MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Weekend Box Office Report – November 14

Take the A Train

The animated Megamind with an estimated gross of $29.9 million again topped the weekend viewing charts despite a trio of new contenders in the marketplace. Second on the rails was the kinetic Unstoppable with $23.2 million while the District 9 homage Skyline slotted fourth with $11.5 million and echoes of Broadcast News in Morning Glory netted $9.4 million.

However, rather than a juggernaut weekend revenues experienced a dip both from last weekend and 2009 box office.

Unstoppable, loosely based on a less spectacular true life incident of a runaway train, hewed more closely to celluloid antecedents including Speed and Bullet Train and arrived at the station pretty much on commercial schedule. It curiously appeared to lack the momentum to truly engage an audience … at least to turn out in droves for opening weekend.

Similarly Skyline, returning to the well of a hostile alien invasion, fell between the cracks of a B movie programmer and a studio effects extravaganza. Industry trackers predicted a $20 million opening that proved overly optimistic.

Also overvalued was Morning Glory, a gentle send up of morning news shows with Amy Adams stepping into Holly Hunter’s well-worn pumps that was expected to gross in the mid-teens. It jump started the weekend with a Wednesday opening that provided a $2.6 million head start. But tepid reviewers and the presence of old vets in supporting roles failed to pump up the volume.

Weekend revenues pushed toward $125 million and a 20% slide from seven days earlier. It was also 13% off last year’s pace when the opening of the animated A Christmas Carol led the field with a commanding $65.2 million.

The session was light on new niche releases with the non-fiction Cool It rather frigid with a $640 average at 41 venues. More encouraging was the solo screen bow of mumble core comedy Tiny Furniture that rendered $20,500.

Bucking the trend of fast fading awards contenders, 127 Hours boosted it sophomore session by upping its theater count from four to 22 venues and maintained close to a $21,000 screen average. Fair Game also expanded with appropriately adverbial results of almost a $5,900 average from 175 screens.

The frame posted few sunny returns with many of the marketplace stalwarts taking sharp hits and new entries lacking the stamina to make up the difference. The industry is collectively crossing its fingers that the Harry Potter finale (Part I) and Thanksgiving entrees will provide a reversal of fortunes.

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Weekend Estimates – November 12-14, 2010

Title Distributor Gross (average) % change * Theas Cume
Megamind Par 29.9 (7,580) 3949 -35% 89.6
Unstoppable Fox 23.2 (7,230) 3207 NEW 23.2
Due Date WB 15.6 (4,630) 3365 -52% 59.1
Skyline Uni 11.5 (4,010) 2880 NEW 11.5
Morning Glory Par 9.4 (3,750) 2518 NEW 12.1
For Colored Girls …  Lions Gate 6.6 (3,110) 2127 -64% 30.8
Red  Summit 5.1 (1,780) 2878 -41% 79.8
Paranormal Activity 2 Par 3.0 (1,260) 2403 -57% 82
Saw 3D Lions Gate 2.8 (1,420) 1976 -64% 43.5
Jackass 3D Par 2.3 (1,420) 1607 -54% 114.7
Secretariat BV 2.2 (1,050) -45% 2109 54.8
The Social Network Sony 1.7 (1,590) -50% 1088 87.8
Hereafter WB 1.3 (790) -67% 1691 31.5
Life As We Know It WB 1.3 (1,030) -59% 1239 50.7
Fair Game Summit 1.0 (5,880) 58% 175 1.9
Conviction Fox Searchlight .59 (1,200) -64% 493 6
The Girl Who Kicked the Hornet’s Nest Music Box/Alliance .52 (2,570) -30% 202 2.8
127 Hours Searchlight .46 (20,980) 75% 22 0.8
The Town WB .44 (1,170) -62% 375 90.6
Inside Job Sony Classics .42 (1,670) 58% 252 1.5
Weekend Total ($500,000+ Films)   $118.00      
% Change (Last Year)   -13%      
% Change (Last Week)   -20%      
Also debuting/expanding
Cool It Roadside Attract. 26,300 (640)   41 0.03
Tiny Furniture IFC 20,500 (20,500)   1 0.02
Outside the Law (Hors-la-loi) Cohen Media 8,200 (4,100) 2% 2 0.02

 

Domestic Market Share – January 1 – November 11, 2010

Distributor (releases) Gross Market Share
Warner Bros. (26) 1513.7 16.70%
Paramount (18) 1502.4 16.50%
Fox (16) 1291.6 14.20%
Buena Vista (15) 1170.2 12.90%
Sony (23) 1156.9 12.70%
Universal (17) 776.8 8.50%
Summit (11) 500.8 5.50%
Lions Gate (14) 478.8 5.30%
Overture (7) 81.5 0.90%
Fox Searchlight (6) 78.8 0.90%
Focus (7) 75.1 0.80%
Weinstein Co. (7) 62.4 0.70%
Sony Classics (21) 56.4 0.60%
MGM (1) 51.2 0.60%
CBS (2) 50 0.60%
Other * (287) 237.1 2.60%
* none greater than .04% 9083.7 100.00%
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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