Posts Tagged ‘The Lincoln Lawyer’
Sunday, May 1st, 2011
Weekend Estimates: April 29-May 1, 2011
Title |
Distributor |
Gross (average) |
% chng |
Theaters |
Cume |
Fast Five |
Uni |
83.1 (22,810) |
NEW |
3644 |
83.1 |
Rio |
Fox |
14.5 (3,900) |
-45% |
3707 |
103.7 |
Madea’s Big Happy Family |
Lionsgate |
10.0 (4,370) |
-60% |
2288 |
41 |
Water for Elephants |
Fox |
9.2 (3,270) |
-45% |
2820 |
32.4 |
Prom |
BV |
4.8 (1,770) |
NEW |
2730 |
4.8 |
Hoodwinked Too! |
Weinstein Co. |
4.1 (1,650) |
NEW |
2505 |
4.1 |
Soul Surfer |
Sony |
3.3 (1,650) |
-39% |
2010 |
33.8 |
Insidious |
Film District |
5.3 (2,530) |
-21% |
1584 |
45.62 |
Hop |
Uni |
2.5 (790) |
-79% |
3176 |
105.2 |
Source Code |
Summit |
2.5 (1,530) |
-51% |
1645 |
48.9 |
African Cats |
BV |
2.3 (1,900) |
-61% |
1224 |
10.6 |
Scream 4 |
Weinstein Co. |
2.2 (1,000) |
-68% |
2221 |
35.5 |
Hanna |
Focus |
2.2 (1,410) |
-58% |
1564 |
35.9 |
Limitless |
Relativity |
1.1 (1,300) |
-59% |
838 |
76.1 |
The Conspirator |
Roadside Attractions |
1.0 (1,480) |
-53% |
691 |
8.7 |
Arthur |
WB |
1.0 (810) |
-75% |
1251 |
31.7 |
The Lincoln Lawyer |
Lionsgate |
.85 (1,180) |
-53% |
719 |
54.9 |
Dylan Dog: Dead of Night |
FreeStyle |
.74 (850) |
|
875 |
0.74 |
Win Win |
Fox Searchlight |
.67 (2,220) |
-40% |
302 |
7.6 |
Your Highness |
Uni |
.61 (1,520) |
-84% |
402 |
21.1 |
Jane Eyre |
Focus |
.52 (1,770) |
-30% |
294 |
8.7 |
The Adjustment Bureau |
Uni |
.51 (1,840) |
106% |
277 |
61.7 |
Atlas Shrugged: Part 1 |
Rocky Mountain |
.41 (1,110) |
-53% |
371 |
3.9 |
Weekend Total ($500,000+ Films) |
|
$150.50 |
|
|
|
% Change (Last Year) |
|
54% |
|
|
|
% Change (Last Week) |
|
15% |
|
|
|
Also debuting/expanding |
|
|
|
|
|
Cave of Forgotten Dreams |
IFC |
.14 (27,440) |
|
5 |
0.14 |
The Greatest Movie Ever Sold |
Sony Classics |
95,600 (2,660) |
-19% |
36 |
0.25 |
In a Better World |
Sony Classics |
76,700 (1,870) |
5% |
41 |
0.4 |
Incendies |
Sony Classics |
69,800 (6,980) |
38% |
10 |
0.14 |
Nenu Naa Rakshasi |
Great India |
45,300 (2,660) |
|
17 |
0.05 |
13 Assassins |
Magnolia |
40,100 (10,020) |
|
4 |
0.04 |
Chalo Dilli |
Eros |
38,400 (1,370) |
|
28 |
0.04 |
Exporting Raymond |
IDP |
35,200 (2,710) |
|
13 |
0.04 |
Vaanam |
Big Cinemas |
26,600 (2,960) |
|
9 |
0.03 |
The Robber |
Kino |
14,100 (2,8200 |
|
5 |
0.01 |
Sympathy for Delicious |
Maya |
8,600 (4,300) |
|
2 |
0.01 |
Lebanon, Pa. |
Truly Indie |
7,300 (3,650) |
|
2 |
0.01 |
That’s What I Am |
IDP |
6,600 (6600 |
|
10 |
0.01 |
Earthwork |
Shadow |
3,200 (3,200) |
|
1 |
0.01 |
The Arbor |
Strand |
1,600 (1,600) |
|
1 |
0.01 |
Domestic Market Share: January 1 – April 21, 2011
Distributor (releases) |
Gross |
Market Share |
Paramount (9) |
418.5 |
15.20% |
Sony (11) |
403.7 |
14.70% |
Universal (9) |
354.7 |
12.90% |
Warner Bros. (16) |
314.1 |
11.40% |
Buena Vista (7) |
263.5 |
9.60% |
Fox (8) |
235.4 |
8.60% |
Weinstein co. (5) |
165.9 |
6.10% |
Relativity (4) |
105.9 |
3.90% |
Fox Searchlight (5) |
87.9 |
3.20% |
Lionsgate (80 |
85.3 |
3.10% |
Focus (4) |
60.7 |
2.20% |
CBS (3) |
57.2 |
2.10% |
Summit (4) |
57.1 |
2.10% |
FilmDistrict (1) |
