By Leonard Klady Klady@moviecitynews.com
The Weekend Report: March 4, 2012
X is for LoraX
Dr. Seuss’ The Lorax was a clear winner as it exploded to an estimated $70.5 million for the weekend box office crown. Bridesmaid spot went to the frame’s other newcomer the raunchy Project X with $20.5 million.
The limited bow of Tim and Eric’s Billion Dollar Movie was short of the titular mark with a $93,200 gross at 24 venues. However, several exclusives got off to encouraging starts including the father-son Being Flynn with $45,300 on four screens, New Zealand’s Boy at $28,400 at two sites and Italian The Salt of Life with $26,700from three locations.
With weekend revenues pushing close to $170 million there was a post-Oscar bump of sorts with box office up 29% from last weekend and 26% improved from 2011. Last year’s box office was led by eventual Oscar winner Rango’s $38.1 million debut with place position to debuting The Adjustment Bureau with $21.2 million.
Clearly no one saw The Lorax coming with so much force though pundits predicted a sizeable opening pegged between $45 million and $50 million. It was the highest opening for an original animated picture ever and ranked third best all-time March opener. But just 52% of ticket buyers opted for 3D engagements suggesting that audiences still have a recession attitude toward stereoscopic films.
Not surprisingly the audience was 68% families though its gross clearly indicated considerable business beyond matinees. There was also a 60% tilt toward female viewers.
Project X also hit a bull’s eye with its targeted young male crowd. Its exit demos identified a 58% swing toward the boys and 67% of viewers aged 25 years and younger. Generally positive reviews helped the picture exceed high end projections of $18 million.
Meanwhile Oscar favorite The Artist added close to 800 playdates and received a modest 27% box office boost. The real beneficiaries of Academy favor were niche winners A Separation and the documentary Undefeated. The former had its first $1 million weekend as it expanded from 83 to 243 locations and the football doc added eight venues that swelled its coffers 328%.
Holdover titles generally experienced 45% to 50% declines with sturdier titles ranging from the likes of This Means War and Safe House. Major releases have dominated Q1 box office with few crossover successes if you exclude the seasonal award contenders.
| Weekend (estimates) March 2 – 4, 2012 | |||||
| Title | Distributor | Gross (avg) | % chng | Thtrs | Cume |
| Dr. Seuss’ The Lorax | Uni | 70.5 (18,910) | NEW | 3729 | 70.5 |
| Project X | WB | 20.5 (6,700) | NEW | 3065 | 20.5 |
| Act of Valor | Relativity | 13.3 (4,360) | -46% | 3053 | 44.9 |
| Safe House | Uni | 7.2 (2,820) | -34% | 2553 | 108.2 |
| Good Deeds | Lions Gate | 6.8 (3,180) | -56% | 2132 | 25.5 |
| Journey 2: The Mysterious Island | WB | 6.7 (2,190) | -50% | 3060 | 85.4 |
| The Vow | Sony | 6.0 (2,120) | -40% | 2826 | 111.6 |
| This Means War | Fox | 5.5 (2,360) | -34% | 2342 | 41.4 |
| Ghost Rider: Spirit of Vengeance | Sony | 4.6 (1,860) | -49% | 2487 | 44.8 |
| Wanderlust | Uni | 3.7 (1,860) | -43% | 2002 | 12.4 |
