Posts Tagged ‘The Eagle’

The Weekend Report — February 20

Sunday, February 20th, 2011

I Am Number?

There was little to salute as the weekend portion of the President’s holiday frame saw movie going once again register box office and admission declines. A trio of new films opened to modest response including the action-thriller Unknown, which led the field (though it could slip to second for the four-day period) with an estimated $21.9 million. Also new were the teen-oriented chiller I Am Number 4 , with $19.4 million to slot third, and the comedy sequel Big Mommas: Like Father, Like Son in position five with $16.4 million.

There were also a tsunami of niche and exclusive bows including new Hindi and Telegu movies from India. But neither 7 Khoon Maaf nor Katha Screenplay Darsakakatvam provided more than a ripple of interest. Best of the limited releases was the non-fiction The Last Lions with $49,400 at four venues and Spanish Oscar submission Even the Rain, which grossed $52,600 from eight screens. And the fistful of exclusive bows was largely non-vigorous, though the doc I Am generated an encouraging $10,100 in its solo flight.

The absence of an 11th hour Oscar surge didn’t help the situation, though two contenders — The King’s Speech and Black Swan — managed to pass the $100 million threshold. Still, the failure of most late calendar releases to find Academy favor and the wave of new releases pushing out front-runners trends toward a serious re-thinking in theatrical exploitation for award season movies.

The four-day weekend should generate roughly $175 million and that translates into a 28% drop from President’s weekend 2010. It’s a more modest 4% erosion from the prior weekend. A year ago the trio of freshmen comprised of Valentine’s Day, Percy Jackson and The Wolfman debuted to respective grosses of $63.1 million, $38.7 million and $35.6 million.

Unknown skewed dramatically older with exits indicating 89% of its ticket buyers older than 25-years old. Surprisingly, I Am Number 4 also went slightly older with 53% plus 25s and Big Mommas had a 50/50 split. Also unexpected was Number 4’s 57/43 split that favored men and only 26% of its audience identified as teens.

The past six months has certainly seen a listing toward what the industry views as an older audience. The combination of the majors’ historic slowness at responding to change in the marketplace and decades of reliance on young males to propel special effects movies into the box office stratosphere is about to face a major challenge in May.

If you build it … will they come? Stay tuned.


Weekend Estimates – February 18-20, 2011

Title Distributor Gross (average) % change * Theaters Cume
Unknown WB 21.9 (7,190) NEW 3043 21.9
Gnomeo and Juliet BV/eOne 19.6 (6,490) -23% 3014 50.6
I Am Number 4 BV 19.4 (6,160) NEW 3154 19.4
Just Go With It Sony 18.3 (5,150) -40% 3548 60.8
Big Mommas: Like Father, Like Son Fox 16.4 (5,810) NEW 2821 16.4
Justin Bieber: Never Say Never Par 13.6 (4,370) -54% 3118 48.5
The King’s Speech Weinstein Co. 6.5 (3,100) -11% 2086 103.2
The Roommate Sony 4.0 (1,870) -50% 2160 32.6
The Eagle Focus 3.4 (1,490) -61% 2296 14.9
No Strings Attached Par 3.1 (1,570) -47% 1966 66
True Grit Par 2.4 (1,660) -36% 1465 164.2
Sanctum Uni 1.5 (1,110) -73% 1377 21.8
The Fighter Par/Alliance 1.5 (1,990) -30% 759 87.9
The Green Hornet Sony 1.5 (1,170) -60% 1265 95.1
Black Swan Fox Searchlight 1.3 (1,970) -39% 656 101.5
The Rite WB 1.1 (1,030) -67% 1048 31.3
The Mechanic CBS 1.0 (1,090) -68% 952 27.9
Cedar Rapids Fox Searchlight .93 (9,120) 207% 102 1.3
Barney’s Version eOne/Sony Classics .80 (2,850) 90% 323 4.3
Tangled BV .55 (1,410) -32% 389 194.1
Biutiful Roadside .52 (3,640) -10% 143 3
Tron: Legacy BV .43 (1,380) -22% 312 170.4
Yogi Bear WB .41 (570) -47% 725 97.2
Weekend Total ($500,000+ Films) $139.30
% Change (Last Year) -28%
% Change (Last Week) -4%
Also debuting/expanding
Blue Valentine Weinstein Co. .32 (1,370) -45% 235 8.8
The Company Men Weinstein Co. .29 (1,210) -44% 242 3.5
Another Year Sony Classics .22 (1,820) -33% 121 2.5
7 Khoon Maaf UTV .19 (2,470) 76 0.19
The Illusionist Sony Classics .19 (1,790) -37% 106 1.5
Even the Rain Vitagraph 52,600 (6,570) 8 0.05
The Last Lions National Geo 49,400 (12,350) 4 0.05
Katha Screenplay Darsakatvam Supreme 36,700 (1,930) 19 0.04
Immigration Tango Roadside 14,400 (380) 30 0.01
En terrains connus eOne 12,600 (1,050) 12 0.01
I Am Paladin 10,100 (10,100) 1 0.01
Brotherhood Phase 4 8,800 (8,800) 1 0.01
The Chaperone IFC 6,900 (690) 10 0.01
Putty Hill Cinema Guild 4,500 (4,500) 1 0.01
Vanishing on 7th Street Magnolia 3,200 (3,200) 1 0.01

Domestic Market Share – 2010

Distributor Gross Market Share
Paramount (8) 236.4 21.60%
Sony (9) 216.8 19.80%
Universal (5) 131.8 12.00%
Buena Vista (4) 114.3 10.40%
Weinstein Co. (3) 90.6 8.30%
Warner Bros. (10) 87.9 8.00%
Fox Searchlight (3) 66.6 6.10%
Fox (4) 47.4 4.30%
CBS (2) 27.4 2.50%
Relativity (2) 24.6 2.20%
Focus (2) 12.9 1.20%
Sony Classics (5) 5.9 0.50%
Other * (49) 33.5 3.10%
1096.1` 100.00%
* none greater than 0.45%

Weekend Estimates — February 20

Sunday, February 20th, 2011

Gnomeo and Juliet|19.6|-23%|50.6
I Am Number 4|19.4|NEW|19.4
Just Go With It|18.3|-40%|60.8
Big Mommas: Like Father, Like Son|16.4|NEW|16.4
Justin Bieber: Never Say Never|13.6|-54%|48.5
The King’s Speech|6.5|-11%|103.2
The Roommate|4.0|-50%|32.6
The Eagle|3.4|-61%|14.9
No Strings Attached|3.1|-47%|66

Friday Estimates – February 18, 2011

Saturday, February 19th, 2011

I Am Number 4|6.1|3154|NEW|6.1
Just Go With It|5.2|3548|-45%|47.7
Big Mommas: Like Father, Like Son|4.7|2821|NEW|4.7
Gnomeo and Juliet|4.2|3014|-32%|35.2
Justin Bieber: Never Say Never|3.8|3788|-70%|38.6
The King’s Speech|1.5|2086|-20%|98.2
The Roommate|1.2|2160|-53%|29.8
The Eagle|1|2296|-65%|12.5
No Strings Attached|0.9|1966|-47%|63.8
Also Debuting
7 Khoon Maaf|55,800|76|
Immigration Tango|3,800|30|

The Weekend Report – February 13

Sunday, February 13th, 2011

Bieber Pitch
By Leonard Klady

It was Sandler by a nose over the teen sensation. The rom-com Just Go With It emerged with an estimated $30.8 million while the 3D concert film Justin Bieber: Never Say Never was right behind with $30.4 million. In a session energized by new releases the animated Gnomeo and Juliet charted third with $25.3 million and the Gladiator-lite The Eagle slotted in position five with a drab $8.3 million.

The frame also featured a clutch of incoming niche and exclusive debuts. Bollywood entry Patiala House was the best of the newbies with $352,000 at 80 venues and on the Pinoy circuit Bulong had an OK $25,300 at six locales. Testing the waters with 15 screens, the comic Cedar Rapids found the temp conducive with a $302,000 tally.

There was also good response to the Oscar shorts tour with a first stop of $237,000 and the pacifist doc Mooz-lum had an impressive $12,000 per location average of $12,000, The single screen bow of another doc, Vidal Sassoon, looked and dressed good with $13,800.

Following a month of box office declines revenues experienced dramatic upturns that have finally put smiles on the folks in the distribution and exhibition sector.

Pundits were confident that the Sandler – Aniston pairing in Just Go With It would generate a $30 million plus opening salvo that would easily outdistance any threat from Justin Bieber’s concert foray. The latter movie was pegged at $25 million to $28 million and was the clear winner on opening day Friday with close to a $3 million edge of $12.4 million.