44 |
1.60% |
eOne/Seville (10) |
15.3 |
0.60% |
Roadside Attractions (6) |
13.7 |
0.50% |
Sony Classics (8) |
13.6 |
0.50% |
Other * (109) |
47.1 |
1.70% |
|
2743.6 |
100.00% |
|
|
|
* none greater than 0.4% |
Tags: 13 assassins, african cats, Arthur, Atlas Shrugged: Part 1, cave of forgotten dreams, Chalo Dilli, Dylan Dog: Dead of Night, Earthwork, Exporting Raymond, Fast Five, Hanna, Hoodwinked Too, hop, In A Better World, incendies, Insidious, Jane Eyre, Lebanon, limitless, Madea's Big Happy Family, Nenu Naa Rakshasi, Pa., Prom, Rio, Scream 4, Soul Surfer, Source Code, Sympathy for Delicious, That's What I Am, The Adjustment Bureau, The Arbor, the conspirator, The Greatest Movie Ever Sold, The Lincoln Lawyer, The Robber, Vaanam, water for elephants, Win Win, Your Highness
Posted in Columns, Klady, MCN Originals, MCN Weekend, Movie City News, The Weekend Report | 2 Comments »
Sunday, April 10th, 2011
The Best That You Can Do is …
Audiences continued to Hop to it as the animated Easter eggs-travaganza topped weekend tickets sales with an eggs-timated $21.6 million. The film bounded well ahead of a quarter of new national releases that saw the remake of Arthur and the distaff thriller Hanna competing for the second slot with the former squeaking ahead by about 200k with a $12.5 million tally. The inspirational Soul Surfer bowed to $10.9 million and the tongue-in-cheek swashbuckler Your Highness swiped $9.5 million.
Among the new niche releases were the non-fiction nature study Born to Be Wild with $820,000 from 206 cages (194 in 3D) and the Mexican comedy No Eres Tu, Soy Yo that grossed $530,000 at 226 venues. Bollywood entry Thank You failed to revivify that sector with a $253,000 bow from 92 engagements.
Exclusives this weekend saw a couple of glimmers of hope including the minimalist western Meek’s Cut Off with $19,800 at two screens. Solo outings for docs Blank City on Manhattan’s early Punk scene and American: The Bill Hicks Story profiling the late comic genius respectively rang up $10,600 and $6,400 in ducats.
The frame’s overall tally generated roughly $118 million and slipped 5% behind last weekend’s biz. It was a slightly more severe 7% lag from 2010 when the second weekend of Clash of the Titans led with $26.6 million; edging out the $25.2 million gross for newcomer Date Night.
Hopes weren’t particularly high for any of the quartet of newcomers with Arthur given the best prospects that ranged from $12 million to $18 million. Your Highness was also overestimated with pundits pegging its bow somewhere between $11 million to $15 million. Conversely the mavens viewed Hanna’s topmost performance at $10 million with similar expectations for Soul Surfer that proved to be accurate.
Hanna’s strength largely came from unexpected response from males that composed slightly more than half of its audience. Soul Surfer drew a resounding 80% female crowd and was the only one of the four new films that had a majority under 25 demographic with 56%. Arthur was 64% older, Your Highness was 55% dominated by plus 25s and Hanna was at the high end with 69%.
