Posts Tagged ‘Life As We Know It’
Sunday, November 21st, 2010
Harry and the Deathly Swallows … Gulp!
Harry Potter and the Deathly Hallows, Part 1 ascended to an estimated $126.2 million and corralled more than 60% of weekend ticket sales. Comparatively speaking the remaining films in the multiplex had to settle for chump change, including the bow of the thriller The Next Three Days which slotted fifth with $6.7 million.
The session also included the new Bollywood release Guzaarish, which garnered a better than respectable $423,000 at 108 venues. Among the few exclusive bows both the British import Made in Dagenham and France’s White Material were just OK with respective openings of $39,300 and $35,800, each playing on three screens.
It was the biggest opening yet for a Harry Potter film but while the juggernaut provided a big box office boost from last weekend it was insufficient to stave off a decline from 2009.
Expectations were high for the first installment of the last chapter of the Potter franchise. Advance sales and online tracking anticipated a $100 million debut and that number expanded following word of advance Thursday midnight screenings estimated at $24 million. Large format engagements were estimated at $12.4 million and if that number holds up it will be a record.
Internationally the early estimates are roughly $205 million from 54 markets. It includes all-time records in the U.K. and Russia and otherwise just sensational debuts elsewhere. The final, final Potter putter is schedule for July 2011.
On a decidedly downbeat note, The Next Three Days came in well below tracking that suggested a $10 million launch. The film also received a drubbing from critics.
Weekend revenues lurched toward $200 million, which translated into a 64% hike from seven days back. It was however 25% behind the 2009 slate led by the second installment of Twilight (New Moon), which bowed bitingly to $142.8 million with the unexpectedly $34.1 million potency of The Blind Side right behind it.
The contender’s roster failed to see any additional dynamos this weekend and the titles already in the marketplace were finding the Darwinian aspect of the exercise unrelenting. Both Fair Game and 127 Hours added a significant number of playdates with the latter continuing to maintain a hefty $8,330 engagement average. The other surprise in the mix is the continuing stamina of the non-fiction Inside Job that’s racked up $2.2 million to date.
__________________________________________________
Weekend Estimates – November 19-21, 2010
Title |
Distributor |
Gross (average) |
% change * |
Theaters |
Cume |
Harry Potter & the Deathly Hallows, Part 1* |
WB |
126.2 (30,600) |
NEW |
4125 |
126.2 |
Megamind |
Par |
16.2 (4,280) |
-45% |
3779 |
109.5 |
Unstoppable |
Fox |
13.0 (4,060) |
-43% |
3207 |
41.9 |
Due Date |
WB |
8.9 (2,760) |
-42% |
3229 |
72.4 |
The Next Three Days |
Lionsgate |
6.7 (2,590) |
NEW |
2564 |
6.7 |
Morning Glory |
Par |
5.2 (2,050) |
-43% |
2544 |
19.8 |
Skyline |
Uni/Alliance |
3.4 (1,170) |
-71% |
2883 |
17.6 |
Summit |
2.4 (1,190) |
-51% |
2034 |
83.5 |
For Colored Girls … |
Lionsgate |
2.3 (1,920) |
-64% |
1216 |
34.5 |
Fair Game |
Summit |
1.4 (3,730) |
41% |
386 |
3.7 |
Secretariat |
BV |
1.0 (970) |
-56% |
1010 |
56.4 |
Paranormal Activity 2 |
Par |
.93 (840) |
-69% |
1101 |
83.6 |
The Social Network |
Sony |
.91 (1,590) |
-49% |
571 |
89.2 |
127 Hours |
Searchlight |
.90 (8,330) |
104% |
108 |
1.9 |
Saw 3D |
Lionsgate |
.82 (1,020) |
-71% |
806 |
45.3 |
Jackass 3D |
Par |
.72 (1,050) |
-68% |
687 |
116.1 |
Life As We Know It |
WB |
.52 (930) |
-50% |
558 |
51.6 |
Guzaarish |
UTV |
.42 (3,910) |
NEW |
108 |
0.42 |
The Girl Who Kicked the Hornet’s Nest |
Music Box/Alliance |
.41 (2,180) |
-22% |
188 |
3.5 |
Inside Job |
Sony Classics |
.37 (1,770) |
-22% |
211 |
2.2 |
|
|
|
|
|
|
|
|
|
|
|
|
Weekend Total ($500,000+ Films) |
|
$191.50 |
|
|
|
% Change (Last Year) |
|
-25% |
|
|
|
% Change (Last Week) |
|
64% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
Today’s Special |
Reliance |
88,400 (1,670) |
|
53 |
0.09 |
Made in Dagenham |
Sony Classics |
39,300 (13,100) |
|
3 |
0.04 |
White Material |
IFC |
35,800 (11,930) |
|
3 |
0.04 |
Queen of the Lot |
Rainbow |
16,400 (2,730) |
|
6 |
0.02 |
Copacabana |
Seville |
14,100 (2,010) |
|
7 |
0.01 |
Domestic Market Share (Jan. 1 – Nov. 18, 2010)
Distributor (releases) |
Gross |
Market Share |
Paramount (18) |
1555.1 |
16.80% |
Warner Bros. (26) |
1538.8 |
16.70% |
Fox (17) |
1320.7 |
14.30% |
Buena Vista (15) |
1173.4 |
12.70% |
Sony (23) |
1160.3 |
12.60% |
Universal (18) |
790.4 |
8.60% |
Summit (11) |
508.5 |
5.50% |
Lionsgate (14) |
490.6 |
5.30% |
Overture (7) |
81.7 |
0.90% |
Fox Searchlight (7) |
80.3 |
0.90% |
Focus (7) |
75.1 |
0.80% |
Weinstein Co. (7) |
62.5 |
0.70% |
Sony Classics (21) |
57.3 |
0.60% |
MGM (1) |
51.2 |
0.50% |
CBS (2) |
50 |
0.50% |
Other * (288) |
240.7 |
2.60% |
|
9236.6 |
100.00% |
* none greater than .04% |
Top Domestic Grossers * (Jan. 1 – Nov. 18, 2010)
Title |
Distributor |
Gross |
Avatar * |
Fox |
476,883,415 |
Toy Story 3 |
BV |
414,681,777 |
Alice in Wonderland |
BV |
334,191,110 |
Iron Man 2 |
Par |
312,445,596 |
Twilight: Eclipse |
Summit |
300,551,386 |
Inception |
WB |
291,914,445 |
Despicable Me |
Uni |
248,900,040 |
Shrek Forever After |
Par |
238,667,087 |
How to Train Your Dragon |
Par |
218,685,707 |
The Karate Kid |
Sony |
176,797,997 |
Clash of the Titans |
WB |
163,214,888 |
Grown Ups |
Sony |
162,147,232 |
The Last Airbender |
Par |
131,733,601 |
Shutter Island |
Par |
128,051,522 |
The Other Guy |
Sony |
119,256,755 |
Salt |
Sony |
118,485,665 |
Jackass 3D |
Par |
115,357,091 |
Valentine’s Day |
WB |
110,509,442 |
Sherlock Holmes * |
WB |
106,967,985 |
Robin Hood |
Uni |
105,425,146 |
| * does not include 2009 box office |
Tags: 127 Hours, Alice in Wonderland, Avatar, Clash of the Titans, copacabana, Despicable Me, Due Date, Fair Game, For Colored Girls …, Grown Ups, Guzaarish, Harry Potter & the Deathly Hallows, How to Train Your Dragon, Inception, Inside Job, Iron Man 2, Jackass 3D, Life As We Know It, Made in Dagenham, Megamind, Morning Glory, Paranormal Activity 2, Part 1, Queen of the Lot, Red, Robin Hood, Salt, Saw 3D, Secretariat, Sherlock Holmes, Shrek Forever After, Shutter Island, skyline, the girl who kicked the hornet's nest, The Karate Kid, The Last Airbender, The Next Three Days, The Other Guy, The Social Network, Today's Special, Toy Story 3, Twilight: Eclipse, unstoppable, Valentine's Day, White Material
Posted in MCN Originals, MCN Weekend, Movie City News, The Weekend Report | Comments Off on Weekend Box Office Report — November 21
Sunday, November 7th, 2010
No Brainer
Megamind led a torrid weekend box office frame (the largest for a pre-Thanksgiving November) with a first salvo estimated at $47.5 million. Two other national openers followed in succession with strong numbers. The comedy road trip Due Date grossed $33.4 million and the Afrocentric For Colored Girls bowed to $20.1 million.
There was also a pair of Bollywood films timed to the Dwali holiday. Golmaal 3 had solid returns of $443,000 from 86 screens while Action Replayy was disappointing with $232,000 from 99 venues. In Quebec Reste avec moi pancaked on a gross of $25,600 in an initial 19 playdates.
In limited and exclusive runs the politically charged Fair Game polled a respectable $663,000 that indicates challenging expansion plans. Among the remaining newcomers there was a good solo for Algerian Oscar submission Outside the Law of $7,500. But the big noise of the weekend was the not-for-the-squeamish 127 Hours, which played to near capacity at four and generated a staggering screen average of $66,570.
Weekend revenues ballooned as a result of buoyant new titles and some very strong holdovers.
The latest from DreamWorks Animation, Megamind, was generally pegged to debut in a mid-$40 million arena though some felt it could have performed better on a less competitive weekend. Though that contention is dubious, the rest of the year really doesn’t offer that option with both pre-sold and award titles beginning to open up the multiplex floodgates.
Due Date — with its obvious references to Trains, Planes & Automobiles — renewed faith in the power of a high concept comedy. But the riskier For Colored Girls, based upon the acclaimed play by Ntozake Shange, was the session’s major question mark. Many had pursued the property for decades and concluded that it was unfilmable, so when Tyler Perry unexpectedly stepped forward there was a collective shudder. Critical response was mixed to positive while the opening box office was better than anticipated.
Overall box office should top $155 million for the weekend and best the immediate prior session by 67%. It’s also a 28% improvement from 2009 with the launch of the animated A Christmas Carol opened to $30.1 million with the frame’s other debs The Men Who Stare at Goats and The Fourth Kind slotting third and fourth with respectively $12.7 million and $12.2 million.
If you believe that there’s no such thing as bad publicity, the opening weekend of 127 Hours would certainly buttress your argument. Aside from sterling reviews, the fact-inspired tale of endurance has generated a lot of ink centering on the intensity of the viewing experience that appears to cause at least a few patrons to faint at every screening. The industry will be watching intently to see whether it remains a date movie as it expands nationally.
Also under the microscope is Fair Game that fell short of dynamic initial business. There’s already debate about the decision to open in more than a handful of venues and a feeling that rapid expansion will result in further disappointment along the lines of Conviction.
__________________________________________________
Weekend Estimates – November 5-7, 2010
Title |
Distributor |
Gross (average) |
% change * |
Theaters |
Cume |
Megamind |
Par |
47.5 (12,040) |
New |
3944 |
47.5 |
ue Date |
WB |
33.4 (9,960) |
New |
3355 |
33.4 |
For Colored Girls |
Lionsgate |
20.1 (9,440) |
New |
2127 |
20.1 |
Red |
Summit |
8.8 (2,720) |
-18% |
3229 |
71.8 |
Saw 3D |
Lionsgate |
7.9 (2,820) |
-67% |
2808 |
38.5 |
Paranormal Activity 2 |
Par |
7.1 (2,250) |
-57% |
3168 |
77 |
Jackass 3D |
Par |
5.0 (2,330) |
-41% |
2165 |
110.8 |
Secretariat |
BV |
4.1 (1,570) |
-18% |
2614 |
51.1 |
Hereafter |
WB |
4.0 (1,680) |
-38% |
2365 |
28.7 |
The Social Network |
Sony |
3.5 (1,890) |
-22% |
1860 |
85 |
Life As We Know It |
WB |
3.1 (1,610) |
-23% |
1950 |
48.6 |
Conviction |
Fox Searchlight |
1.5 (2,280) |
-16% |
672 |
4.5 |
The Town |
WB |
1.2 (1,510) |
-39% |
801 |
89.8 |
The Girl Who Kicked the Hornet’s Nest |
Music Box/Alliance |
.74 (3,720) |
2% |
199 |
2 |
Fair Game |
Summit |
.66 (14,410) |
New |
46 |
0.66 |
Easy A |
Sony |
.50 (1,070) |
-53% |
468 |
57.3 |
Legend of the Guardians |
WB |
.45 (610) |
-74% |
740 |
54 |
Golmaal 3 |
Eros |
.44 (5,140) |
New |
86 |
0.44 |
Waiting for “Superman” |
Par Vantage |
.38 (1,570) |
-36% |
242 |
5.4 |
Wall Street: Money Never Sleeps |
Fox |
.34 (960) |
-57% |
353 |
51.9 |
|
|
|
|
|
|
|
|
|
|
|
|
Weekend Total ($500,000+ Films) |
|
$149.10 |
|
|
|
% Change (Last Year) |
|
28% |
|
|
|
% Change (Last Week) |
|
67% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
127 Hours |
Searchlight |
.27 (66,570) |
|
4 |
0.27 |
Action Replayy |
Viva |
.23 (2,340) |
|
99 |
0.23 |
Stone |
Overture |
.18 (1,630) |
-28% |
109 |
1.5 |
Four Lions |
Drafthouse |
41,300 (5,160) |
|
8 |
0.04 |
Reste avec moi |
Seville |
25,600 (1,350) |
|
19 |
0.03 |
Client 9 |
Magnolia |
18,400 (6,130) |
|
3 |
0.02 |
Red Hill |
Strand |
8,400 (1,680) |
|
5 |
0.01 |
Outside the Law (Hors-la-loi) |
Cohen Media |
7,500 (7,500) |
|
1 |
0.01 |
Trapped |
CJ Entertainment |
4,400 (4,400) |
|
1 |
0.01 |
Domestic Market Share (Jan. 1 – Nov. 4, 2010)
Distributor (releases) |
Gross |
Market Share |
Warner Bros. (25) |
1457.6 |
16.50% |
Paramount (16) |
1423.7 |
16.00% |
Fox (16) |
1290.9 |
14.50% |
Buena Vista (15) |
1163.9 |
13.10% |
Sony (23) |
1151.1 |
13.00% |
Universal (17) |
776.9 |
8.80% |
Summit (10) |
488.3 |
5.50% |
Lionsgate (13) |
444.2 |
5.00% |
Overture (7) |
81.2 |
0.90% |
Fox Searchlight (6) |
75.9 |
0.80% |
Focus (7) |
74.8 |
0.80% |
Weinstein Co. (7) |
62.3 |
0.70% |
Sony Classics (21) |
55.5 |
0.60% |
MGM (1) |
51.2 |
0.60% |
CBS (2) |
50 |
0.60% |
Other * (281) |
233.2 |
2.60% |
|
8880.7 |
100.00% |
* none greater than .04% |
Top Global Grossers * (Jan. 1 – Nov. 4, 2010)
Title |
Distributor |
Gross |
Avatar |
Fox |
1,953,205,209 |
Toy Story 3 |
BV |
1,061,408,156 |
Alice in Wonderland |
BV |
1,024,537,295 |
Inception |
WB |
831,539,135 |
Shrek Forever After |
Par |
737,766,901 |
Twilight: Eclipse |
Summit |
691,483,448 |
Iron Man 2 |
Par |
622,718,600 |
How to Train Your Dragon |
Par |
495,792,295 |
Despicable Me |
Uni |
492,994,376 |
Clash of the Titans |
WB |
489,778,913 |
Sherlock Holmes * |
WB |
367,796,599 |
The Karate Kid |
Sony |
359,315,646 |
Prince of Persia: The Sands of Time |
BV |
335,692,394 |
The Last Airbender |
Par |
318,404,181 |
Robin Hood |
Uni |
311,826,207 |
Shutter Island |
Par |
301,977,955 |
Sex and the City 2 |
WB |
301,158,934 |
Salt |
Sony |
291,684,047 |
Resident Evil: Afterlife |
Sony/Alliance |
277,419,991 |
Grown Ups |
Sony |
270,265,798 |
The Expendables |
Lionsgate/NuImage |
269,273,037 |
Alvin and the Chipmunks: The Squeakquel |
Fox |
264,341,533 |
Knight and Day |
Fox |
256,518,022 |
Percy Jackson & the Olympians |
Fox |
226,497,209 |
Valentine’s Day |
WB |
217,596,116 |
* does not include 2009 box office |
Tags: 127 Hours, Action Replayy, Client 9 Red Hill Outside the Law (Hors-la-loi) Trapped, Conviction, Due Date, Easy A, Fair Game, For Colored Girls, Four Lions, Golmaal 3, Hereafter, Jackass 3D, Legend of the Guardians, Life As We Know It, Megamind, Paranormal Activity 2, Red, Reste avec moi, Saw 3D, Secretariat, Stone, the girl who kicked the hornet's nest, The Social Network, The Town, Waiting For 'Superman', Wall Street: Money Never Sleeps
Posted in Klady, MCN Originals, MCN Weekend, The Weekend Report | 1 Comment »
Sunday, October 31st, 2010
See … Saw … Ouch!
Saw 3D whipped into cinemas with an estimated $24.3 million to take top spot in weekend movie going. Distributors gave a wide berth to the Halloween frame when traditionally there are sharp drops in attendance; making the Saw finale the sole new national release.
A different sort of ghoul — the Millennium finale The Girl Who Kicked the Hornet’s Nest — went limited wide to solid returns of $890,000, but otherwise the frame’s new entries were dominated by niche and exclusive launches. The best of the bunch was the Chinese trembler Aftershock with a single screen entry of $17,600. Other newcomers with good but not spectacular returns included indie drama Welcome to the Riley’s, Brit spy spoof Wild Target, Mexican prize winner Nora’s Will, Claude Chabrol’s final effort Bellamy and non-fiction entry Waste Land.
Overall box office saw a sharp fall from last weekend and a slight bump from 2009 results.
The seventh annual edition of the Saw franchise was hoping for an exit with bite with the addition of stereoscopic imagery. But pre-release tracking indicated that with or without gimmicks the mania was fading and its mid-$20 million weekend tally was pretty much in line with pundit’s predictions. The gore crowd would appear to be sated with current splatter fare but the past month has seen every segment of the audience unenthusiastic for the new crop of movies beyond their opening sessions.
The global juggernaut for the Millennium trilogy continued with the U.S. bow of The Girl Who Kicked the Hornet’s Nest. The first installment, The Girl with the Dragon Tattoo, has racked up $99 million internationally and it and its second chapter are the top grossing foreign-language movies in America post-Pan’s Labyrinth.
Weekend revenues generated about $95 million in sales that translated into a 28% drop from the immediate prior session. It was a modest 6% improvement from 2009 when Michael Jackson: This Is It bowed to $23.2 million followed by Paranormal Activity with $16.4 million.
The fact-based Conviction expanded nationally to fair results and appears to be headed to the same sort of indifferent commercial returns as the rest of the early award season contenders. A sharp drop for last weekend’s Hereafter departs from the sort of holds associated with recent films directed by Clint Eastwood whereas the better than expected stamina of the geezer spies of RED has confounded box office mavens.
But apart from Jackass 3D (which passed a $100 million tally this weekend) such well-reviewed positive word-of-mouth entries as The Social Network and Secretariat have struggled to maintain a presence (forget about momentum) in a marketplace that has all but eliminated the possibility of a second wind.
__________________________________________________
Weekend Estimates – October 29-31, 2010
Title |
Distributor |
Gross (average) |
% change * |
Theaters |
Cume |
Saw 3D |
Lionsgate |
24.3 (8,660) |
New |
2808 |
24.3 |
Paranormal Activity 2 |
Par |
16.4 (5,070) |
-60% |
3239 |
65.6 |
Red |
Summit |
10.9 (3,250) |
-28% |
3349 |
59 |
Jackass 3D |
Par |
8.5 (2,720) |
-60% |
3139 |
101.7 |
Hereafter |
WB |
6.4 (2,630) |
-47% |
2424 |
22.2 |
Secretariat |
BV |
5.0 (1,610) |
-28% |
3108 |
44.7 |
The Social Network |
Sony |
4.7 (1,690) |
-36% |
2767 |
79.7 |
Life As We Know It |
WB |
4.1 (1,440) |
-33% |
2860 |
43.6 |
The Town |
WB |
2.0 (1,250) |
-27% |
1608 |
87.7 |
Conviction |
Fox Searchlight |
1.8 (3,220) |
501% |
565 |
2.4 |
Legend of the Guardians |
WB |
1.8 (880) |
-46% |
2010 |
52.7 |
Easy A |
Sony |
1.1(880) |
-37% |
1262 |
56.3 |
The Girl Who Kicked the Hornet’s Nest |
Music Box/Alliance |
.89 (5,830) |
New |
152 |
0.89 |
Wall Street: Money Never Sleeps |
Fox |
.78 (840) |
-37% |
933 |
51.2 |
Waiting for “Superman” |
Par Vantage |
.52 (1,580) |
-33% |
330 |
4.6 |
Devil |
Uni |
.51 (800) |
-21% |
635 |
33.1 |
Alpha and Omega |
Lionsgate |
.48 (710) |
-34% |
676 |
24.1 |
It’s Kind of a Funny Story |
Focus |
.46 (960) |
-32% |
477 |
5.8 |
You Again |
BV |
.41 (610) |
-37% |
673 |
24.7 |
You Will Meet a Tall Dark Stranger |
Sony Classics |
.33 (1,022) |
-24% |
323 |
2.4 |
Toy Story 3 |
BV |
.31 (920) |
-34% |
337 |
413.9 |
|
|
|
|
|
|
|
|
|
|
|
|
Weekend Total ($500,000+ Films) |
|
$89.70 |
|
|
|
% Change (Last Year) |
|
6% |
|
|
|
% Change (Last Week) |
|
-28% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
Stone |
Overture |
.22 (1,760) |
-39% |
125 |
1.2 |
Nowhere Boy |
Weinstein Co. |
.13 (840) |
-62% |
153 |
1 |
10.50 |
Alliance |
55,800 (4,290) |
|
13 |
0.06 |
Welcome to the Riley’s |
IDP |
41,600 (4,160) |
|
10 |
0.04 |
Nora’s Will |
Menemsha |
25,300 (4,220) |
|
6 |
0.03 |
Wild Target |
FreeStyle |
23,200 (5,800) |
|
4 |
0.02 |
Bellamy |
IFC |
19,700 (9,850) |
|
2 |
0.02 |
Monsters |
Magnolia |
18,100 (6,030) |
|
3 |
0.02 |
Aftershock |
AMC |
17,600 (17,600) |
|
1 |
0.02 |
Waste Land |
Arthouse |
10.300 (10,300) |
|
1 |
0.01 |
Walkaway |
IABA |
9,400 (360) |
|
26 |
0.01 |
Strange Powers |
Variance |
4,800 (4,800) |
|
1 |
0.01 |
The Kids Grow Up |
Shadow |
4,600 (4,600) |
|
1 |
0.01 |
Domestic Market Share (Jan. 1 – Oct. 28, 2010)
Distributor (releases) |
Gross |
Market Share |
Warner Bros. (25) |
1436.3 |
16.40% |
Paramount (16) |
1389.1 |
15.90% |
Fox (16) |
1289.8 |
14.70% |
Buena Vista (15) |
1155.5 |
13.20% |
Sony (23) |
1142.4 |
13.10% |
Universal (17) |
774.3 |
8.90% |
Summit (10) |
473.3 |
5.40% |
Lionsgate (12) |
412.7 |
4.70% |
Overture (7) |
80.6 |
0.90% |
Focus (7) |
74.1 |
0.80% |
Fox Searchlight (6) |
73.4 |
0.80% |
Weinstein Co. (7) |
61.9 |
0.70% |
Sony Classics (21) |
54.7 |
0.60% |
MGM (1) |
51.2 |
0.60% |
CBS (2) |
50 |
0.60% |
Other * (277) |
229.7 |
2.70% |
|
8749 |
100.00% |
* none greater than .04% |
Top Limited Releases * (Jan. 1 – Oct. 28, 2010)
Title |
Distributor |
Gross |
Hubble 3D |
WB |
17,246,918 |
The Ghost Writer |
Summit |
15,569,712 |
The Girl with the Dragon Tattoo |
Music Box/Alliance |
11,270,373 |
The Young Victoria * |
Apparition/Alliance |
11,131,232 |
Get Low |
Sony Classics |
8,980,294 |
A Single Man * |
Weinstein Co. |
7,935,872 |
The Girl Who Played with Fire |
Music Box/Alliance |
7,768,761 |
Cyrus |
Fox Searchlight |
7,461,082 |
Babies |
Focus |
7,444,272 |
The Imaginarium of Doctor Parnassus * |
E1/Sony Classics |
7,394,171 |
City Island |
Anchor Bay |
6,671,036 |
The Last Station |
Sony Classics |
6,617,867 |
The Secret in Their Eyes |
Sony Classics |
6,391,436 |
Winter’s Bone |
Roadside Attractions |
6,204,696 |
It’s Kind of a Funny Story |
Focus |
5,342,641 |
Under the Sea 3D * |
WB |
5,256,073 |
I Am Love |
Magnolia |
4,982,446 |
An Education * |
Sony Classics |
4,963,224 |
The Hurt Locker * |
Summit |
4,531,548 |
Solitary Man |
Anchor Bay |
4,360,548 |
* does not include 2009 box office |
Tags: 10.50, A Single Man, Aftershock, Alpha and Omega, An Education, Babies, Bellamy, City Island, Conviction, Cyrus, Devil, Easy A, Get Low, Hereafter, Hubble 3D, I Am Love, It's Kind Of A Funny Story, Jackass 3D, Legend of the Guardians, Life As We Know It, Monsters, Nora's Will, Nowhere Boy, Paranormal Activity 2, Red, Saw 3D, Secretariat, solitary man, Stone, Strange Powers, The Ghost Writer, the girl who kicked the hornet's nest, The Girl Who Played With Fire, The Girl With the Dragon Tattoo, The Hurt Locker, The Imaginarium of Doctor Parnassus, The Kids Grow Up, The Last Station, The Secret In Their Eyes, The Social Network, The Town, The Young Victoria, Toy Story 3, Under the Sea 3D, Waiting For 'Superman', Walkaway, Wall Street: Money Never Sleeps, Waste Land, Welcome to the Rileys, Wild Target, Winter's Bone, You Again, You Will Meet A Tall Dark Stranger
Posted in MCN Originals, MCN Weekend, Movie City News, The Weekend Report | Comments Off on Weekend Box Office Report – October 31
Sunday, October 31st, 2010
Saw 3D|24.3|New|24.3
Paranormal Activity 2|16.4|-60%| 65.6
RED|10.9|-28%|59
Jackass 3D|8.5|-60% |101.7
Hereafter|6.4|-47%|22.2
Secretariat|5.0|-28%|44.7
The Social Network|4.7|-36%|79.7
Life As We Know It|4.1|-33%|43.6
The Town|2.0|-27%| 87.7
Conviction|1.8|501%|2.4
Tags: Conviction, Hereafter, Jackass 3D, Life As We Know It, Paranormal Activity 2, Red, Saw 3D, Secretariat, The Social Network, The Town
Posted in Estimates, MCN Weekend | Comments Off on Weekend Estimates – October 31
Saturday, October 30th, 2010
Saw 3D|10.8|2808|New|10.8
Paranormal Activity 2|6|3239|-57%|55.2
Red|3.4 |3349|-25%|51.5
Jackass 3D|3.1|3139|-59%|96.2
Hereafter|2.1|2175|-50%|17.9
Secretariat|1.5|3108|-22%|41.2
The Social Network|1.5|2921|-33%|76.5
Life As We Know It|1.4|3019|-28%|40.9
The Town|0.6|1918|-24%|86.3
Conviction|0.55|565|610%|1.1
Also Debuting
The Girl Who Kicked the Hornet’s Nest|0.28|124||0.28
10.50|19,200|13||19,200
Welcome to the Riley’s|12,500|10||12,500
Wild Target|7,600|4||7,600
Bellamy|6,500|2||6,500
Monsters|6,000|3||6,000
Waste Land|4,800|1||4,800
Aftershock|4,600|1||4,600
Walkaway|3,500|26||3,500
The Kids Grow Up|2,650|1||2,650
||||
*in millions|||
Tags: 10.50, Aftershock, Bellamy, Conviction, Hereafter, Jackass 3D, Life As We Know It, Monsters, Paranormal Activity 2, Red, Saw 3D, Secretariat, the girl who kicked the hornet's nest, The Kids Grow Up, The Social Network, The Town, Walkaway, Waste Land, Welcome to the Rileys, Wild Target
Posted in Friday Box Office Estimates, MCN Originals, MCN Weekend, Movie City News | Comments Off on Friday Estimates – October 30
Sunday, October 24th, 2010
Back to Paranormal
Paranormal Activity 2 exceeded pundit expectation (though not necessarily fans) with an estimated $41.6 million to lead weekend movie ticket sales. The session’s only other national bow was Hereafter, which shot up to $11.9 million following last weekend’s limited opener.
Niche and regional bows included a solid $212,000 (in Hindi and Telegu versions) bow for the Indian crime saga Rakhtcharitra. Fans won’t have to wait long for its second part conclusion that’s scheduled for late November. Meanwhile up in Canada the Toronto fest curtain raiser Score: A Hockey Musical failed to live up to its name with a discordant $143,000 from 127 rinks.
Exclusives included good though unsensational debuts that included non-fiction Boxing Gym with a $6,100 TKO in its solo bout and Taqwacores — the tale of an Islamic rock band — grossing $5,500 also in a single outing.
Though there was a marginal dip from last weekend’s box office, the frame saw its first uptick from 2009 in a month with industry mavens already predicting expanded revenues through the end of the year.
Critical response to sleeper sensation Paranormal Activity 2 was at best tepid with the more negative reviews viewing it as a cynical rehash of its inspiration. Nonetheless avids were cueing up to provide Thursday midnight shows a record preview for an R-rated film. It lost traction as the weekend proceeded but the fast start was sufficient to speed past tracking that suggested an opening salvo of not much more than $30 million.
Exit polls for both Paranormal Activity 2 and Hereafter were disappointing. The latter film pretty much brought in the anticipated older crowd and filmmaker Clint Eastwood’s films have a history of hanging in for longer than typical runs and much higher multiples than is the industry norm. Still, this yarn could well stray from that trend.
Weekend revenues amassed roughly $130 million in torn ducats. It represented a slight 2% dip from seven days back but the unexpected Paranormal Activity 2 and overall strong holdovers translated into a 13% box office boost from 2009. A year ago the first Paranormal Activity (in its initial wide weekend) led with $21.1 million followed by Saw VI and Where the Wild Things Are with respective tallies of $14.1 million and $14 million.
With the exception of Waiting for “Superman” it’s been a brutal season for Oscar hopefuls trying to set an early footprint on the awards landscape. Granted, very few have received a wholehearted critical embrace, but even by niche standards the likes of Nowhere Boy, You Will Meet a Tall Dark Stranger and Jack Goes Boating among others have been comparative under-performers when measured against past films that have employed this tactic.
__________________________________________________
Weekend Estimates – October 22-24, 2010
Title |
Distributor |
Gross (average) |
% change * |
Theaters |
Cume |
Paranormal Activity 2 |
Par |
41.6 (12,930) |
New |
3216 |
41.6 |
Jackass 3D |
Par |
21.5 (6,920) |
-57% |
3111 |
87.1 |
Red |
Summit |
15.1 (4,620) |
-31% |
3273 |
43.6 |
Hereafter |
WB |
11.9 (5,450) |
|
2175 |
12.2 |
The Social Network |
Sony |
7.2 (2,450) |
-31% |
2921 |
72.8 |
Secretariat |
BV |
6.9 (2,210) |
-26% |
3108 |
37.3 |
Life As We Know It |
WB |
6.1 (2,010) |
-32% |
3019 |
37.5 |
Legend of the Guardians |
WB |
3.1 (1,390) |
-26% |
2236 |
50.1 |
The Town |
WB |
2.7 (1,390) |
-33% |
1918 |
84.6 |
Easy A |
Sony |
1.7 (1,050) |
-35% |
1632 |
54.7 |
Wal Street: Money Never Sleeps |
Fox |
1.2 (960) |
-49% |
1255 |
50 |
My Soul to Take |
Uni/Alliance |
1.0 (600) |
-68% |
1689 |
13.9 |
Waiting for “Superman” |
Par Vantage |
.76 (2,620) |
2% |
290 |
3.7 |
Alpha and Omega |
Lionsgate |
.71 (980) |
-14% |
727 |
23.5 |
It’s Kind of a Funny Story |
Focus |
.66 (1,180) |
-46% |
560 |
5.1 |
Devil |
Uni |
.63 (980) |
-35% |
642 |
32.4 |
You Again |
BV |
.61 (680) |
-50% |
901 |
24 |
N Secure |
FreeStyle |
.53 (1,190) |
-55% |
445 |
1.9 |
Toy Story 3 |
BV |
.42 (1,211) |
-21% |
350 |
413.4 |
You Will Meet a Tall Dark Stranger |
Sony Classics |
.40 (1,060) |
46% |
381 |
1.8 |
Case 39 |
Par Vantage |
.38 (530) |
-69% |
721 |
12.7 |
|
|
|
|
|
|
|
|
|
|
|
|
Weekend Total ($500,000+ Films) |
|
$123.90 |
|
|
|
% Change (Last Year) |
|
13% |
|
|
|
% Change (Last Week) |
|
-2% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
Stone |
Overture |
.34 (3,030) |
49% |
113 |
0.76 |
Conviction |
Fox Searchlight |
.30 (5,420) |
192% |
55 |
0.34 |
Rakhtcharitra |
Viva/Happy |
.21 (6,230) |
|
34 |
0.21 |
Nowhere Boy |
Weinstein Co. |
.21 (870) |
-39% |
215 |
0.76 |
Score: A Hockey Musical |
Mongrel |
.14 (1,130) |
|
127 |
0.14 |
Jhootha Hi Sahi |
Viva |
64,700 (1,350) |
|
48 |
0.06 |
My Girlfriend’s Boyfriend |
Fiftyfilms |
10,300 (5,150) |
|
2 |
0.01 |
Boxing Gym |
Zipporah |
6,100 (6,100) |
|
1 |
0.01 |
Taqwacores |
Rumanni |
5,500 (5,500) |
|
1 |
0.01 |
Inhale |
IFC |
5,600 (2,800) |
|
2 |
0.01 |
Domestic Market Share (Jan. 1 – Oct. 21, 2010)
Distributor (releases) |
Gross |
Market Share |
Warner Bros. (25) |
1403.9 |
16.30% |
Paramount (15) |
1310.6 |
15.30% |
Fox (16) |
1287.9 |
15.00% |
Buena Vista (15) |
1144.7 |
13.30% |
Sony (23) |
1129.9 |
13.20% |
Universal (17) |
771.4 |
9.00% |
Summit (10) |
453.6 |
5.30% |
Lionsgate (12) |
411.5 |
4.80% |
Overture (7) |
79.7 |
0.90% |
Focus (7) |
73.2 |
0.90% |
Fox Searchlight (6) |
72.7 |
0.80% |
Weinstein Co. (7) |
61.6 |
0.70% |
Sony Classics (21) |
53.7 |
0.60% |
MGM (1) |
50.4 |
0.60% |
CBS (2) |
50 |
0.60% |
Other * (271) |
226.9 |
2.70% |
|
8581.7 |
100.00% |
* none greater than .04% |
Top Domestic Grossers * (Jan. 1 – Oct. 21, 2010)
Title |
Distributor |
Gross |
Avatar * |
Fox |
476,726,209 |
Toy Story 3 |
BV |
413,013,123 |
Alice in Wonderland |
BV |
334,191,110 |
Iron Man 2 |
Par |
312,445,596 |
Twilight: Eclipse |
Summit |
300,531,751 |
Inception |
WB |
289,881,124 |
Despicable Me |
Uni |
247,148,995 |
Shrek Forever After |
Par |
238,667,087 |
How to Train Your Dragon |
Par |
218,685,707 |
The Karate Kid |
Sony |
176,797,997 |
Clash of the Titans |
WB |
163,214,888 |
Grown Ups |
Sony |
161,942,598 |
The Last Airbender |
Par |
131,733,601 |
Shutter Island |
Par |
128,051,522 |
The Other Guy |
Sony |
118,236,912 |
Salt |
Sony |
118,229,865 |
Valentine’s Day |
WB |
110,509,442 |
Sherlock Holmes * |
WB |
106,967,985 |
Robin Hood |
Uni |
105,425,146 |
The Expendables |
Lions Gate |
103,068,524 |
* does not include 2009 box office |
Tags: Alice in Wonderland, Alpha and Omega, Avatar, boxing gym, Case 39, Clash of the Titans, Conviction, Despicable Me, Devil, Easy A, Grown Ups, Hereafter, How to Train Your Dragon, Inception, inhale, Iron Man 2, It's Kind Of A Funny Story, Jackass 3D, Jhootha Hi Sahi, Legend of the Guardians, Life As We Know It, My Girlfriend's Boyfriend, My Soul To Take, N Secure, Nowhere Boy, Paranormal Activity 2, Rakhtcharitra, Red, Robin Hood, Salt, Score: A Hockey Musical, Secretariat, Sherlock Holmes, Shrek Forever After, Shutter Island, Stone, Taqwacores, The Expendables, The Karate Kid, The Last Airbender, The Other Guy, The Social Network, The Town, Toy Story 3, Twilight: Eclipse, Valentine's Day, Waiting For 'Superman', Walt Street: Money Never Sleeps, You Again, You Will Meet A Tall Dark Stranger
Posted in MCN Originals, MCN Weekend, Movie City News, The Weekend Report | 1 Comment »
Sunday, October 24th, 2010
Paranormal Activity 2|41.6|New| 41.6
Jackass 3D|21.5|-57% |87.1
Red|15.1|-31%|43.6
Hereafter|11.9||12.2
The Social Network|7.2|-31%|72.8
Secretariat|6.9|-26%|37.3
Life As We Know It|6.1|-32%|37.5
Legend of the Guardians|3.1|-26%|50.1
The Town|2.7|-33%| 84.6
Easy A|1.7|-35%|54.7
Tags: Easy A, Hereafter, Jackass 3D, Legend of the Guardians, Life As We Know It, Paranormal Activity 2, Red, Secretariat, The Social Network, The Town
Posted in Estimates, MCN Weekend | Comments Off on Weekend Estimates – October 24
Saturday, October 23rd, 2010
Paranormal Activity 2|19.1|3216|New|19.1
Jackass 3D|7.6|3111|-66%|73.1
Red|4.5 |3273|-38%|33
Hereafter|4.1|2175||4.4
The Social Network|2.2|2921|-34%|67.8
Life As We Know It|2|3019|-35%|33.4
Secretariat|1.9|3108|-31%|32.4
The Town|0.8|1918|-35%|82.7
Legend of the Guardians|0.75|2236|-27%|47.7
Easy A|0.55|1632|-35%|53.6
Also Debuting
Score: A Hockey Musical|81,400|120||81,400
Rakhtcharitra|63,700|29||63,700
Jhootha Hi Sahi|20,200|48||20,200
My Girlfriend’s Boyfriend|3,700|2||3,700
Taqwacores|2,400|1||2,400
Boxing Gym|2,300|1||2,300
Inhale|1,300|2||1,300
||||
*in millions|||
Tags: boxing gym, Easy A, Hereafter, inhale, Jackass 3D, Jhootha Hi Sahi, Legend of the Guardians, Life As We Know It, My Girlfriend's Boyfriend, Paranormal Activity 2, Rakhtcharitra, Red, Score: A Hockey Musical, Secretariat, Taqwacores, The Social Network, The Town
Posted in Friday Box Office Estimates, MCN Originals, MCN Weekend, Movie City News | Comments Off on Friday Estimates – October 23
Sunday, October 17th, 2010
Jack’use!
Jackass 3D was better than all right with an estimated $49.3 million that easily ranked it at the top of the weekend movie going charts. Another freshman, the seasoned action-comedy Red, ranked second with $21.9 million. The session’s third national debut in medium-wide release was the inspirational N Secure with an OK $133,000 bow.
Among niche and regional bows the polemical documentary I Want Your Money failed to bring out the vote with a $236,000 tally from 537 screens. Telegu-language Brindaavanam rang up an impressive $10,320 average from 20 venues while Bollywood entry Aakrosh was a washout with a $46,400 gross from 24 screens.
Among the week’s exclusive newbies the clear favorite was Hereafter with a $37,380 per screen from six early peeks. There were also impressive openings for the three-hour plus portrait of a terrorist Carlos of $33,700 from single dates in Manhattan and Montreal and a sturdy $101,000 gross for the ripped from the headlines Conviction at 11 cells.
Overall weekend box office revenues topped $130 million for a sizeable 42% boost from seven days back. However, it fell 4% below last year’s tally and the 2010 box office has shrunk to just 2% better than the prior year’s gross for the same period.
Industry trackers had pegged the stereoscopic version of Jackass at roughly $30 million prior to its opening. But they obviously were deaf to bygone wag Henry Mencken’s observation that “no one ever went broke underestimating the intelligence of the American public.” The recently under-served young male audience were eager to don Polaroid glasses and see the aging stars of the reality skein making fools of themselves and others up close and personal.
Pundits also undervalued Red with early estimates in a $15 million to $18 million range. The single joke premise of over the hill spies conscripted back into service (more intentionally mawkish than The Expendables) skewed older but obviously had some appeal for a younger crowd in search of something marginally less mind numbing that required optical gimmicks.
The glacial expansion of Waiting for “Superman” continued to display stamina but it’s clear that Never Let Me Go has peaked and that the rapid expansion of Nowhere Boy left the early years of John Lennon stranded outside the Cavern Club. Stone was experiencing a better than expected hold as it increased its exposure from six to 41 venues.
The frame’s two award contenders – Hereafter and Conviction – constructed solid foundations for their platform bids. Still the early signs suggest a better than anticipated commercial run for the former with the latter yarn requiring a lot of TLC to reach a wider audience.
Among holdovers the second lap for Secretariat showed signs that audiences were discovering the heartfelt saga and The Social Network continues to be propped up by award buzz rather than Facebook fascination.