However, whereas the pubescent fan base proved to be first day fanatics, the older Valentine romantics were dominant for Saturday date night. The Bieber group declined by 13% while the Gos expanded by 42%. Both films skewed female with the concert crowd comprised of a whopping 84% and 67% under 25 according to exit polls. The comedy crowd was 58% distaff and 60% comprised of plus 25%. Never Say Never also registered a very potent 84% attendance for its stereoscopic playdates.

That still left plenty of room for the family audience that embraced Gnomeo and Juliet. Largely underserved in recent weeks, trackers underestimated its appeal with predictions in the range of $16 million to $20 million. The Eagle was the poor cousin in the mix and largely negative reviews didn’t help improve a lackluster response.

Overall revenues pushed to roughly $150 million for an eye-popping 73% boost from the prior weekend. It was also an impressive 32% improvement from 2010. Last year’s freshmen thrust was provided by first and third ranked Dear John and From Paris with Love with respective opening salvos of $30.5 million and $8.2 million.

Obviously with so much incoming fare the crowd of Oscar contenders – even the most resilient – lost a significant number of screens. And if on-going appeal is any kind of indicator, The King’s Speech contingent would be well advised to brush up on their elocution. It sputtered an insignificant 5% erosion despite the loss of 321 theaters.

Weekend (estimates) February 11 – 13, 2011
Title Distributor Gross (avg) % chng Thtrs Cume
Just Go With It Sony 30.8 (8,680) NEW 3548 30.8
Justin Bieber: Never Say Never Par 30.4 (9,790) NEW 3105 30.4
Gnomeo and Juliet BV 25.3 (8,450) NEW 2994 25.3
The Roommate Sony 8.3 (3,290) -44% 2534 26
The Eagle Focus 8.3 (3,630) NEW 2296 8.3
The King’s Speech TWC 7.3 (3,230) -5% 2263 93.8
No Strings Attached Par 5.6 (2,030) -30% 2756 59.8
Sanctum Uni 5.1 (1,830) -46% 2789 17.5
True Grit Par 3.8 (1,820) -19% 2072 160.3
The Green Hornet Sony 3.6 (1,730) -39% 2090 92.3
The Rite WB 3.1 (1,410) -44% 2207 28.7
The Mechanic CBS 3.1 (1,630) -42% 1886 25.3
The Fighter Par/Alliance 2.1 (2,030) -25% 1049 85.6
Black Swan FoxSrchlght 2.1 (1,980) -37% 1069 99.3
Dilemma Uni 1.0 (800) -70% 1242 47.6
Tangled BV .77 (980) -58% 784 193.3
Yogi Bear WB .74 (670) -67% 1111 96.6
Blue Valentine TWC .57 (1,450) -28% 393 8.2
Tron: Legacy BV .55 (1,510) -60% 364 169.7
127 Hours FoxSrchlght .54 (1,500) -50% 359 16.8
Biutiful Roadside .52 (2,740) -19% 190 2.2
The Company Men TWC .51 (1,840) -7% 277 3
Barney’s Version eOne/SPC .44 (4,400) -11% 119 3.3
Weekend Total ($500,000+ Films) $144.10
% Change (Last Year) 32%
% Change (Last Week) 73%
Also debuting/expanding
Patiala House Hari .35 (4,400) 80 0.35
Another Year Sony Classics .34 (1,970) -23% 236 2.2
The Illusionist Sony Classics .32 (1,540) 70% 205 1.15
Cedar Rapids FoxSrchlght .30 (20,150) 15 0.3
2011 Oscar Shorts Magnolia .24 (3,880) 61 0.24
Mooz-lum Peace-Films .13 (12,000) 11 0.13
Gaganam Big Pictures 96,700 (6,400) 16 0.1
Bulong ABS 25,300 (4,210) 6 0.03
Poetry Kino 18,300 (6,100) 3 0.02
Payanam Big Pictures 15,400 (1,490) 9 0.02
Vidal Sassoon: The Movie Phase 4 13,800 (13,800) 1 0.01
Carancho Strand 12,900 (4,300) 3 0.01
Domestic Market Share (Jan. 1 – Feb. 10, 2011)
Distributor (releases) Gross Market Share
Paramount (7) 184.7 20.60%
Sony (8) 157.6 17.50%
Universal (5) 121.9 13.60%
Buena Vista (3) 83.9 9.40%
Warner Bros. (10) 81.3 9.10%
Weinstein Co. (3) 78.8 8.80%
Fox Searchlight (2) 62.4 6.90%
Fox (4) 46.6 5.20%
Relativity (2) 24.5 2.70%
CBS (2) 22.6 2.50%
Alliance (5) 5.3 0.60%
Other * (49) 27.7 3.10%
897.3 100.00%