The shift so far this year to an older set of ticket buyers has largely been cited as a reflection of weak product though one can hardly imagine what aspect of such films as Sucker Punch or Drive Angry could possibly draw a mature buyer to the multiplex. The industry mantra is that younger male avids will be back in force come May when the summer tentpole fun rides are unleashed.
What appears to have stumped the pundits is what exactly are these bulwarks of movie going doing during this apparent hiatus? No one appears to have done surveys that might indicate whether a trend exists or if there’s an absence of a conclusive shift to other activities. Regardless, no one believes this segment is staying at home and exercising their fast food options. So, clearly the new VoD initiatives are directed toward them and their involvement in the movie experience remains vital to the industry’s health and welfare.
Weekend (estimates)
April 8 – 10, 2011 |
|
|
|
|
|
Title |
Distributor |
Gross (avg) |
% chng |
Theaters |
Cume |
Hop |
Uni |
21.6 (5,980) |
-42% |
3616 |
68.1 |
Arthur |
WB |
12.5 (3,810) |
NEW |
3276 |
12.5 |
Hanna |
Focus |
12.3 (4,850) |
NEW |
2535 |
12.3 |
Soul Surfer |
Sony |
10.9 (4,910) |
NEW |
2214 |
10.9 |
Insidious |
Film District |
9.8 (4,060) |
-26% |
2419 |
27.2 |
Your Highness |
Uni |
9.5 (3,420) |
NEW |
2769 |
9.5 |
Source Code |
Summit |
9.0 (3,040) |
-39% |
2971 |
28.6 |
Limitless |
Relativity |
5.6 (2,130) |
-40% |
2642 |
64.3 |
Diary of a Wimpy Kid: Rodrick Rules! |
Fox |
4.9 (1,690) |
-52% |
2881 |
45.5 |
The Lincoln Lawyer |
Lions Gate |
4.4 (1,830) |
-35% |
2420 |
46.3 |
Rango |
Par |
2.3 (1,140) |
-49% |
2007 |
117.5 |
Sucker Punch |
WB |
2.1 (1,180) |
-66% |
1755 |
33.9 |
Paul |
Uni |
1.7 (1,040) |
-59% |
1667 |
35.1 |
Battle: Los Angeles |
Sony |
1.5 (1,090) |
-57% |
1408 |
81.2 |
Jane Eyre |
Focus |
1.2 (4,780) |
-3% |
247 |
5.2 |
Win Win |
Fox Searchlight |
1.2 (5,220) |
4% |
226 |
3.5 |
The Adjustment Bureau |
Uni |
.88 (1,120) |
-59% |
783 |
60.1 |
Born to Be Wild |
WB |
.82 (3,980) |
NEW |
206 |
0.82 |
The King’s Speech |
Weinstein Co. |
.55 (810) |
-52% |
675 |
137.6 |
No Eres Tu, Soy Yo |
Lions Gate |
.53 (2340) |
NEW |
226 |
0.53 |
Red Riding Hood |
WB |
.52 (670) |
-71% |
777 |
36.7 |
|
|
|
|
|
|
Weekend Total
($500,000+ Films) |
|
$113.80 |
|
|
|
% Change (Last Year) |
|
-7% |
|
|
|
% Change (Last Week) |
|
-5% |
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
Thank You |
UTV |
.25 (2,750) |
|
92 |
0.25 |
Kill the Irishman |
Anchor Bay |
91,600 (1,760) |
-19% |
52 |
0.85 |
Miral |
Weinstein Co. |
55,700 (1,920) |
-24% |
29 |
0.25 |
In a Better World |
Sony Classics |
48,600 (4,050) |
47% |
12 |
0.1 |
Meek’s Cut Off |
Osciloscope |
19,800 (9,900) |
|
2 |
0.02 |
Blank City |
FilmsWeLike |
10,600 (10,600) |
|
1 |
0.01 |
Meet Monica Velour |
Anchor Bay |
7,300 (3,650) |
|
2 |
0.01 |
Ceremony |
Magnolia |
6,800 (2,270) |
|
3 |
0.01 |
Henry’s Crime |
Moving Pictures |
6,600 (3,300) |
|
2 |
0.01 |
American: The Bill Hicks Story |
Variance |
6,400 (6,400) |