__________________________________________________
Weekend Estimates – October 15-17, 2010
Title |
Distributor |
Gross (average) |
% change * |
Theaters |
Cume |
Jackass 3D |
Par |
49.3 (16,010) |
New |
3081 |
49.3 |
Red |
Summit |
21.9 (6,740) |
New |
3255 |
21.8 |
The Social Network |
Sony |
10.8 (3,910) |
-30% |
2771 |
63 |
Secretariat |
BV |
9.4 (3,070) |
-26% |
3072 |
27.4 |
Life As We Know It |
WB |
9.2 (2,910) |
-37% |
3150 |
28.8 |
Legend of the Guardians |
WB |
4.2 (1,670) |
-39% |
2502 |
46 |
The Town |
WB |
4.0 (1,700) |
-37% |
2368 |
80.6 |
My Soul to Take |
Uni/Alliance |
3.1 (1,240) |
-54% |
2529 |
11.9 |
Easy A |
Sony |
2.6 (1,140) |
-39% |
2314 |
52.3 |
Wall Street: Money Never Sleeps |
Fox |
2.3 (1,110) |
-50% |
2045 |
47.8 |
N Secure |
FreeStyle |
1.3 (2,730) |
New |
486 |
1.3 |
It’s Kind of a Funny Story |
Focus |
1.3 (1,660) |
-38% |
757 |
4 |
You Again |
BV |
1.2 (750) |
-53% |
1588 |
22.7 |
Case 39 |
Par Vantage |
1.2 (840) |
-56% |
1406 |
11.9 |
Devil |
Uni |
1.0 (1,100) |
-46% |
891 |
31.6 |
Let Me In |
Overture |
.83 (690) |
-66% |
1211 |
11.1 |
Alpha and Omega |
Lions Gate |
.81 (840) |
-46% |
969 |
22.6 |
Waiting for “Superman” |
Par Vantage |
.74 (4,060) |
17% |
182 |
2.5 |
Toy Story 3 |
BV |
.52 (1,480) |
-6% |
350 |
412.8 |
Inception |
WB |
.35 (1,180) |
-29% |
297 |
289.7 |
Resident Evil: Afterlife |
Sony/Alliance |
.34 (780) |
-73% |
438 |
59.7 |
|
|
|
|
|
|
|
|
|
|
|
|
Weekend Total ($500,000+ Films) |
|
$125.70 |
|
|
|
% Change (Last Year) |
|
-4% |
|
|
|
% Change (Last Week) |
|
42% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
Nowhere Boy |
Weinstein Co. |
.33 (1,550) |
554% |
215 |
0.41 |
Never Let Me Go |
Searchlight |
.32 (1,390) |
-7% |
232 |
1.65 |
You Will Meet a Tall Dark Stranger |
Sony Classics |
.27 (2,440) |
1% |
112 |
1.26 |
I Want Your Money |
FreeStyle |
.24 (440) |
|
537 |
0.24 |
Stone |
Overture |
.23 (5,780) |
199% |
41 |
0.34 |
Hereafter |
WB |
.22 (37,380) |
|
6 |
0.22 |
Brindaavanam |
Blue Sky |
.21 (10,320) |
|
20 |
0.21 |
Buried |
Lions Gate |
.13 (1,270) |
-41% |
103 |
0.76 |
Conviction |
Fox Searchlight |
.10 (9,200) |
|
11 |
0.1 |
Aakrosh |
Eros |
46,400 (1,930) |
|
24 |
0.05 |
Carlos |
IFC |
33,700 (16,850) |
|
1 |
0.03 |
Knockout |
Eros |
18,100 (700) |
|
26 |
0.02 |
A Better Tomorrow |
CJ Entertainment |
5,800 (5,800) |
|
1 |
0.01 |
Down Terrace |
Magnolia |
2,900 (1,450) |
|
2 |
0.01 |
Samson and Delilah |
Ipix |
2,300 (1,150) |
|
2 |
0.01 |
Domestic Market Share – January 1 – October 14, 2010
Distributor (releases) |
Gross |
Market Share |
Warner Bros. (24) |
1380.1 |
16.40% |
Fox (16) |
1284.6 |
15.30% |
Paramount (14) |
1242.3 |
14.80% |
Buena Vista (15) |
1129.6 |
13.40% |
Sony (23) |
1111.7 |
13.20% |
Universal (17) |
765.4 |
9.10% |
Summit (9) |
425.1 |
5.10% |
Lionsgate (12) |
410.1 |
4.90% |
Overture (7) |
78.2 |
0.90% |
Fox Searchlight (5) |
72.1 |
0.90% |
Focus (7) |
71.4 |
0.90% |
Weinstein Co. (7) |
61.1 |
0.70% |
Sony Classics (20) |
52.9 |
0.60% |
MGM (1) |
50.4 |
0.60% |
CBS (2) |
50 |
0.60% |
Other * (266) |
222.3 |
2.60% |
|
8407.3 |
100.00% |
* none greater than .04% |
Tags: A Better Tomorrow, Aakrosh, Alpha and Omega, Brindaavanam, Buried, carlos, Case 39, Conviction, Devil, down terrace, Easy A, Hereafter, I Want Your Money, Inception, It's Kind Of A Funny Story, jackass 3-d, Jackass 3D, Knockout, Legend of the Guardians, Let Me In, Life As We Know It, My Soul To Take, N Secure, Never Let Me Go, Nowhere Boy, Red, Resident Evil: Afterlife, samson and delilah, Secretariat, Stone, The Social Network, The Town, Toy Story 3, Waiting For 'Superman', Wall Street: Money Never Sleeps, Walt Street: Money Never Sleeps, You Again, You Will Meet A Tall Dark Stranger
Posted in MCN Originals, MCN Weekend, Movie City News, The Weekend Report | 1 Comment »
Sunday, October 17th, 2010
Jackass 3D|49.3|New| 49.3
Red|21.9|New |21.9
The Social Network|10.8|-30%|63
Secretariat|9.4|-26%|27.4
Life As We Know It|9.2|-37%|28.8
Legend of the Guardians|4.2|-39%|46
The Town|4.0|-37%|80.6
My Soul to Take|3.1|-54%|11.9
Easy A|2.6|-39%| 52.3
Wall Street: Money Never Sleeps|2.3|-50%|47.8
Tags: Easy A, jackass 3-d, Legend of the Guardians, Life As We Know It, My Soul To Take, Red, Secretariat, The Social Network, The Town, Wall Street: Money Never Sleeps
Posted in Estimates, MCN Weekend | Comments Off on Weekend Estimates – October 17
Saturday, October 16th, 2010
Jackass 3D|20.4|3081|New|20.4
Red|8 |3255|New|8
The Social Network|3.3|2868|-31%|55.4
Life As We Know It|3|3150|-42%|22.7
Secretariat|2.9|3072|-29%|20.9
The Town|1.2|2368|-34%|77.7
Legend of the Guardians|1|2502|-42%|42.8
My Soul to Take|1|2529|-63%|9.7
Easy A|0.8|2314|-38%|50.5
Wall Street: Money Never Sleeps|0.7|2045|-49%|46.3
Also Debuting
N Secure|0.42|486||0.42
I Want Your Money|83,400|537||83,400
Brindaavanam|59,300|20||59,300
Hereafter|57,900|6||57,900
Conviction|29,100|11||29,100
Aakrosh|12,300|24||12,300
Carlos|6,900|1||6,900
Knockout|4,800|6||4,800
Vision|3,900|2||3,900
A Better Tomorrow|1,900|1||1,900
||||
*in millions|||
Tags: carlos, Conviction, Easy A, Hereafter, Jackass 3D, Legend of the Guardians, Life As We Know It, My Soul to Tak, Red, Secretariat, The Social Network, The Town, Wall Street: Money Never Sleeps
Posted in Friday Box Office Estimates, MCN Originals, MCN Weekend, Movie City News | Comments Off on Friday Estimates – October 16
Monday, October 11th, 2010
Let me start by saying that I didn’t see Life as We Know It because I’ve already seen it. Chances are you’ve seen it too. Based on the premise and the trailer, I’m fairly confident that I could predict every beat in that film. Not only do I know everything that will happen in it, I’m pretty sure I can predict how the actors will say their lines, when the music will reach a crescendo, when a montage will occur, and how it will be shot and edited. This is the nature of romantic comedies today; no innovation, just re-purposing old tricks that have worked well in the past. It is the one genre where it seems like nobody has any interest in creating art.
Look at Katherine Heigl’s filmography over the past four or five years and you’ll see that it is littered with nothing but romantic comedies. And, other than Knocked Up, there isn’t a single decent one. It’s not just that she’s in films that are unoriginal and uninspiring, but that the characters she generally plays is the same: uptight, hard-working, no sense of humor, shrill, etc.
Frankly, she’s playing a very specific female stereotype and it’s difficult for me to see her movies as particularly empowering to women when all of them involve her not finding happiness until she finds love with a man who is usually irresponsible or loutish or a murderer (as in Killers). So, the message of these movies – like The Ugly Truth, 27 Dresses and yes, even Knocked Up – is that if you’re a hard-working and mature woman in your late 20s or early 30s, then just loosen the fuck up and lower your standards already!
How many films have we seen that follow this pattern in the last few years? Hollywood continues to churn out romantic comedies with the same theme. I just find it fascinating that in all of these films it’s the woman who has to be the one to lower her standards in some way. Look at She’s Out of My League; hell, it’s in the title! She’s a wonderful, beautiful woman and she falls for an unattractive, fumbling man because he makes her laugh with his awkwardness? Yeah, sorry, I don’t think that relationship’s going to last a long time.
There’s a strange kind of propaganda with these films about marriage. Every film like this ends with a proposal, a wedding, a flash-forward to a point where they are already married, etc. It’s bizarre to think that there can’t be a romantic comedy that doesn’t end with the leads either getting married or having children. It’s even more bizarre to think that in this day and age we can’t have a romantic comedy that ends with our leads single. Sometimes in life, avoiding a relationship is the smartest move one can make, so why can’t we have a film that shows us that?
Know what would have been a perfect film to show us that? Sex and the City 1 or 2. I will always be disappointed in the way that show unfolded to the point where four self-reliant single women all became dependent on rich men for their happiness. When the show ended with each woman involved in committed relationships, I was aghast that an HBO show didn’t have the balls to follow through on its initial premise and have at least one of the women remaining single and fabulous.