Friday Estimates – February 11, 2011

Saturday, February 12th, 2011

Justin Bieber: Never Say Never|12.2|3965|NEW|12.2
Just Go With It|9.3|3548|NEW|9.3
Gnomeo and Juliet|6|2994|NEW|6
The Eagle|2.7|2296|NEW|2.7
The Roommate|2.8|2534|-60%|20.2
The King’s Speech|1.8|2263|-22%|88.3
No Strings Attached|1.7|2756|-43%|55.9
True Grit|.95|2072|-38%|158
The Green Hornet|.85|2090-51%|89.6
Also Debuting
Cedar Rapids|77,700|80
2011 Oscar Shorts|53,200|15
Vidal Sassoon: The Movie|5250|1

Kevin Macdonald On Eagle-Eying Footage For Life In A Day

Friday, February 11th, 2011

Kevin Macdonald On Eagle-Eying Footage For Life In A Day

Wilmington on Movies: The Eagle, Gnomeo and Juliet

Thursday, February 10th, 2011


The Eagle (Three Stars)
U.S.-U.K.: Kevin Macdonald, 2011

The Eagle is one of the more enjoyable adventure movies I‘ve seen recently. Set in the wilds of Old Britain in the second century , it’s an old-fashioned, well-crafted, eiting movie, adapted by director Kevin Macdonald and writer Jeremy Brock from Rosemary Sutcliff‘s famous young adult novel “The Eagle of the Ninth.” It’s full of action, emotion, personality and eye-catching scenery — just the kind of things we want in an adventure movie, whether it’s a Western, a tall ship tale, a swashbuckler, or, like this one, a sword-and-sandals Roman empire epic, in the Spartacus-Gladiator tradition.

Macdonald‘s movie also boasts a couple of heroes that actually engage your attention and sympathy (or at least mine): tormented Roman ex-General Marcus Aquila (played by Channing Tatum), and his plucky British slave, Esca (played by Jamie Bell of Billy Elliot).

Tatum‘s Marcus is a noble warrior and a photogenic brooder, retired from command in his youth after a nasty battle with the Picts, and he ‘s obsessed with solving the mystery (a real historical one) of the Roman Ninth Legion, which was defeated by British tribes and vanished in Caledonia (now Scotland) in 140 a.d. Incidentally, he also wants to clear the name of his late father, the Ninth’s commander, as well as to recover the golden eagle that was the Ninth’s standard.

Aquila’s slave Esca, irreverent and indomitable despite his slight stature,  owes his life to his master, who saved him from thumbs-down death at the hands of a gladiator in the Games, and now wants Esca to accompany him on his journey into the dangerous northern land above Hadrian‘s Wall — then so forbidding that the wall was called the End of the World.

It’s a volatile situation. Esca is a native Briton, unafraid and defiant, who didn’t flinch or move when a gladiator laid his sword on his skin in the arena. And we keep wondering throughout much of the movie, which side he’ll ultimately choose: that of the man who was so impressed by his courage and who rescued him, or that of the people of his blood and birth, still fighting the Roman armies and leaders who want to enslave them all.

United uneasily, these two plunge into the wilderness above the wall, the habitat of fierce tribes, and deadly warriors, and perhaps of the descendants of the legion that disappeared — an uncharted realm of glowering skies, craggy mountains, rushing rivers, forests and caves that swallow you up (all shot with ravishing detail and bleak grandeur by cinematographer Anthony Dod Mantle, of 127 Hours) , along with villages and camps seething with dangerous combatants — like the blue-pained Seal People, led by the ferocious Seal Prince (played by Tahar Rahim of the rough, bloody French prison movie A Prophet).

I don’t know about you, but that strikes me as a nearly irresistible premise for a movie. Just watching those two volatile searchers riding off together into the unknown  got the adventure-loving kid in me all revved up again. In some ways The Eagle is formula-bound and exaggerated and even, from some perspectives, a little silly. But it’s not the kind of formula that annoys me. I enjoyed the results much more than I did the recent Centurion, which was also inspired by the disappearance of the Ninth — but was played with surpassing grimness, grotesquerie and deadening brutality, like a period horror movie.

