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David Poland

By David Poland

Friday Estimates by Twice Around Klady

Friday Estimates 2015-06-27 at 8.14.55 AM

It’s a box office weekend. There is a lot going on, but nothing terribly interesting.

Max may be the best story of the weekend. A niche movie that will open to $11-$15 million. Once again, America’s heartland is showing up “unexpectedly.”

Ted 2 is the other wide opener and it should land in the mid-30s. Friday was 37% off the original opening and if this follows through the weekend, the opening should be around $36 million. The film will be much more than 37% off its domestic total in the end, but profitability is still likely and international could boost it to being significantly profitable.

Inside Out once again commands the top Friday gross, but Jurassic World keeps playing like a family film hit and actually closed the Friday gap, so there is a likelihood that the dinos will once again be the #1 Movie In The World for the third weekend. And once again, don’t cry for Inside Out, which will have one of the best second weekends ever for the hugely successful Pixar brand.

Not much happening at the arthouses, with even the heart-filling Batkid Begins unable to stir much of a crowd.

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6 Responses to “Friday Estimates by Twice Around Klady”

  1. Pete B says:

    Just curious why this weekend was chosen to release the reissue of The Third Man when it aired Friday night on TCM as part of their ‘Summer of Darkness’.

    Bet it looked glorious on the big screen though.

  2. EtGuild2 says:

    If last week was the weekend of “indies that deserved better,” this was the weekend of head-scratching weirdness. BIG GAME and ADVANTAGEOUS….wtf? And did I really watch a Benicio Del Toro portrayal of Pablo Escobar get pushed aside for Josh Hutcherson as a dim-witted surfer?

    And holy crap, FELT gave me nightmares.

  3. cadavra says:

    Pete: TCM books months in advance. Rialto, which does not have TV rights, couldn’t have known. But it’s only on two screens so far, and since it’s been on TV and available on home video for decades, it’s not really a problem, as the only people who are going to attend are those who actually want to see it in a theatre.

  4. Kevin says:

    I saw THE THIRD MAN at the Cinémathèque 10-15 years ago. It was amazing.

    In other news, today I saw ME AND EARL AND THE DYING GIRL. Hated it. What’s the deal with all the Sundance love?

  5. Pete B. says:

    Cadavra: As TCM has been promoting their Summer of Darkness for awhile, I was just surprised the reissue wasn’t done prior, or unofficially in conjunction with it.

    But you’re correct in that its for folks who want to see it in the theater. Doubtful it makes it to the Midwest for me to enjoy.

  6. Jake says:

    I saw the 4K restoration of The Third Man at the BFI theater in London yesterday (Saturday) afternoon. I believe it is a British funded restoration and while some here (the UK) may know what TCM is, quite frankly, Scarlett, they don’t give a damn.
    The restoration is very good but It has been six or seven months since I re-watched my Criterion Blu Ray so I don’t really know how much better the 4K version is. There is still a very noticeable difference between the black saturation of the studio shot interiors and the Vienna shot daylight exteriors. The exterior night scenes, the sewer scenes and all the interior scenes are absolutely spectacular however.

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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.”
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“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