| The Artist | Weinstein Co. | 3.7 (2,100) | 27% | 1756 | 36.9 |
| Gone | Summit | 3.0 (1,390) | -37% | 2186 | 9 |
| Chronicle | Fox | 1.9 (1,820) | -48% | 1054 | 60.8 |
| The Secret of Arrietty | BV | 1.5 (1,030) | -66% | 1431 | 16.7 |
| The Descendants | Fox Searchlight | 1.3 (1,900) | -38% | 694 | 80.4 |
| Hugo | Par | 1.3 (3,150) | -15% | 406 | 71.4 |
| The Woman in Black | CBS | 1.1 (1,4100 | -59% | 804 | 52.2 |
| Star Wars, Episode 1 – 3D | Fox | 1.1 (1,460) | -66% | 731 | 42.2 |
| A Separation | Sony Classics | 1.0 (3,990) | 165% | 243 | 3.7 |
| The Iron Lady | Weinstein Co. | .81 (1,580) | 16% | 511 | 27 |
| Goon | Alliance | .69 (3,070) | -39% | 225 | 2.4 |
| Alvin and the Chipmunks: Chip-Wrecked | Fox | .34 (1,080) | -10% | 315 | 130.8 |
| Big Miracle | Uni | .33 (920) | -51% | 359 | 19.4 |
| The Grey | Open Road/eOne | .26 (850) | -67% | 308 | 50.7 |
| Tinker, Tailor, Soldier, Spy | Focus | .25 (1,990) | -27% | 126 | 23.6 |
| Weekend Total ($500,000+ Films) | $162.20 | ||||
| % Change (Last Year) | 26% | ||||
| % Change (Last Week) | 29% | ||||
| Also debuting/expanding | |||||
| We Need to Talk About Kevin | Oscilloscope | .13 (3,240) | 245% | 40 | 0.81 |
| Rampart | Millennium | .11 (2,170) | 15% | 52 | 0.53 |
| In Darkness | Sony Classics | .11 (3,230) | 20% | 33 | 0.41 |
| Tim and Eric’s Billion Dollar Movie | Magnolia | 93,200 (3,880) | 24 | 0.09 | |
| Undefeated | Weinstein Co. | 82,600 (6,350) | 328% | 13 | 0.16 |
| London Paris New York | Fox Intl | 56,800 (1,960) | 29 | 0.06 | |
| Being Flynn | Focus | 45,300 (11,320) | 4 | 0.05 | |
| Boy | Paladin | 28,400 (14,200) | 2 | 0.03 | |
| The Salt of Life | Zeitgeist | 26,700 (8,900) | 3 | 0.03 | |
| Paan Singh Tomar | UTV | 19,200 (1,920) | 10 | 0.02 | |
| This is Not a Film | Palisades | 12,600 (2,510) | 5 | 0.01 | |
| Let the Bullets Fly | Variance | 11,100 (2,220) | 5 | 0.01 | |
| Last Days Here | IFC | 2,600 (2,600) | 1 | 0.01 | |
| Black Butterflies | TriBeCa | 1,450 (725) | 2 | 0.01 | |
| Domestic Market Share (Jan. 1 – March 1, 2012) | |||||
| Distributor (releases) | Gross | Market Share | |||
| 20th Century Fox (8) | 269.8 | 16.20% | |||
| Sony (9) | 264.7 | 15.90% | |||
| Warner Bros. (10) | 218.9 | 13.20% | |||
| Paramount (8) | 202.8 | 12.20% | |||
| Universal (5) | 196.6 | 11.80% | |||
| Buena Vista (6) | 113.1 | 6.80% | |||
| Weinstein Co. (6) | 60.9 | 3.70% | |||
| Relativity (3) | 51.3 | 3.10% | |||
| CBS (1) | 51.1 | 3.10% | |||
| Open Road (1) | 46.1 | 2.80% | |||
| Lions Gate (2) | 44.7 | 2.70% | |||
| Fox Searchlight (3) | 42.4 | 2.50% | |||
| Summit (4) | 40.8 | 2.40% | |||
| Focus (2) | 20.5 | 1.20% | |||
| Sony Classics (7) | 8.4 | 0.50% | |||
| Other * (59) | 31.4 | 1.90% | |||
| 1663.5 | 100.00% |
Project X is at 28% positive at Rotten Tomatoes. How does that translate into “generally positive reviews?”
How does a 46% drop for last week’s number one film rate? The percentage drop seems modest by current standards, but I don’t know whether “Valor” added screens in its second week.
Sad that LET THE BULLETS FLY didn’t, er, fly. I wish the studios were capable of making an action film even 1/10 as entertaining as this one.