|
1 |
0.01 |
To Die Like a Man |
Strand |
2,150 (2,150) |
|
1 |
0.01 |
|
|
|
|
|
|
|
|
|
|
|
|
Domestic Market Share (Jan. 1 – April 7, 2011) |
|
|
|
|
Distributor (releases) |
Gross |
Market Share |
|
|
|
Paramount (9) |
413.6 |
18.20% |
|
|
|
Sony (10) |
370.9 |
16.30% |
|
|
|
Universal (8) |
276.1 |
12.10% |
|
|
|
Warner Bros. (14) |
273.6 |
12.00% |
|
|
|
Buena Vista (6) |
255.2 |
11.20% |
|
|
|
Weinstein Co. (4) |
133.4 |
5.90% |
|
|
|
Fox (6) |
127.6 |
5.60% |
|
|
|
Relativity (4) |
90.5 |
4.00% |
|
|
|
Fox Searchlight (4) |
82.9 |
3.70% |
|
|
|
CBS (3) |
56.6 |
2.50% |
|
|
|
Lions Gate (6) |
47.5 |
2.10% |
|
|
|
summit (4) |
31.8 |
1.40% |
|
|
|
Focus (3) |
25.1 |
1.10% |
|
|
|
FilmDistrict (1) |
17.4 |
0.80% |
|
|
|
eOne/Seville (7) |
14.5 |
0.60% |
|
|
|
Sony Classics (6) |
12.3 |
0.50% |
|
|
|
Other * (99) |
44.3 |
2.00% |
|
|
|
|
2273.3 |
100.00% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
* none greater than 0.4% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Top Domestic Grossers *
(Jan. 1 – April 7, 2011) |
|
|
|
|
Title |
Distributor |
Gross |
|
|
|
The King’s Speech * |
Weinstein Co. |
119,361,676 |
|
|
|
Rango |
Par |
115,230,893 |
|
|
|
Just Go With It |
Sony |
101,651,979 |
|
|
|
True Grit * |
Par |
100,131,192 |
|
|
|
The Green Hornet |
Sony |
98,588,503 |
|
|
|
Gnomeo and Juliet |
BV/eOne |
97,075,887 |
|
|
|
Battle: Los Angeles |
Sony |
79,700,377 |
|
|
|
Justin Bieber: Never Say Never |
Par |
72,707,468 |
|
|
|
No Strings Attached |
Par |
70,662,220 |
|
|
|
Black Swan * |
Fox Searchlight |
65,964,914 |
|
|
|
Little Fockers * |
Uni |
64,117,440 |
|
|
|
Unknown |
WB |
62,821,544 |
|
|
|
The Adjustment Bureau |
Uni |
59,231,700 |
|
|
|
Limitless |
Relativity |
58,688,230 |
|
|
|
The Fighter * |
Par/Alliance |
54,624,687 |
|
|
|
Tron: Legacy * |
BV |
54,483,200 |
|
|
|
I Am Number 4 |
BV |
53,949,381 |
|
|
|
The Dilemma |
Uni |
48,800,147 |
|
|
|
Hop |
Uni |
46,456,305 |
|
|
|
Hall Pass |
WB |
44,034,990 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
* does not include 2010 box office |
|
|
|
|
|
Tags: Arthur, Battle: Los Angeles, Born to Be Wild, Diary of a Wimpy Kid: Rodrick Rules, Hanna, hop, Insidious, Jane Eyre, limitless, No Eres Tu, Paul, Rango, Red Riding Hood, Soul Surfer, Source Code, Soy Yo, Sucker Punch, The Adjustment Bureau, The King's Speech, The Lincoln Lawyer, Win Win, Your Highness
Posted in Columns, Klady, MCN Originals, MCN Weekend, Movie City News, The Weekend Report | 1 Comment »
Sunday, April 10th, 2011
And this is why weekend-to-weekend looks so crappy. Last year on “this” weekend, there were $27m in openers. This weekend, $46m. But the weekend is still well behind last year because Sucker Punch was WB’s entry, not Clash of the Titans, and there was no DWA film (last year, it was a leggy Dragon) doing $25m in a third weekend while Hop, which is a success story (but a mild one), did $21m in Weekend Two. Those two holdovers and one $25m opener (Date Night) overpower nearly $20m in more opening firepower this year than last.
