MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Whether Report

Kid-lit fave Cloudy with a Chance of Meatballs claimed bragging rights in the weekend box office race with an estimated $30.3 million debut. The frame was rife with new entries including three other national releases that bowed to tepid commercial response. The black comic The Informant!ranked second with $10.5 million trailed by the darkly romantic Love Happens at $8.4 million and the femme empowered chiller Jennifer’s Body with $6.7 million.

There were more than a dozen freshman titles that premiered in a broad spectrum of niches. The live broadcast of the Merryweather/Marquez title bout knocked out $254,000 from 171 open circuits while the mentoring saga The Secrets of Jonathan Sperry gathered in $261,000 from 117 amen corners. A trio of Indian movies bowed with only Dil Bole Hadippa! showing commercial potency though Unnaipol Oruvun spread its bets with simultaneous releases in both Tamil and Telegu versions.

Easily best of the limited newcomers was the maiden release of Apparition Film’s critically acclaimed period drama Bright Star with a per screen average of almost $10,000 from 19 exposures. Another debuting company, Paladin, did OK with the Australian drama Disgrace that grossed $11,800 at three venues. There was good response for French imports Paris and 35 Shots of Rum but little applause for local entry Detour in Quebec.

Volume generally trumped all other factors in providing a double-digit boost in box office revenues as audiences waded into the new Fall season.

Cloudy with a Chance of Meatballs was the anticipated champ heading into the weekend though pundits pegged its bow in the mid-$20 million range. The animated yarn went out with roughly 59% of its dates in 3-D including 127 in large format. Those 1,828 stereoscopic venues generated about two-thirds of the gross according to the studio and finals might easily bump that percentage slightly upward. