MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Bru-Maybe

Fabulous! Brüno, everyone’s favorite Austrian fashionista, led weekend ticket sales with an estimated $30.2 million. The frame’s other national bow, I Love You, Beth Cooper received considerably less affection with a $5 million opener and in Quebec local hero De Pere en flic had a huge debut of $1.8 million that cracked the domestic top 10.

Among the limited and niche newcomers Humpday displayed greatest potency with a $27,300 tally from two screens. There were also good initial returns for the non-fiction portrait Yoo-Ho, Mrs. Goldberg of $16,700 at two sites; the Japanese import Blood: The Last Vampire with a $98,000 gross from 20 bites; and the musical concert Soul Power, which grossed $22,100 at six venues. However, the Bollywood comedy Short Kutt fizzled with a $52,800 total from 41 locations.

Overall ticket sales dipped modestly from the comparative 2008 session but with Harry Potter and the Half-Blood Princein the wings the expectations for buoyant July business couldn’t be better.

Brü no pretty much hit the target its studio set for the raucous R-rated outré comedy. The presence of star Sacha Baron Cohen in character on the promo circuit proved a genuine stimulus. The film generated a sturdy $1.6 million gross from Thursday midnight shows but Saturday box office experienced a 31% decline from opening day and that’s not a terribly encouraging sign going forward.

The flamboyantly gay Brü no also came out in a number of international territories that included chart toppers in the U.K. and Australia. It was sturdy in Germany and even in Austria locals proved more curious than vilified by his presence. Overall estimates are roughly $25 million overseas and even with sharp drop offs the film should solidify the actor’s grossing power for future consideration.

There didn’t appear to be much enthusiasm from teen comedy I Love You, Beth Cooper’s marketing/distribution team and initial box office proved to be a self-fulfilling result. Though there were no signs of a headstone it still looked a lot like a commercial burial.

Weekend revenues edged toward $145 million for an 11% dip from seven days prior. It was a more modest decline of 4% from 2008 when debuts of Hellboy II: The Golden Army and 3-D Journey to the Center of the Earth ranked first and third with respective box office of $34.5 million and $21 million.

The Quebecois family dramedy De Pere en flic got a jump start on the weekend with a Wednesday launch that generated $500,000 in two days. With weekend additions it’s easily the top Canadian grosser of the year and a genuine shot in the arm for local production.

While the season has yet to provide an alternative breakout hit, a handful of films have managed to hold their own against summer’s behemoths. The niche industry is most closely watching The Hurt Locker that’s been widening at a glacial pace but maintaining solid per screens. The Iraq War-set tale of a bomb unit has received virtually unanimous critical praise and the debate rages whether it has broad based appeal or considering past response to films on the conflict it has a low ceiling. Certainly it’s being handled on the latter basis.

