The Gridiron Gang ascended, comparatively speaking, to weekend prominence with an estimated opening gross of $14.7 million. Three other films made their national debuts and followed in the rankings with the period whodunit The Black Dahlia bowing to $10.5 million; the animated baseball pic Everybody’s Hero was next with $6 million and the thirtysomething comedy-drama The Last Kiss rounded out the quartet at $4.7 million.

None of the films played quite to expectations. Overall weekend revenues were roughly $75 million for a slight 9% boost from seven days earlier. However, they lagged behind the 2005 frame by 11% when Just Like Heaven took top spot with a $16.4 million launch.

It appears that all sport-themed movies must now be based upon a true story and The Gridiron Gang is no exception. The new entry centers on a teacher’s efforts to mold the character of a group of juvenile detainees by teaching them to play as a team and learn cooperation and self dignity. Tracking anticipated an $18 million bow but the recent release of another true football saga – Invincible – likely dampened its appeal.

Similarly some pundits were predicting as much as a $20 million debut for the adaptation of James Ellroy’s novel The Black Dahlia. It was more reasonable to translate data to project $15 million on the high end. Exit polls confirmed the fictionalized version of the infamous 1940s murder case drew a crowd that skewed 30 years and older and just last weekend one could see tepid results for Hollywoodland that has a significant number of comparably appealing elements.

While hardly the film that caused the dam to bust on animated fare for kids and parents, Everybody’s Heroes was further confirmation that there’s a ceiling to this audience. And of greater significance is the fact that there’s no guarantee the pictures will open to $10 million; will have better stamina than live-action fare or will exceed its box office by 100% in DVD sales.

The Last Kiss, loosely based on an Italian success, appeared to be caught between a specialized or mainstream release and the tween approach was not the solution. Again, audience response was lukewarm.

A scan of current films in wide release that are still grossing in excess of $500,000 reveals but a single title (the Pirates sequel) aimed at broad appeal that emerged as a summer success. The other unqualified hits that include Talladega Nights, Step Up, Little Miss Sunshine and The Illusionist were all initially narrowly targeted and that’s not particularly edifying news for major distributors. The aforementioned quartet while profitable cannot generate the hefty returns that bankroll a studio or makeup for high profile movies that strike out in the marketplace.

Industry anxiety essentially breaks down to the grim prospect that if there really is a cultural shift in where and how the audience elects to see movies, its construct for ensuring profitability has to be radically altered. Historically Hollywood has been averse to change; adapting most often when the situation was catastrophic.

The frame was also very active with niche openers with a better than expected $332,000 launch at 164 locations for Artie Lange’s Beer League. It bowed in general release in New York, Cleveland and Philadelphia and its performance should earn it additional regional exposure.

The most impressive new entry was the critically embraced documentary The U.S. vs. John Lennon with slightly more than $72,000 from six theaters. There was also an unexpectedly potent near $30,000 tally for the Rowan Atkinson comedy Keeping Mum, albeit on just two screens.

The rest of the freshmen slate proved lackluster including non-fiction fare such as Jesus Camp and The Ground Truth, the Brit import Confetti and the Orlando Bloom drama Haven. Initial launches ranged from eight to 24 playdates and none were able to generate as high as a $2,000 location average.

– by Leonard Klady

The Summer Chart: May 4 – September 4, 2006

Domestic Market Share: January 1 – August 24, 2006

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