If you simply flipped last year’s WB entry for this year’s, “this year’s weekend” would be ahead of “last year’s weekend” by over $15 million. And if wishes were fishes… But you get the point, no? It’s about the movies, not the market. Until there is a much longer lasting set of data that involves a more muscular set of movies being off by similar amounts, I’m not taking any “slump” seriously. Of course, if you want to believe that somehow Clash of the Titans would have done half the business it did if it opened this year or that Sucker Punch would have done more than double what it’s doing opening last year, please, feel free to make the argument.
One genre that may be nearing its end in this cycle as an industry cash cow is the stoned comedy. Since the Superbad/Knocked Up back-to-back smashes, Team Apatow has racked up just one $100m movie (Step Brothers) in 8 attempts. And while Apatow had nothing to do with the two movies gently opening this weekend (Arthur/Your Highness), they are both bastard children of his camp. Like many niche genres in Hollywood, no reason that this one can’t go on. But costs have to be contained and then these are the kinds of legged-out doubles that studios can use to keep the balance sheet positive build library, an occasionally get a surprise big hit. But right now, they are a little expensive and aren’t delivering on the expectations that the studios have when greenlighting them. (Expectations from tracking come long after the horse is out of the barn.)
Hanna is a really nice opening for Focus. They picked up the film in most of the world (Sony has some territories), extending their relationship with Joe Wright, and this opening is better than any two weekends of Atonement domestic grosses combined. Given some strong word-of-mouth (and a soft market for good movies), it could even end up passing Atonement‘s $50m gross.
Bob Berney is back in business. Soul Surfer is a Sony release, but Film District marketed it for Sony, and the results are strong for what could well have been a much smaller feel-good film. And Insidious had a 26% hold, which is almost unheard of for any film in this front-loaded market, much less a horror film. This is one of this year’s real success stories already, likely heading to more than $50m domestic.
Source Code didn’t hold quite as well, but it does seem that we are in the first stretch of commercial movies this year that anyone is happy to recommend.
Tags: Arthur, Battle: Los Angeles, Born to Be Wild, Diary of a Wimpy Kid: Rodrick Rules, Hanna, hop, Insidious, Jane Eyre, limitless, No Eres Tu, Paul, Rango, Red Riding Hood, Soul Surfer, Source Code, Soy Yo, Sucker Punch, The Adjustment Bureau, The King's Speech, The Lincoln Lawyer, Win Win, Your Highness
Posted in Box Office, MCN Blogs, The Hot Blog | 31 Comments »
Sunday, March 20th, 2011
Josh, Paul, Engorge and … Rango
The mind expanding thriller Limitless debuted at the top of weekend movie charts with an estimated $19 million. The session also saw two other new national entries bow to middling results. The alien comedy Paul ranked fourth with $13.1 million and the legal wrangling of The Lincoln Lawyer was a peg behind at $12.7 million.
A locked week of dance spec Lord of the Dance … in 3D! failed to find post St. Pat’s furor as it hobbled to $318,000 at 536 tap posts and Chinese import The Butcher, the Chef and the Swordsman served up a thin slice with a $23,100 gross from 37 venues.
Limited and exclusive debuts had a couple of bright spots including the wry Win Win that wrestled $148,000 in just five pins and doc Bill Cunningham, New York on famed photographer that wrested $32,500 in its solo at Manhattan’s Film Forum.
The frame added up to just shy of $115 million and a decline of 11% from last weekend. It was a marginally less severe 10% behind 2010 when the third weekend of Alice in Wonderland added $34.2 million to its larder and debuts of Diary of a Wimpy Kid and The Bounty Hunter followed respectively with $22.1 million and $20.7 million.
Pundits and trackers generally undervalued the marketplace newcomers with predictions that pegged holdovers Battle: Los Angeles and Rango in the top positions. Limitless was considered the most potent of the freshmen with expectations in the range of $13 million to $17 million. Paul and Lincoln Lawyer both had high end predictions of $12 million.