They compounded that mistake in the first film by having Carrie actually get married, then realized that they had to find a way to extricate Samantha from her relationship so that future films wouldn’t be about four married women. Still, in the sequel, we have four happy women and so the filmmakers have to create things for the characters to do that we might find interesting; they painted themselves into a corner. So instead of giving us a narrative we find compelling, instead we get two and a half hours of Sarah Jessica Parker wearing different outfits! I understand fashion is a big part of the show and the films, but I’m willing to bet most people aren’t going to the movies to see women in their 40s try on different outfits.
But women love shopping, right? That’s what Hollywood has taught us, which is why we get a scene of women going to boutiques and trying on clothes in every other romantic comedy. I can think of one time when it worked well: Pretty Woman. It was an empowering moment for Julia Roberts in that film because she had been denied the opportunity by those snobby women earlier in the movie. In most “shopping” scenes since then, it just feels contrived.
The reason people went nuts for 500 Days of Summer last year was the fact that for once there were real people doing semi-realistic things that couples actually do. But even that film couldn’t help itself and had the happy ending and the scene where he quits his job with a big speech in front of a board room full of co-workers. Still, at least that film was attempting something different. Same goes for Adventureland. But these are films about a younger generation, so there is no marriage on the horizon and we can assume that they are young enough that these relationships might not last a lifetime.
Know what my favorite romantic comedy of the last year or so has been? Drew Barrymore’s Whip It. I’m not quite sure that I would call it a romantic comedy, although there are definitely scenes of romance and it is definitely a comedy. I don’t think that film got enough credit for what it accomplished: it gave us an empowered young female who realizes she might be getting played by her boyfriend and instead of forgiving him or believing his (possibly legitimate) excuse, she just kisses him and walks away. She’s a strong, independent woman who has bigger dreams (and nightmares) in her life than some dude who may or may not be in love with her. I was surprised because it went in a direction I did not expect, which is so rare for movies in general these days and especially for movies like that one.
Films like The Proposal, He’s Just Not That into You, It’s Complicated, Bride Wars, etc. I just don’t understand why anyone is seeing them. I keep hearing over and over that it’s because they are “fantasies.” But fantasies are supposed to be empowering or exciting; they are supposed to show us that we can lead lives that are different from our own. A true “fantasy” is something that most mere mortals cannot attain, so I don’t understand how getting engaged or married or having a child is a fantasy when it’s completely within the realm of possibility for most people.
I could see how Eat, Pray, Love could be considered a fantasy since most people don’t have the means or courage to do what Julia Roberts’ character does in that film. Although, again, her journey is not complete until she finds a man of course!
Look, I’ve written a lot about romantic comedies in this column and it’s because it’s one of my favorite genres. I complain only because I love. I mean, the films of Eric Rohmer are mostly romantic comedies, but they have almost no resemblance to what America has produced in the last twenty years. There is no risk-taking with romantic comedies these days. Look at Annie Hall, a film that is hailed as one of the greatest films in the genre; spoiler alert, Alvy Singer doesn’t get the girl in the end. How about Billy Wilder’s The Apartment? That film deals with suicide and adultery. Doubtful we’d find those two topics in romantic comedies made fifty years later.
One of my favorite romantic comedies of all-time (and indeed one of my personal favorite films of all-time), something I watched with my mother when I was growing up countless times, is a film called Seems Like Old Times. Neil Simon wrote it and it stars Goldie Hawn. She’s a lawyer who represents small-time crooks who are mostly illegal aliens. She’s married to the District Attorney (played by Charles Grodin) and her ex-husband (Chevy Chase) is a writer who is on the run for as crime he didn’t commit. It’s a complicated film that deals with complex emotional issues, but does so in a hilarious screwball way. Hawn also gets to play a woman who is never shrill, always accommodating and yet she’s tough, but sweet. She’s, you know, an actual person.
The craziest part is that Goldie Hawn is actually stuck trying to choose between two men she loves very deeply. As an audience, our allegiance shifts constantly and we don’t know how it will end or who she will end up with. Then, in a stroke of brilliance, the film ends on a moment of ambiguity. Can you imagine? Ambiguity at the end of a romantic comedy? I just need to say something I almost never say: when it comes to romantic comedies, they really don’t make them like they used to.
Tags: 27 dresses, Bride Wars, He's Just Not that Into You, It's Complicated, Katherine Heigl, Knocked Up, Life As We Know It, pretty woman, Sex and the City, she's out of your league, The Proposal, The Ugly Truth, Whip It
Posted in Columns, Forrest, Frenzy On Column, MCN Originals, Movie City News | 5 Comments »
Sunday, October 10th, 2010
Nobody Nose Anything
The Social Network surprised pundits with a better than expected hold and won the weekend movie going chase with an estimated $15.3 million. Three national debs were on its tail with lackluster returns. The rom-com Life As We Know It faltered in the clutch with $14.6 million while the much ballyhooed turf saga Secretariat posted $12.4 million, and there was a lack of stereoscopic shock for My Soul to Take with $6.9 million.
There was also a lack of oomph for the comic oddity It’s Kind of a Funny Story with $2 million tally-woo from 742 engagements.
In the niches Telegu-language Khaleja had a buoyant bow of $343,000 from 24 screens and OK returns of $72,700 for French thriller L’Immortel in Quebec. There were also a raft of exclusive bows with Darwinian winners that included the young John Lennon of Nowhere Boy grossing $51,300 at four venues, the squeezed of non-fiction Inside Job with $37,500 at two interviews and psychological thriller Stone with $71,400 from six couches.
Overall business once again took a dip with 2010 box office now less than 2% ahead of last year’s pace and industry mavens sweating out a quick reversal of fortune.
Tracking reports had pegged the uplifting tale of racing Triple Crowner Secretariat as the weekend’s odds-on favorite with estimates in the range of $16 million to $18 million. But its appeal to women and an older demo that remembered the four-legged wonder of the early 1970s failed to bring ‘em out in its maiden performance despite a considerable marketing push.
Life As We Know It was expected to be about a length behind Secretariat but pulled ahead right from the opening gate. It opened ahead of the pack on Friday with a $5.2 million bow but quickly lost ground to The Social Network as the weekend advanced.
And My Soul to Take fell smack in the middle of estimates in the $6 million to $8 million range. All three of the newbies skewed toward distaff viewers and there’s little question the marketplace is in dire need of something for the boys.
Weekend revenues pushed to roughly $92 million that represented a 4% dip from seven days back. It was a considerably steeped 16% fall from 2009 when the launch of Couples Retreat topped the charts on a $34.3 million first salvo.
On the expansion track, the “what’s wrong with our education” doc Waiting for “Superman” is holding up well and Woody Allen’s You Will Meet a Tall Dark Stranger continues to draw in aficionados. But the dour Never Let Me Go appears to have peaked early in the awards season. Among the new entries the highly enjoyable Tamara Drewe proved to be the surprise commercial disappointment with a dull $4,300 engagement average from four initial exposures.