The Eagle is more reminiscent of the classic quest movies, like John Ford‘s The Searchers, of course, with John Wayne as Ethan (“That’ll be the day!”) and Jeffrey Hunter‘s Marty, pursuing the Comanche tribe that killed Ethan’s family, slaughtered his secret love and abducted her daughter. Or Anthony Mann’s Winchester 73, with Jimmy Stewart chasing his beloved rifle, or Howard Hawks’s Red River, with Wayne pursuing his cattle and Monty Clift. Or Clint Eastwood’s The Outlaw Josey Wales. Or Henry Hathaway’s 1969 True Grit with Wayne’s Rooster Cogburn after a killer and bounty money (and the superb recent Coen Brothers/Jeff Bridges remake). Or Hathaway’s underrated Nevada Smith, with Steve McQueen relentlessly on the trail of the bandits who raped and murdered his mother.

Those are all classic, near-classic or “instant classic” Westerns, and The Eagle, superficially part of the genre that includes Spartacus and 300, is reminiscent of them all. With its gorgeous landscapes, bounteous dangers and its embittered, driven heroes or protagonists yoked together in wary admiration, The Eagle often looks and feels like a Western, albeit one of the revisionist oaters of the late ‘6os and ’70s, the Peckinpah-Leone-Eastwood-Penn-Altman period.

And it’s a male bonding movie as well (as are most of the movies above, especially Spartacus): one that mines occasional high drama out of the social differences, clashing temoperaments and ambiguous bonds between Tatum and Bell, both of whom contribute performances above the norm for this kind of movie. (So does Rahim, and so does Donald Sutherland, enjoying himself mightily as Marcus’ worldy-wise, libertine-looking Uncle Aquila (but surrounded by a much better movie than he was in The Mechanic.)

Tatum has been indicted in some quarters for excessive hunkishness, but he strikes me as a good actor for this kind of adventure movie, someone who blends the wayward charisma and short fuse of a younger Russell Crowe with the photogenic toughness of a young Mel Gibson. It’s Bell though, who really makes the movie work, largely because he’s playing so well against expectations, because he  doesn’t initially look as if he belonged in an adventure movie, and because he supplies the intelligence and sensibility and depth that makes the twosome and their interchanges  connect and crackle.

It’s not surprising that The Eagle was based on both fact (embellished by imagination) and on a novel for young adults. The movie has a foundation in actual history, but it also has the crowd-pleasing, wish-fulfillment elements that we maybe love best in youth — or in old age or temporarily recovered youth.

But neither is it a surprise that The Eagle plays so well on screen as a genuine adult genre movie (albeit one that brighter kids should like too). The picture is at least somewhat plausible historically, and it has strong characters caught in real dilemmas, with dramatic moral consequences.

Tellingly, and despite the fact that The Eagle comes from a novel written by a woman, it also lacks big female roles, or the usual trumped-up big-movie romance. There are no implausibly shampooed or mascaraed heroines popping up, indeed hardly any women at all. The movie  could have used a rough, rowdy, witchy Brit or even a few Roman concubines and an amoral queen or two, but that might have been inappropriate for a young adult novel. (One suspects Sutcliff felt no need to supply any eroticism for her younger audience, or to charge up or even acknowledge the sublimated romance between Marcus and Esca.)

And though the action scenes are mostly good rather than great, they’re not annoyingly artificial and over-scaled, or full of visual bombast, like the ones in 300. Real humans with real swords (or maybe real fake ones anyway), thrash and slash at each other on real landscapes, and it reminds us how jarring and alienating CGI, and its phony compuetrized landscapes crammed with phony computerized people, can often be.

The dramatic scenes are what make the movie special. They often bristle with tension and emotion, especially when Marcus and Esca have to switch roles to keep from being killed as invaders — Esca playing the British master, Marcus the captive Roman slave. At the end, when there’s a great chase on, and horses are dying under their riders, I defy any adventure-loving kid or kid-at-heart, not to get caught up in the excitement.

Kevin Macdonald may be exactly the right kind of director for this sort of intelligent adventure movie. His The Last King of Scotland was very strong in its portrayal of a real-life villain and a twisted warrior mentality (Forest Whitaker’s bloody, mad Idi Amin) and his observer (James McAvoy as Amin’s wary Scottish physician). And Macdonald’s mountain-climbing documentary/recreation  Touching the Void has more rousing, real adventure and breath-catching action than most fictional actional movies of the same period. In the truly thrilling “Void,” Macdonald and his fellow filmmakers (including Mantle) give us drama that’s moving and convincing, and adventure that’s mythic.

