wendy and Lucy Oscilloscope 65,628 19% 40 642,267 14
52 58 Everlasting Moments IFC 56,947 41% 13 113,767 2
53 46 Jag Jeondayan de Mele H & H 56,259 -31% 15 504,264 4
54 43 Waltz with Bashir Sony Class/E1 52,317 -40% 82 2,126,007 12
55 55 Fly Me to the Moon Summit 52,068 -2% 8 13,219,226 31
56 45 The Tale of Despereaux Uni 50,924 -39% 118 51,031,214 13
57 53 Je me souviens Atopia 40,343 -35% 18 137,203 2
58 48 Polytechnique Alliance 38,899 -49% 36 1,334,594 6
59 52 Rachel Getting Married Sony Classics 36,329 -43% 55 12,748,504 24
60 New Brothers at War IDP 33,142 – 7 33,142 1
61 70 Deep Sea 3D WB 32,431 31% 4 37,588,119 159
62 66 Sea Monsters: A Prehistoric Adventure NatGeo 30,390 10% 15 21,004,979 76
63 59 Play the Game Slow Hand 30,052 -35% 16 163,372 3
64 New Tokyo Sonata Regent 28,345 – 2 28,345 1
65 New L’Empreinte de l’ange Seville 26,184 – 9 26,184 1
66 74 Tokyo! Liberation 25,701 12% 6 58,011 2
67 64 Stone of Destiny Alliance 25,657 -17% 14 253,904 4
68 50 Le Bonheur de Pierre Alliance 23,727 -66% 37 299,320 3
69 61 Fanboys Weinstein Co. 23,727 -29% 27 585,604 6
70 63 My Bloody Valentine 3D Lions Gate 23,235 -28% 55 51,569,187 8
71 69 Magnificent Desolation Imax 21,019 -20% 5 27,807,536 182
72 68 Madagascar: Escape to Africa Par 20,806 -21% 40 180,142,079 19
73 81 Harvard Beats Yale 29-29 Kino 20,225 59% 9 139,087 17
74 67 Space Station 3D Imax 19,842 -32% 5 77,970,503 361
75 64 Phoebe in Wonderland Thinkfilm 18,535 -45% 10 58,279 2
76 60 Seven Pounds Sony 19,717 -46% 37 70,851,665 13
Source: EDI/MCN

Estimates: March 13 – 15, 2009

Title Distributor Gross (avera % chang Theaters Cume
Race to Witch Mountain BV 24.8 (7,790) – 3187 24.8
Watchmen WB 17.6 (4,880) -68% 3611 85.6
Last House on the Left Uni 14.6 (6,080) – 2401 14.6
Taken Fox 6.6 (2,300) -10% 2858 126.8
Madea Goes to Jail Lions Gate 5.1 (2,320) -40% 2203 83.2
Slumdog Millionaire Fox Searchlight 5.0 (1,920) -27% 2578 132.6
Paul Blart: Mall Cop Sony 3.1 (1,350) -26% 2281 137.8
He’s Just Not That Into You WB 2.8 (1,490) -30% 1890 88.9
Coraline Focus 2.6 (1,460) -20% 1768 69.1
Miss March Fox Searchlight 2.3 (1,340) – 1742 2.3
Confessions of a Shopaholic BV 1.9 (1,210) -38% 1591 41.3
Fired Up Sony 1.7 (1,090) -33% 1518 15.4
Gran Torino WB 1.4 (1,310) -29% 1102 143.8
The Reader Weinstein Co. 1.3 (1,270) -34% 1002 31.9
Jonas Brothers: 3D Concert Experience BV .88 (910) -69% 968 18.2
The International Sony .72 (1,310) -46% 549 25
Friday the 13th WB .61 (780) -58% 780 64.4
Hotel for Dogs Par .56 (700) -48% 804 70
The Pink Panther 2 Sony .53 (840) -59% 627 35.4
Push Summit .50 (810) -56% 615 30.5
Weekend Total ($500,000+ Films) $94.4 – – –
% Change (Last Year) – -18% – – –
% Change (Last Week) – -15% – – –
Also debuting/expanding
The Wrestler Fox Searchlight .44 (960) -41% 456 25.4
Sunshine Cleaning Overture .21 (52,750) – 4 0.21
One Week Mongrel .20 (3,140) -18% 64 0.55
Brothers at War IDP 36,300 (5,180) – 7 0.04
Tokyo Sonata Regent 25,200 (12,600) 2 1 0.03
Pontypool Equinoxe 11,400 (1,900) – 6 0.01
Z (reissue) Rialto 9,400 (9,400) – 1 0.01
Severed Ways Magnolia 6,700 (6,700) – 1 0.01
The Perfect Sleep Cinema Epoch 4,500 (4,500) – 1 0.01
Edge of Love Capitol 3,500 (3,500) – 1 0.01

Domestic Market Share – January 1 – March 12, 2009

Distributor (releases) Gross Market Shar
Warner Bros. (15) 421.4 21.10%
Sony (9) 293.7 14.70%
Fox (6) 272.3 13.60%
Paramount (5) 175.7 8.80%
Fox Searchlight (4) 166.3 8.30%
Lionsgate (6) 153.4 7.70%
Buena Vista (7) 121.6 6.10%
Focus (2) 83.2 4.10%
Universal (5) 75.1 3.80%
Summit (3) 50.9 2.50%
Paramount Vantage (2) 50.2 2.50%
MGM (3) 42.2 2.10%
Weinstein (6) 30.5 1.50%
Miramax (3) 21.7 1.10%
Overture (2) 14.4 0.70%
Other * (56) 27 1.40%
* none greater than 0.35% 1999.6 100.00%
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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