__________________________________________________
Weekend Estimates – October 1-3, 2010
Title |
Distributor |
Gross (average) |
% change * |
Theaters |
Cume |
The Social Network |
Sony |
15.3 (5,520) |
-32% |
2771 |
45.9 |
Life As We Know It |
WB |
14.6 (4,630) |
New |
3150 |
14.6 |
Secretariat |
BV |
12.4 (4,050) |
New |
3072 |
12.4 |
My Soul to Take |
Uni/Alliance |
6.9 (2,670) |
New |
2572 |
6.9 |
Legend of the Guardians |
WB |
6.8 (2,100) |
-38% |
3225 |
39.2 |
The Town |
WB |
6.3 (2,310) |
-36% |
2720 |
73.7 |
Wall Street: Money Never Sleeps |
Fox |
4.5 (1,600) |
-55% |
2829 |
43.6 |
Easy A |
Sony |
4.1 (1,450) |
-39% |
2847 |
48.1 |
Case 39 |
Par Vantage |
2.6 (1,160) |
-55% |
2212 |
9.5 |
You Again |
BV |
2.4 (1,030) |
-58% |
2332 |
20.7 |
Let Me In |
Overture |
2.4 (1,160) |
-54% |
2042 |
9.1 |
It’s Kind of a Funny Story |
Focus |
2.0 (2,670) |
New |
742 |
2 |
Devil |
Uni |
1.7 (1,210) |
-51% |
1442 |
30 |
Alpha and Omega |
Lionsgate |
1.4 (890) |
-51% |
1616 |
21 |
Resident Evil: Afterlife |
Sony/Alliance |
1.2 (1,210) |
-56% |
1012 |
58.8 |
Waiting for “Superman” |
Par Vantage |
.63 (6,120) |
54% |
103 |
1.4 |
Toy Story 3 |
BV |
.55 (1,400) |
140% |
393 |
412 |
Inception |
WB |
.52 (1,290) |
-43% |
403 |
289.2 |
Takers |
Sony |
.39 (950) |
-50% |
412 |
56.8 |
Catfish |
Uni/Alliance |
.37 (2,590) |
-37% |
143 |
2.2 |
Khaleja |
Ficus |
.34 (14,290) |
|
24 |
0.39 |
Never Let Me Go |
Searchlight |
.33 (1,990) |
77% |
167 |
1.1 |
|
|
|
|
|
|
|
|
|
|
|
|
Weekend Total ($500,000+ Films) |
|
$86.30 |
|
|
|
% Change (Last Year) |
|
-16% |
|
|
|
% Change (Last Week) |
|
-4% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
You Will Meet a Tall Dark Stranger |
Sony Classics |
.25 (3,380) |
15% |
73 |
0.84 |
Buried |
Lionsgate |
.21 (2,300) |
118% |
92 |
0.5 |
L’Immortel |
Seville |
72,700 (3,030) |
|
24 |
0.07 |
Stone |
Overture |
71,400 (11,900) |
|
6 |
0.07 |
Nowhere Boy |
Weinstein Co. |
51,300 (12,820) |
|
4 |
0.05 |
Inside Job |
Sony Classics |
37,500 (18,750) |
|
2 |
0.04 |
Route 132 |
Alliance |
37,300 (1,430) |
|
26 |
0.06 |
I Spit on Your Grave |
Anchor Bay |
30,800 (2,570) |
|
12 |
0.03 |
Tamara Drewe |
Sony Classics |
17,200 (4,300) |
|
4 |
0.02 |
Ghetto Physics |
IDP |
10,700 (1,190) |
|
9 |
0.01 |
Budrus |
Balcony |
8,400 (8,400) |
|
1 |
0.01 |
It’s a Wonderful Afterlife |
UTV |
5,500 (770) |
|
20 |
0.01 |
As Good as Dead |
First Look |
1,850 (1,850) |
|
1 |
0.01 |
Domestic Market Share – January 1 – October 7, 2010
Distributor (releases) |
Gross |
Market Share |
Warner Bros. (23) |
1340.5 |
16.20% |
Fox (16) |
1277.7 |
15.40% |
Paramount (14) |
1237.4 |
15.00% |
Buena Vista (14) |
1107.4 |
13.40% |
Sony (23) |
1081.3 |
13.10% |
Universal (16) |
753.6 |
9.10% |
Summit (9) |
425.1 |
5.10% |
Lionsgate (12) |
407.1 |
4.90% |
Overture (6) |
74.5 |
0.90% |
Fox Searchlight (5) |
71.5 |
0.90% |
Focus (6) |
68.4 |
0.80% |
Weinstein Co. (6) |
60.9 |
0.70% |
Sony Classics (19) |
52.3 |
0.60% |
MGM (1) |
50.4 |
0.60% |
CBS (2) |
50 |
0.60% |
Other * (260) |
217.3 |
2.60% |
|
8275.4 |
100.00% |
* none greater than .04% |
Top Global Grossers: January 1 – October 7, 2010
Title * |
Distributor |
Gross |
Avatar * |
Fox |
1,948,069,404 |
Toy Story 3 |
BV |
1,047,492,510 |
Alice in Wonderland |
BV |
1,024,537,295 |
Twilight: Eclipse |
Summit |
691,330,829 |
Inception |
WB |
803,799,128 |
Shrek Forever After |
Par |
732,163,289 |
Iron Man 2 |
Par |
622,718,660 |
How to Train Your Dragon |
Par |
494,288,254 |
Clash of the Titans |
WB |
489,778,913 |
Sherlock Holmes * |
WB |
367,796,599 |
Despicable Me |
Uni |
367,194,481 |
The Karate Kid |
Sony |
357,206,535 |
Prince of Persia: The Sands of Time |
BV |
335,020,929 |
Robin Hood |
Uni |
311,610,747 |
The Last Airbender |
Par |
310,375,125 |
Shutter Island |
Par |
301,977,955 |
Sex and the City 2 |
WB |
301,158,934 |
Salt |
Sony |
287,626,258 |
Alvin and the Chipmunks: The Squeakquel |
Fox |
264,341,533 |
Grown Ups |
Sony |
261,324,243 |
The Expendables |
Lionsgate |
257,529,373 |
Resident Evil: Afterlife |
Sony/Alliance |
244,795,280 |
Knight and Day |
Fox |
229,686,302 |
Percy Jackson & the Olympians |
Fox |
226,497,209 |
Valentine’s Day |
WB |
217,596,116 |
|
|
* does not include 2009 box office |
Tags: Alpha and Omega, As Good as Dead, Budrus, Buried, Case 39, Catfish, Devil, Easy A, Ghetto Physics, I Spit on Your Grave, Inception, Inside Job, It's a Wonderful Afterlife, It's Kind Of A Funny Story, khaleja, L'Immortel, Legend of the Guardians, Let Me In, Life As We Know It, My Soul To Take, Never Let Me Go, Nowhere Boy, Resident Evil: Afterlife, Route 132, Secretariat, Stone, Takers, Tamara Drewe, The Social Network, The Town, Toy Story 3, Waiting For 'Superman', Walt Street: Money Never Sleeps, You Again, You Will Meet A Tall Dark Stranger
Posted in MCN Originals, MCN Weekend, Movie City News, The Weekend Report | 3 Comments »
Sunday, October 10th, 2010
The Social Network|15.3|-32%| 45.9
Life As We Know It|14.6|New |14.6
Secretariat|12.4|New|12.4
My Soul to Take|6.9|New|6.9
Legend of the Guardians|6.8|-38%|39.2
The Town|6.3|-36%|73.7
Wall Street: Money Never Sleeps|4.5| -55%|43.6
Easy A|4.1|-39%|48.1
Case 39|2.6| -55%| 9.5
You Again|2.4|-58%|20.7
Tags: Case 39, Easy A, Legend of the Guardians, Life As We Know It, My Soul To Take, Secretariat, The Social Network, The Town, Wall Street: Money Never Sleeps, You Again
Posted in Estimates, MCN Weekend | Comments Off on Weekend Estimates – October 10
Saturday, October 9th, 2010
Life As We Know It|5.2|3150||5.2
The Social Network|4.8 |2771|-40%|35.4
Secretariat|4|3072|New|4
My Soul to Take|2.6|2572|New|2.6
The Town|1.9|2720|-41%|69.3
Legend of the Guardians|1.8|3225|-31%|34.1
Wall Street: Money Never Sleeps|1.4|2820|-58%|40.4
Easy A|1.3|2847|-41%|45.3
Case 39|0.8|2212|-57%|7.8
Let Me In|0.75|2042|-61%|7.5
Also Debuting
It’s Kind of a Funny Story|0.6 5|742||0.65
Khaleja|32,500|22||32,500
L’Immortel|22,800|24||22,800
Stone|21,300|6||21,300
Nowhere Boy|12,700|4||12,700
I Spit on Your Grave|11,100|12||11,100
Tamara Drewe|5,100|4||5,100
Ghetto Physics|4,990|9||4,990
Budrus|3,450|1||3,450
It’s a Wonderful Afterlife|1,500|18||1,500
||||
*in millions|||
Tags: Case 39, Easy A, It's Kind Of A Funny Story, khaleja, Legend of the Guardians, Let Me In, Life As We Know It, My Soul To Take, Nowhere Boy, Secretariat, Stone, Tamara Drewe, The Social Network, The Town, Wall Street: Money Never Sleeps
Posted in Friday Box Office Estimates, MCN Originals, MCN Weekend, Movie City News | Comments Off on Friday Estimates – October 9
Friday, October 8th, 2010
Secretariat (Three and a Half Stars)
U. S.; Randall Wallace, 2010
If you’ve got a great story, in life or in movies, the best thing to do is usually to let it fill your heart, tell it clearly, keep it straight and pure, and don’t load it up with agendas and tack-ons. The new movie Secretariat has a great story, an almost unbelievable (but mostly fact-based) story — the incredible saga of the horse who won the 1973 Triple Crown, blew away the field, set unmatchable records, and is still regarded almost universally as the greatest race horse who ever lived and ran. (Almost?)
(more…)
Tags: Buried, Diane Lane, John Malkovich, Let Me In, Life As We Know It, Secretariat, You Again
Posted in Columns, MCN Originals, MCN Weekend, MCN Weekend Reviews, Movie City News, Movie Review, Reviews, Wilmington | Comments Off on Wilmington on Movies: Secretariat, Life As We Know It, Buried, You Again, and Let Me In
Thursday, October 7th, 2010
Secretariat|Yellow|Yellow||Yellow|Green
Life As We Know It|||||Red
Inside Job||Green|Green|Green|
It’s Kind of a Funny Story |Yellow|Yellow|Green|Green|
Letters to Father Jacob ||||Green|
Marwencol |||Green||
Stone |Red|Green|Green||Yellow
Nowhere Boy |Green|Green|||Green
Tamara Drewe |Green|Green|Green||
Tags: Inside Job, It's Kind Of A Funny Story, letters to father jacob, Life As We Know It, marwencol, Nowhere Boy, Secretariat, Stone, Tamara Drewe
Posted in MCN Critics Roundup, MCN Weekend | Comments Off on Critics Roundup – October 7
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