– Leonard Klady


Weekend Finas – July 10-12, 2009

Title Distrib Weekend % Change Theaters Cume Wks
1 New Bruno Uni 30,619,130 2756 30,619,130 1
2 2 Ice Age: Dawn of the Dinosaurs Fox 27,607,497 -34% 4102 119,680,193 2
3 1 Transformers: Revenge of the Fallen Par 24,213,875 -43% 4293 339,221,800 3
4 3 Public Enemies Uni 13,794,240 -45% 3336 66,221,110 2
5 4 The Proposal BV 10,603,884 -17% 3158 113,861,076 4
6 5 The Hangover WB 9,933,238 -12% 3002 222,444,906 6
7 New I Love You, Beth Cooper Fox 4,919,433 1858 4,919,433 1
8 6 Up BV 4,715,746 -28% 2201 273,834,761 7
9 7 My Sister’s Keeper WB 4,294,382 -26% 2444 35,915,782 3
10 8 TheTaking of Pelham 123 Sony 1,543,516 -39% 1116 61,437,955 5
11 10 Night at the Museum 2 Fox 1,452,662 -29% 854 170,485,184 8
12 11 Star Trek Par 1,164,416 -34% 763 251,979,795 10
13 New De Pere en flic Alliance 1,156,984 121 1,659,262 1
14 9 Year One Sony 1,000,581 -57% 990 41,192,481 4
15 12 Away We Go Focus 728,055 -33% 406 7,420,575 6
16 13 Whatever Works Sony Classics 678,055 -29% 320 3,099,917 4
17 22 Moon Sony Classics 674,900 157% 247 1,785,478 5
18 28 The Hurt Locker Summit 641,168 389% 60 1,101,834 3
19 17 Land of the Lost Uni 352,125 15% 313 48,184,350 6
20 16 Cheri Miramax 344,027 -12% 173 1,568,767 3
21 14 Kambakkht Ishq Eros 343,468 -55% 100 1,272,076 2
22 15 Angels & Demons Sony 338,922 -31% 282 131,910,770 9
23 19 X-Men Origins: Wolverine Fox 295,839 0% 279 178,841,391 11
24 21 Under the Sea 3D WB 274,252 3% 38 12,245,433 22
25 24 Food, Inc. Magnolia/Alliance 251,114 0% 81 1,708,941 5
26 23 Monsters vs. Aliens Par 250,308 -3% 261 197,116,821 16
27 18 Terminator Salvation WB 241,731 -18% 221 123,108,404 8
28 25 Drag Me to Hell Uni 220,515 -12% 241 41,449,165 7
29 26 Ghosts of Girlfriends Past WB 191,262 -12% 241 54,377,105 11
30 20 Imagine That Par 171,809 -38% 209 15,120,353 5
31 39 Dance Flick Par 140,310 98% 165 25,454,737 8
32 29 Hannah Montana: The Movie BV 115,597 -8% 195 79,160,584 14
33 New Blood: The Last Vampire IDP 110,029 20 110,029 1
34 27 New York Yash Raj 81,324 45% 41 841,365 3
35 42 Millenium Alliance 80,819 18% 31 1,325,729 7
36 30 17 Again WB 74,836 -39% 121 63,571,841 13
37 34 Obsessed Sony 72,176 -19% 112 68,916,495 12
38 53 Space Station 3D Imax 70,941 186% 6 79,167,228 378
39 36 Girl from Monaco Magnolia 63,988 -24% 21 184,982 2
40 69 Earth BV 61,833 391% 133 31,867,210 12
41 40 Departures Regent 60,352 -14% 24 831,018 7
42 New Short Kut Studio 18 59,560 40 59,560 1
43 31 Easy Virtue Sony Classics 58,630 -45% 48 2,393,438 8
44 35 My Life in Ruins Fox Searchlight 56,720 -35% 80 8,393,104 6
45 38 The Stoning of Soraya M. Roadside Attract. 52,165 -30% 25 338,691 3
46 43 Summer Hours IFC/E1 50,714 -19% 37 1,535,631 9
47 48 Dolphins and Whales 3D 3D Entertainment 45,448 46% 5 6,516,133 74
48 37 The Brothers Bloom Summit 45,268 -40% 90 3,366,558 9
49 41 The Soloist Par 44,956 -35% 95 31,765,114 12
50 47 Deep Sea 3-D WB 31,548 -18% 4 41,828,016 176
51 44 Race to Witch Mountain BV 29,186 -46% 53 67,201,780 18
52 New Humpday Magnolia 28,737 2 28,737 1
53 46 Fast & Furious Uni 28,531 -28% 44 155,161,771 15
54 57 Seraphine Music Box/E1 27,519 55% 13 268,974 6
55 52 Every Little Step Sony Classics 26,973 -2% 33 1,528,106 13
56 50 State of Play Uni 26,757 -7% 29 37,265,939 13
57 New Soul Power Sony Classics 23,797 6 23,797 1
58 62 Valentino: The Last Emperor Truly Indie 23,877 70% 9 1,569,618 17
59 33 A vos marque … Party! 2 Seville 23,282 -76% 40 1,181,429 4
60 54 Sea Monsters: A Prehistoric Adventure National Geo 22,353 4 8 21,719,131 93
61 51 Tetro Zoetrope 21,759 -22% 10 273,753 5
62 New Yoo-Ho, Mrs. Goldberg Intl Film Circuit 19,302 2 19,302 1
63 32 Oy! Ficus 18,848 -82% 11 135,703 2
64 55 I Love You, Man Par 17,317 -13% 25 72,001,303 17
Source: MCN/EDI

