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Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Posted Sunday, May 17th, 2009 - Comments Off on Angels and Demons and … Raindrops on Roses, Whiskers on Kittens
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Angels and Demons and … Raindrops on Roses, Whiskers on Kittens

This weekend’s much anticipated tentpole Angels and Demons bowed to an estimated $47.1 million with Star Trek on its heels with a gross of $41.8 million. The perceived four quadrant appeal of The Da Vinci Codefranchise had rivals opting out of counter programming but it didn’t open quite to expectations and the Star Trek reinvention had greater stamina than had been predicted.

There was a limited release of the romantic comedy Management, which was undistinguished with a $363,000 box office from 212 venues and a slew of exclusive debuts. The more potent sneak peaks included the French import Summer Hours with $48,100 from two screens and the off-beat caper The Brothers Bloom grossing $81,300 in four outings.

Weekend revenues were slightly better than the comparable 2008 weekend with the heavy hitters monopolizing ticket sales.

Pundits had been touting a domestic start of $55 million to $60 million for Angels and Demons that translated to 70% – 75% of the prior Dan Brown outing. And while the new film’s performance is more than healthy (it grossed in excess of $100 million internationally), it remains to be seen whether the new chapter will have comparable commercial legs. Its studio cited exit polls that mapped the audience as 52% female and split evenly between those over/under 30 years. The latter detail certainly indicates it hasn’t tapped a younger crowd and with sequels to The Terminator and Night at the Museum in the wings that challenge could be Herculean.

Meanwhile Star Trek defied the bigger they are, the harder they fall dicta with erosion of less than 50%. More typical of recent commercial viewing trends was the 69% second weekend drop experienced by X-Men Origins: Wolverine.

Weekend ticket sales generated about $138 million for a 10% drop from seven days earlier. It was 5% better than 2008 when the opening of Prince Caspian — the second Narnia chapter — fell short with a $55 million bow andIron Man’s third weekend added $31.8 million to its coffers.

The vacuum cleaner effect was much in evidence with the top three titles in the marketplace sucking up 79% of sales and the rest of the pack feeding on scraps. The situation is (to put a smiley face on it) extending the multiplex life of commercially challenged fare such as The Soloist and Earth. But the lack of breathing room doesn’t provide much solace for the likes of Rudo y Cursi, which saw its second weekend expansion devoid of box office traction. While the summer season tends to include a number of alternative successes, that’s becoming a heightened challenge with so little room at the inn, so to speak.

– Leonard Klady

Weekend Finals – May 15-18, 2009

Title Distrib Weekend % Chg Theate Cume Wks
1 New Angels & Demons Sony 46,204,168 – 3527 46,204,168 1
2 1 Star Trek Par 43,034,547 -43% 3860 147,645,384 2
3 2 X-Men Origins: Wolverine Fox 14,702,425 -44% 3892 150,993,169 3
4 3 Ghosts of Girlfriends Past WB 6,653,384 -35% 3150 39,855,222 3
5 4 Obsessed Sony 4,588,973 -30% 2634 62,610,148 4
6 5 17 Again WB 3,368,189 -20% 2450 58,363,111 5
7 8 Monsters vs. Aliens Par 3,182,085 -2% 1951 190,733,766 8
8 7 The Soloist Par 2,402,801 -39% 2022 27,505,154 4
9 6 Next Day Air Summit 2,244,878 -45% 1139 7,613,221 2
10 9 Earth BV 1,697,956 -36% 1584 29,088,771 4
11 10 Hannah Montana: The Movie BV 1,613,180 -26% 1625 75,985,104 6
12 11 Fighting Uni 1,113,525 -45% 1166 22,203,795 4
13 12 State of Play Uni 958,400 -50% 988 35,568,970 5
14 13 Fast & Furious Uni 793,805 -37% 882 152,952,195 7
15 22 Rudo y Cursi Sony Classics 444,131 110% 219 738,706 2
16 15 I Love You, Man Par 401,520 -21% 340 70,686,399 9
17 New Management IDP 375,916 – 212 375,916 1
18 17 Knowing Summit 337,008 11% 421 78,836,466 9
19 20 Under the Sea 3D WB 277,064 27% 40 7,763,851 14
20 16 Taken Fox 239,966 -46% 250 144,540,399 16
21 21 Paul Blart: Mall Cop Sony 236,184 4% 240 146,081,053 18
22 19 Is Anybody There? Story Island 222,540 -22% 165 1,232,211 5
23 18 Sunshine Cleaning Overture 196,569 -32% 259 11,215,844 10
24 23 The Haunting in Connecticut Lions Gate 150,452 -20% 227 55,539,968 8
25 29 Race to Witch Mountain BV 149,586 18% 197 64,977,532 10
26 31 Munde U.K. De Tip Top 145,045 16% 12 324,683 2
27 77 Medea Goes to Jail Lions Gate 119,289 811% 154 90,707,704 13
28 28 Gran Torino WB 115,094 -10% 218 147,769,920 23
29 38 Every Little Step Sony Classics 105,933 30% 49 477,837 5
30 35 Tyson Sony Classics 100,259 8% 56 489,049 4
31 30 Sin Nombre Focus 99,339 -21% 79 2,125,271 9
32 26 Kick GTC 94,096 -35% 24 265,586 2
33 New The Brothers Bloom Summit 90,400 – 4 90,400 1
34 27 Adventureland Miramax 83,581 -36% 144 15,927,094 7
35 34 Duplicity Uni 75,185 -29% 155 40,474,810 9
36 54 Anvil! The Story of Anvil Abramarama/F 69,238 103% 28 398,430 6
37 32 Watchman WB 64,990 -42% 163 107,453,620 11
38 37 Hotel for Dogs Par 64,656 -24% 128 72,953,974 18
39 36 Valentino: The Last Emperor Truly Indie 64,375 -30% 33 949,925 9
40 40 The Last House on the Left Uni 62,744 -16% 120 32,814,959 10
41 25 12 Rounds Fox 61,920 -59% 64 12,082,746 8
42 33 Crank: High Voltage Lions Gate 58,401 -47% 112 13,742,650 5
43 41 Sugar Sony Classics 51,012 -31% 40 748,844 7
44 New Summer Hours IFC 49,484 – 2 49,484 1
45 51 Goodbye Solo Roadside Attract 49,439 21% 26 422,863 8
46 42 Little Ashes Regent 46,410 -37% 15 151,390 2
47 48 The Limits of Control Focus 46,046 1% 21 195,920 3
48 39 Dragonball Evolution Fox 37,373 -52% 73 9,142,557 6
49 24 Battle for Terra Roadside Attract 36,488 -79% 65 1,601,182 3
50 47 Lemon Tree IFC 36,148 -21% 18 193,745 5
51 52 Adoration Sony Classics/E1 35,377 -10% 16 93,518 2
52 45 He’s Just Not That Into You WB 34,633 -33% 63 93,894,308 15
53 53 Coraline Focus 33,277 -9% 67 75,113,789 15
54 46 Confessions of a Shopaholic BV 30,472 -40% 63 44,239,688 14
55 44 Observe and Report WB 30,450 -50% 56 23,434,987 6
56 50 Paris 36 Sony Classics 28,618 -37% 39 495,634 7
57 55 Outrage Magnolia 26,610 -18% 7 75,433 2
58 63 Magnificent Desolation Imax 25,699 6% 6 28,688,041 191
59 49 Lymelife Screen Media 23,136 -49% 25 323,321 6
60 64 Dolphins and Whales 3D 3D Entertainmen 22,962 1% 7 6,068,723 66
61 43 The Merry Gentlemen IDP 22,208 -66% 33 213,676 3
62 59 Gomorrah IFC/E1 21,709 -14% 36 1,769,794 14
63 56 Two Lovers Magnolia 21,408 -34% 23 3,091,268 14
64 65 Il Divo Music Box 20,340 -6% 6 116,852 4
65 89 Sea Monsters: A Prehistoric Adven NatGeo 20,120 51% 9 21,452,528 85
66 60 Space Station 3D Imax 19,087 -23% 5 78,688,815 370
67 New Not Forgotten Anchor Bay 18,468 – 4 33,576 1
68 57 Fly Me to the Moon Summit 18,260 -43% 6 13,752,637 40
Source: MCN/EDI

Estimates – May 15-17, 2009

Title Distributor Gross (avera % change Theaters Cume
Angels and Demons Sony 47.1 (13,360) – 3527 47.1
Star Trek Par 41.8 (10,840) -47% 3860 146.4
X-Men Origins: Wolverine Fox 14.3 (3,680) -46% 3892 150.6
Ghosts of Girlfriends Past WB 6.7 (2,120) -35% 3150 39.9
Obsessed Sony 4.6 (1,740) -30% 2634 62.6
17 Again WB 3.3 (1,330) -23% 2450 58.3
Monsters vs. Aliens Par 2.9 (1,510) -10% 1931 190.5
The Soloist Par 2.4 (1,180) -40% 2020 27.5
Next Day Air Summit 2.2 (1,950) -46% 1139 7.6
Earth BV 1.6 (1,030) -39% 1584 29
Hannah Montana: The Movie BV 1.6 (960) -29% 1625 75.9
Fighting Uni 1.0 (880) -49% 1163 22.1
State of Play Uni .92 (930) -52% 985 35.5
Fast & Furious Uni .68 (770) -46% 881 152.8
Rudo y Cursi Sony Classics .39 (1,760) 86% 222 0.7
Management IDP .36 (1,710) – 212 0.36
I Love You Man Par .36 (1,060) -29% 340 70.6
Under the Sea 3D WB .30 (7,550) 31% 40 7.8
Knowing Summit .28 (660) -8% 421 78.8
Paul Blart: Mall Cop Sony .24 (1,030) 5% 231 146.1
Weekend Total ($500,000+ Films) $131.10 – – –
% Change (Last Year) — 5% — — —
% Change (Last Week) — -10% — — —
Also debuting/expanding
The Brothers Bloom Summit 81,300 (20,320) — 4 0.08
Summer Hours IFC 48,100 (24,050) – 2 0.05
Limits of Control Focus 43,400 (2,070) -6% 21 0.19
Little Ashes Regent 37,800 (2,520) -52% 15 0.14
Adoration Sony Class/E1 33,300 (2,220) -15% 15 0.09
Not Forgotten Anchor Bay 17,500 (4,370) — 4 0.02
Jerichow Cinema Guild 7,200 (2,400) — 3 0.01
Big Man Japan Magnolia 6,900 (3,450) — 2 0.01
99 Adlabs 6,400 (640) – 10 0.01
Big Shot-Caller Intl Film Circuit 4,800 (4,800) – 1 0.01

Domestic Market Share – January 1 – May 14, 2009

Distributor (releases) Gross (millio Mrkt Share
Warner Bros. (18) 592.4 16.70%
Paramount (9) 568.9 16.00%
Fox (9) 456.4 12.90%
Sony (10) 370.3 10.40%
Universal (10) 356.9 10.10%
Buena Vista (10) 297.9 8.40%
Lionsgate (7) 235.7 6.60%
Fox Searchlight (5) 185.8 5.20%
Summit (5) 137.8 3.90%
Focus (4) 94.5 2.70%
Paramount Vantage (2) 51.4 1.50%
MGM (3) 42.3 1.20%
Miramax (4) 38.4 1.10%
Weinstein Co. (6) 34.5 1.00%
Overture (3) 26.1 0.70%
Other * (125) 57 1.60%
* none greater than 0.4% 3546.3 100.00%

Top Domestic Grossers – January 1 – May 14, 2009

Title Distributor (releases) Gross (millions)
Monsters vs. Aliens Par 187,551,681
Fast & Furious Uni 152,158,390
Paul Blart: Mall Cop Sony 145,847,035
Taken Fox 144,300,433
Gran Torino * WB 141,773,733
X-Men Origins: Wolverine Fox 136,290,744
Slumdog Millionaire * Fox Searchlight 119,069,790
Watchmen WB 107,388,630
Star Trek Par 104,610,837
He’s Just Not That Into You WB 93,859,675
Madea Goes to Jail Lionsgate 90,588,415
Knowing Summit 78,499,458
Coraline Focus 75,080,512
Curious Case of Benjamin Button * Par 74,888,490
Hannah Montana: The Movie BV 74,371,924
Hotel for Dogs Par 72,889,318
Marley and Me * Fox 70,709,680
I Love You, Man Par 70,284,879
Friday the 13th WB 65,002,019
Race to Witch Mountain BV 64,827,946
* does not include 2008 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