Tracking clairvoyance has been generally dismal since January and that can be credited in large part to the disappearance of avid, younger movie goers. One suspects that group is providing information of one sort and subsequently reacting to all manner of buzz. The fact that movie going is unquestionably an impulse buy has long plagued predicting the box office.
The erosion of the under 25 crowd continued this week with only Paul registering a 50/50 split for that line in the sand according to exit polling. Limitless was 56% attended by plus 25s and The Lincoln Lawyer had a staggering 85% older audience – 49% of which was 40 years old or greater.
The gender divide also continued to skew female with Lincoln attracting 63% of the fairer sex and Limitless 52%. Paul’s comic antics conversely had 56% male ticket sales.
The radical drop in theatrical movie going both in North America and especially overseas in 2011 has the industry shifting into panic mode. There’s a case to be made that “it’s the product” but movies have hardly been in a renaissance in the past decade.
Distributors are frantically trying to figure out where their core audience has migrated and whether it’s possible to move their movies to that location. Exhibitors are feeling the heat of competition with the CinemaCon (formally ShoWest) annual confab prepped to begin in a week. They’ve already adapted with everything from cup holders and stadium seating to digital everything to stereoscopic gimmickry and frantic enough to bring back dish night if that will plug up the holes in the dikes.
_________________________________________________
Weekend Estimates – March 18-20, 2010
Title |
Distributor |
Gross (average) |
% change * |
Theaters |
Cume |
Limitless |
Relativity |
19.0 (6,900) |
NEW |
2756 |
19 |
Rango |
Par |
15.2 (3,950) |
-33% |
3843 |
92.4 |
Battle: Los Angeles |
Sony |
14.4 (4,210) |
-60% |
3417 |
60.4 |
Paul |
Uni |
13.1 (4,670) |
NEW |
2802 |
13.1 |
The Lincoln Lawyer |
Lionsgate |
12.7 (4,700) |
NEW |
2707 |
12.7 |
Red Riding Hood |
WB |
7.3 (2,400) |
-48% |
3030 |
26 |
The Adjustment Bureau |
Uni |
5.9 (2,070) |
-49% |
2847 |
48.8 |
Mars Needs Moms |
BV |
5.3 (1,710) |
-23% |
3117 |
15.4 |
Beastly |
CBS |
3.3 (1,660) |
-35% |
1959 |
22.2 |
Hall Pass |
WB |
2.6 (1,370) |
-48% |
1905 |
39.6 |
Gnomeo and Juliet |
BV/eOne |
2.4 (1,360) |
-35% |
1748 |
93.7 |
Just Go With It |
Sony |
2.3 (1,360) |
-42% |
1708 |
98 |
The King’s Speech |
Weinstein Co. |
2.0 (1,620) |
-43% |
1249 |
132.5 |
Unknown |
WB |
1.3 (960) |
-60% |
1401 |
61.2 |
I Am Number 4 |
BV |
1.1 (1,120) |
-53% |
955 |
52.7 |
Big Mommas: Like Father, Like Son |
Fox |
.75 (1,360) |
-43% |
550 |
36.4 |
Tangled |
BV |
.62 (1,820) |
-3% |
340 |
197.7 |
Cedar Rapids |
Fox Searchlight |
.53 (1,150) |
-43% |
462 |
5.5 |
Justin Bieber: Never Say Never |
Par |
.47 (980) |
-66% |
480 |
72.2 |
Jane Eyre |
Focus |
.46 (17,690) |
151% |
26 |
0.7 |
Lord of the Dance 3D |
SuperVision |
.32 (590) |
|
536 |
0.32 |
|
|
|
|
|
|
Weekend Total ($500,000+ Films) |
|
$109.80 |
|
|
|
% Change (Last Year) |
|
-10% |
|
|
|
% Change (Last Week) |
|
-11% |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also debuting/expanding |
