MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Property Values

The less than huggable E.T.s of District 9 led weekend box office viewing with an estimated $36.8 million. A clutch of new film releases with varying commercial potency buoyed ticket sales including the romantic sci-fi of The Time Traveler’s Wife that ranked third with $19.3 million. There were passable returns for the comic perspective on car salesman The Goods: Live, Hard, Sell Hard of $5.3 million and an OK $3.4 million bow for the Japanese anime Ponyo but Bandslam’s $2.2 million preem tagged it as an instant casualty.

Among niche and limited debuts was a potent $580,000 launch for Kaminey, a Bollywood film with Slumdog Millionaire resonance. Also very strong was the $92,400 gross on seven screens for rock doc It Might Get Loud but the bawdy humor of Spread landed with a thud on box office of $113,000 at 101 venues.

Overall revenues dipped modestly from last weekend but experienced a double digit boost from 2008 and the season appears headed for a modest box office bump (though admissions trail last year) come the Labor Day finish line.

The buzz was effective for District 9 and even critics responded favorably to the parable of immigrant discrimination and revolt. Pundits anticipated a potent bow between $35 million and $40 million and the film performed as expected and might just beat the odds with a less than intense second weekend drop.

There was also positive anticipation for The Time Traveler’s Wife based on the weepie bestseller. Again, opening response and upbeat word-of-mouth could provide extended theatrical length despite the current fierce competition for distaff viewers.

The Goods ushered in a new slant for Paramount Vantage that appears to rob the banner of any distinction from its mother studio. The specialty division seems to be evolving as Paramount’s equivalent to Screen Gems at least in concept.

Disney still hasn’t figured out how to translate Japanese animator Hayao Miyazaki’s popularity to American mainstream audiences. Ponyowas embraced critically and arrived with a $180 million international box office but as with past efforts skewed toward aficionados rather than a family crowd.

Weekend box office added up to roughly $144 million that translated into a slight 4% decline from seven days back. However, it exceeded 2008 revenues by 15%. A year back openings of Tropic Thunder, Star Wars: The Clone Wars and Mirrors racked up respective grosses of $25.8 million, $14.6 million and $11.2 million.

Bollywood cinema is notorious (though not unique) for cobbling American plots but more than a few eyebrows were raised when Kamineycribbed from Slumdog Millionaire’s script. Slumdog failed to secure an Indian distributor and Fox agreed to handle the film that wound up doing well but not extraordinary business there. This spin appears headed for more conspicuous success on home turf.

by Leonard Klady


Weekend Estimates: August 14-16, 2009

Title Distributor Gross (average) % change * Theaters Cume
District 9 Sony 36.8 (12,080) - 3049 36.8
G.I. Joe: Rise of Cobra Par 22.6 (5,630) -59% 4007 98.8
The Time Traveler’s Wife WB 19.3 (6,450) New 2988 19.3
Julie & Julia Sony 12.2 (5,190) -39% 2354 43.5
G-Force BV 7.0 (2,240) -30% 3065 99
The Goods: Live Hard, Sell Hard Par Vantage 5.3 (2,890) New 1838 5.3
Harry Potter and the Half-Blood Prince WB 5.2 (1,870) -42% 2771 283.9
The Ugly Truth Sony 4.4 (1,620) -35% 2733 77.4
Ponyo BV 3.4 (3,700) New 927 3.4
(500) Days of Summer Fox Searchlight 3.0 (2,840) -20% 1048 17.9
Funny People Uni 3.0 (1,150) -63% 2584 47.9
A Perfect Getaway Uni/Alliance 2.7 (1,280) -54% 2159 11.5
Bandslam Summit 2.2 (1,040) New 2121 2.2
The Hangover WB 2.0 (1,720) 39% 1185 265.8
Orphan WB 1.6 (1,280) -56% 1261 38.4
Aliens in the Attic Fox 1.4 (910) -66% 1535 20.5
Transformers: Revenge of the Fallen Par 1.4 (1,410) -53% 1007 396.6
The Proposal BV 1.3 (1,180) -55% 1084 157.7
Ice Age: Dawn of the Dinosaurs Fox 1.2 (1,440) -54% 858 190.8
The Hurt Locker Summit .62 (1,380) -51% 450 10.3
Kaminey UTV .58 (6,910) New 84 0.58
Weekend Total ($500,000+ Films) - $137.20 -
% Change (Last Year) - 15% -
% Change (Last Week) - -4% -
Also debuting/expanding
In the Loop IFC .19 (2,550) -14% 74 1.2
Adam Searchlight .21 (3,150) 100% 66 0.52
Paper Heart Overture .16 (2,400) -26% 68 0.51
Spread Anchor Bay .11 (1,120) - 101 0.11
It Might Get Loud Sony Classics 92,400 (13,200) - 7 0.09
Cold Souls IDP 69,200 (3,460) 10% 20 0.17
Thirst Focus 49,600 (3,310) -11% 15 0.23
Grace Anchor Bay 6,500 (3,250) - 2 0.01
Taxidermia Regent 4,100 (2,050) - 2 0.01
Earth Days Zeitgeist 1,100 (1,100) - 1 0.01

Domestic Market Share: To August 13, 2009

Distributor (releases) Gross Mrkt Share
Warner Bros. (23) 1389.1 20.40%
Paramount (13) 1252.4 18.40%
Fox (13) 899.4 13.20%
Buena Vista (13) 846.7 12.40%
Sony (15) 728.4 10.70%
Universal (16) 665.5 9.70%
Lions Gate (7) 237.4 3.50%
Fox Searchlight (8) 209.7 3.10%
Summit (7) 157.2 2.30%
Focus (6) 105.1 1.50%
Paramount Vantage (2) 52.4 0.80%
MGM (3) 42.3 0.60%
Miramax (5) 41.3 0.60%
Weinstein Co. (6) 34.5 0.50%
Other * (194) 154.6 2.30%
* none greater than 0.4% 6816 100.00%

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Klady

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé