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David Poland

By David Poland poland@moviecitynews.com

Box Office Hell – Friday The 13th

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11 Responses to “Box Office Hell – Friday The 13th”

  1. Tofu says:

    Man of the Year, followed by a Friday the 13th Haunted House run.
    MotY is being torn apart on far too many unsubstantiated points… Yet, I have to admit the line to the Haunted House was more memorable.

  2. jeffmcm says:

    Based on the marketing that I’ve seen and not on the movie itself, which I have not, I think these numbers look wayyy high for Man of the Year.

  3. palmtree says:

    Departed looks pretty leggy. $100 m is foregone conclusion.

  4. EDouglas says:

    “Departed looks pretty leggy. $100 m is foregone conclusion.”
    Only if you completely ignore that at least two of the movies next week will be stealing away its audience. (Fortunately, they’re opening in less than 2,500 theatres each) Departed will probably end up around $45 million after two weekends… it’s going to have to get some noms and be rereleased in December if it’s going to make it to $100 million.
    So last week was the first time I underestimated the #1 by a couple million… looks like I’m back to my overestimating as per usual.

  5. EDouglas says:

    Though I guess I shouldn’t feel bad… EW, who has been pretty spot-on, has WAY overestimated Grudge 2. Guess I’m not the highest (prediction-wise).

  6. Lota says:

    i hope Grudge 2 Crashes and Burns and same for Saw III. The poster lettering makes it look like SAWM. I wonder how many knuckleheads will think that’s the name of the movie…Hey are you going to see SAWM this weekend, yo?

  7. Lota says:

    and I think Departed will do $100 but in more than 2 weekends.

  8. MattM says:

    Judging from the Times Square theatres last night, these predictions may be BADLY off. Chainsaw, Man of The Year, and Departed all had some sellouts during the evening. Grudge 2? Nary a one. I just hope that the film’s failure doesn’t wind up killing the likable and talented Amber Tamblyn’s career.
    (And Man of The Year may be the worst film of the year–bizarre, ineffective cocktail of political satire, thriller, and romantic comedy that makes no sense whatsoever.)

  9. jeffmcm says:

    ^^^I think that would be Miss Tamblyn’s own fault for deciding to be in a sequel of a remake. Even Sarah Michelle Gellar decided to check out of this franchise.

  10. Cadavra says:

    Lota: The poster lettering makes it look like SAWM. I wonder how many knuckleheads will think that’s the name of the movie…Hey are you going to see SAWM this weekend, yo?
    Me: You think you’re kidding. A few months ago, the woman ahead of me in line asked for a ticket to MILL. The girl said, “What movie?” The woman replied, “MILL. The Tom Cruise movie.”

  11. EDouglas says:

    Oh, I just realized that I had a typo in my charts… it’s made $37 million through Thursday rather than $27, so it will be around $55 million, not $45 million… That’s a bit better though I still think the next two weeks will be tough with Flags/Prestige coming out.

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“But okay, I promise you now that if I ever retire again, I’m going to ensure that I can’t walk it back. I’ll post a series of the most disgusting, offensive, outrageous statements you can ever imagine. That way it will be impossible for me to ever be employed again. No one is going to take my calls. No one is going to want to be seen with me. Oh, it will be scorched earth. I will have torched everything. I’m going to flame out in the most legendary fashion.”
~ Steven Soderbergh

I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
~ Dan Sallitt