Macdonald is the grandson of Emeric Pressburger, Michael Powell’s partner on the Archers films, including terrific war-adventure movies like The 49th Parallel, One of Our Aircraft is Missing and The Pursuit of the Graf Spee. Like his brilliant grandpa, he‘s a sophisticated yarn-spinner who still has a relish for the youthful, unspoiled  magic and grand thrills we tend to treasure in the first movies we love.

That’s what the best of The Eagle gives us. As a twelve year old, I know I would have liked it, maybe loved it. And that twelve-year-old is still somewhere inside me as I watch it now, applauding and yearning for a swift horse, the wild frontier and the beautiful, stormy territory ahead.


Gnomeo and Juliet (Two and a Half Stars)
U.S.-U.K.: Kelly Asbury, 2011

This movie seems to have a totally crazy idea — a musical animated feature riff on William Shakespeare‘s unbeatable Romeo and Juliet, with two sets of feuding lawn ornaments (mostly gnomes, but also a green plastic frog, and a pink plastic flamingo) battling and cussing out each other on the lawns of two feuding next-door neighbors: Juliet’s Reds (on a lawn owned by Richard Wilson’s Mr. Capulet)  and Romeo’s Blues (owned by Julie Walters as Miss Montague).

But, dopey as it sounds, it’s more entertaining than you’d expect. I haven’t seen a better Shakespearean gnome romantic musical comedy ever. (Then again, I haven’t seen a worse one.)

The live gnomes, wearing conical red and blue hats (perhaps to indicate political persuasion), are led by their lawn ornament rulers Lord Redbrick (Michael Caine) and Lady Blueberry (Maggie Smith).  There’s a Tybalt (a hard-case gnome voiced well by Jason Statham), a Benvolio (Matt Lucas as “Benny“ of Benny and the Jets), a nurse (Ashley Jensen as the plastic frog Nanette), a friar (Jim Cummings as an out-of-sight pink flamingo named Featherstone). Ozzie Osbourne and Dolly Parton supply the voices for (I kid you not) a Fawn and a busty bombshell called Dolly Gnome. Hulk Hogan voices the main non-Tybalt heavy: a psychotic lawnmower called Terrafirminator. And Bill Shakespeare, or at least his statue, appears, sounding just like Patrick Stewart.

Meanwhile Gnomeo (James McAvoy) proves to be a sturdy little scamp with a roguish fringe of beard, and gnome-sweet-gnome Juliet (Emily Blunt) is an adventurous lass in a Dutch Girl outfit. They’re pretty cute together, but the show is totally stolen by the lesser known Jensen and Cummings, as that weirdly flirtatious frog-nurse and that Peter Sellers-ish bizarrely accented flamingo.

I never thought I’d say it, but Michael Caine and Maggie Smith make pretty good lawn ornaments. Kelly Asbury (co-director of Shrek 2) directed; plenty of people worked on the script. (And it shows it.) One of the movie’s main attractions is the song score by Elton John (who has family connections here), mostly a greatest hits assemblage that includes “Crocodile Rock,” “Saturday Night’s All Right for Fighting” and the seemingly inevitable “Your Song.”

I like John’s songs, they work amazingly well in cartoons, and it’s fun to hear them here, even socked across by swinging lawn ornaments (voiced mostly by John).

But I wish they’d dreamed up some plausible reason, such as an invasion of Elton-Gnomes, to explain why the songs keep suddenly coming on. Then again, as far as gnome movies go (if not Shakespearean adaptations), this one is, uh, fairly well-motivated.

Box Office Hell — February 10

Thursday, February 10th, 2011

Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
Just Go With It|35.2|44.6|33.0|31.0|34.0
Justin Bieber: Never Say Never|27.3|24.4|29.0|29.0|17.0
Gnomeo and Juliet|15.2|12.7|12.0|20.0|16.0
The Eagle|8.0|6.5|11.0|9.|6.5
The King’s Speech|6.0|5.6|6.0|n/a|6.3
The Roommate|5.3|6.0|n/a|7.0|7.2

Duncan Kenworthy On The Producing Life

Thursday, February 3rd, 2011

Duncan Kenworthy On The Producing Life