Estimates – July 10-12, 2009

Title Distributor Gross (averag % change * Theaters Cume
Bruno Uni 30.2 (10,970) 2756 30.2
Ice Age: Dawn of the Dinosaurs Fox 28.4 (6,930) -32% 4102 120.5
Transformers: Revenge of the Fallen Par 24.2 (5,630) -43% 4293 339.2
Public Enemies Uni 14.0 (4,200) -45% 3336 66.4
The Proposal BV 10.5 (3,310) -19% 3158 113.7
The Hangover WB 9.7 (3,080) -14% 3002 222.2
I Love You, Beth Cooper Fox 5.0 (2,710) 1858 5.0
Up BV 4.7 (2,150) -27% 2201 273.9
My Sister’s Keeper WB 4.2 (1,720) -28% 2444 35.8
Du Pere en flic Alliance 1.8 (15,320) 120 2.3
The Taking of Pelham 123 Sony 1.5 (1,370) -40% 1116 61.4
Night at the Museum 2 Fox 1.5 (1,710) -29% 854 170.5
Star Trek Par 1.2 (1,520) -34% 763 252
Year One Sony 1.0 (990) -58% 990 41.2
Away We Go Focus .73 (1,800) -34% 406 7.4
Whatever Works Sony Classics .65 (1,830) -32% 355 3.1
Moon Sony Classics .62 (2,580) 137% 240 1.7
The Hurt Locker Summit .60 (10,010) 359% 60 1.1
Land of the Lost Uni .35 (1,130) 15% 313 48.2
Cheri Miramax .34 (1,980) -12% 173 1.6
Weekend Total ($500,000+ Films) $157.70
% Change (Last Year) -4%
% Change (Last Week) -11%
Also debuting/expanding
Blood: The Last Vampire IDP .10 (4,910) 20 0.1
Short Kutt Studio 18 52,800 (1,290) 41 0.05
The Girl from Monaco Magnolia 51,600 (2,240) -38% 23 0.17
Humpday Magnolia 27,300 (13,650) 2 0.03
Soul Power Sony Classics 22,100 (3,510) 6 0.02
Yoo-Ho, Mrs. Goldberg Intl Film Circ. 16,700 (8,350) 2 0.02
Weather Girl Secret ID 5,400 (5,400) 1 0.01

Domestic Market Share – January 1 – July 9, 2009

Distributor (releases) Gross Market Share
Paramount (12) 1088.1 19.40%
Warner. Bros (21) 996.6 17.80%
Fox (11) 760.9 13.60%
Buena Vista (12) 681.9 12.10%
Sony (13) 613.7 10.90%
Universal (13) 506.6 9.00%
Lionsgate (7) 237.4 4.20%
Fox Searchlight (6) 194.2 3.50%
Summit (7) 147.8 2.60%
Focus (5) 102.2 1.80%
Paramount Vantage (2) 52.4 0.90%
MGM (3) 42.3 0.80%
Miramax (5) 39.9 0.70%
Weinstein Co. (6) 34.5 0.60%
Other * (151) 114.9 2.00%
* none greater than 0.45% 5613.4 100%

Top Domestic Grossers – January 1 – July 9, 2009

Title Distributor Gross
Transformers: Revenge of the Fallen Par 315,007,925
Up BV 269,119,005
Star Trek Par 250,806,379
The Hangover WB 212,511,668
Monsters vs. Aliens Par 196,866,513
X-Men Origins: Wolverine Fox 178,545,552
Night at the Museum 2 Fox 169,032,522
Fast & Furious Uni 155,133,240
Paul Blart: Mall Cop Sony 146,777,505
Taken Fox 145,000,989
Gran Torino * WB 142,251,852
Angels & Demons Sony 131,596,496
Terminator Salvation WB/Sony 122,866,673
Slumdog Millionaire * Fox Searchlight 119,092,566
Watchmen WB/Par Intl 107,599,799
The Proposal BV 103,257,192
He’s Just Not That Into You WB/New Line 93,953,653
Ice Age: Dawn of the Dinosaurs Fox 92,072,696
Madea Goes to Jail Lionsgate 91,092,583
Knowing Summit 79,957,634
* does not include 2008 box office
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Klady

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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