|
|
|
|
|
Of Gods and Men |
Sony Classics |
.29 (3,064) |
15% |
94 |
1.5 |
Win Win |
Searchlight |
.15 (29,560) |
|
5 |
0.15 |
Kill the Irishman |
Anchor Bay |
.14 (6,570) |
-5% |
21 |
0.33 |
The Music Never Stopped |
Roadside Attract. |
77,900 (2,430) |
|
32 |
0.08 |
Bill Cunningham, New York |
Zeitgeist |
32,500 (32,500) |
|
1 |
0.05 |
The Butcher, The Chef, The Swordsman |
China Lion |
23,100 (620) |
|
37 |
0.02 |
Winter in Wartime |
Sony Classics |
15,800 (5,270) |
|
3 |
0.02 |
Cracks |
IFC |
7,200 (1,200) |
|
6 |
0.01 |
Desert Flower |
National Geo |
7,100 (2,370) |
|
3 |
0.01 |
Alabama Moon |
Faulkner |
6,700 (940) |
|
7 |
0.01 |
La Verite |
Filmoption |
6,300 (900) |
|
7 |
0.01 |
Domestic Market Share (Jan. 1 – Mar. 17, 2011)
Distributor (releases) |
Gross |
Market Share |
Paramount (9) |
372.5 |
20.70% |
Sony (10) |
330 |
18.40% |
Buena Vista (60 |
234.8 |
13.10% |
Warner Bros. (13) |
211.1 |
11.80% |
Universal (6) |
179.5 |
10.00% |
Weinstein Co. (3) |
126.3 |
7.00% |
Fox (5) |
85.1 |
4.70% |
Fox Searchlight (3) |
78.3 |
4.40% |
CBS (3) |
48.4 |
2.70% |
Relativity (3) |
31.5 |
1.70% |
Focus (3) |
21.1 |
1.20% |
eOne/Seville (7) |
13.4 |
0.80% |
Summit (3) |
12.1 |
0.70% |
Sony Classics (5) |
10.4 |
0.60% |
Other * (83) |
40.7 |
2.20% |
|
1795.2 |
100.00% |
* none greater than .04% |
Top Global Grossers (Jan. 1 – Mar. 17, 2011)
Title |
Distributor |
Gross |
The King’s Speech * |
Weinstein/FilmNation |
328,422,084 |
Tangled * |
BV |
257,730,104 |
Black Swan * |
Fox Searchlight |
233,565,826 |
The Green Hornet |
Sony |
227,138,037 |
Tron: Legacy * |
BV |
185,713,030 |
Little Fockers * |
Uni/Par Intl |
175,012,116 |
Gulliver’s Travels * |
Fox |
171,150,972 |
The Tourist * |
Sony |
170,775,451 |
True Grit * |
Par |
168,291,578 |
Gnomeo and Juliet |
BV/eOne/Pathe |
145,442,274 |
Yogi Bear * |
WB |
142,121,587 |
Just Go With It |
Sony |
141,271,826 |
Rango |
Par |
131,620,860 |
Chronicles of Narnia: Voyage of Dawn Treader |
Fox |
128,368,458 |
No Strings Attached |
Par |
125,084,725 |
I Am Number 4 |
BV |
108,071,913 |
Unknown |
WB/Studio Canal |
97,383,223 |
The Fighter * |
Par/Alliance |
85,190,621 |
Justin Bieber: Never Say Never |
Par |
81,433,968 |
Rien a declarer |
Pathe |
81,376,457 |
Harry Potter & the Deathly Hallows, Part 1 |
WB |
80,483,102 |
Season of the Witch |
Relativity/Lions Gate |
79,329,246 |
Sanctum |
Uni/FilmNation |
78,200,004 |
Hereafter* |
WB |
75,865,149 |
The Rite |
WB |
71,462,016 |
* does not include 2010 box office |
Tags: limitless, Paul, The Lincoln Lawyer
Posted in Columns, Klady, MCN Originals, MCN Weekend, MCN Weekend Reviews, Movie City News, The Weekend Report | 1 Comment »
Friday, March 18th, 2011
Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
Battle: Los Angeles|17.0|16.1|18.0|18.0|16.0
Rango |14.6|14.3|15.0|12.0|15.0
Limitless|13.7|16.7|14.0|16.0|16.5
The Lincoln Lawyer|11.5|9.2|12.0|10.0|9.5
Paul|10.8|9.5|12.0|13.0|11.5
Tags: Battle: Los Angeles, limitless, Paul, Rango, The Lincoln Lawyer
Posted in Box Office Hell, MCN Weekend | Comments Off on Box Office Hell — March 17
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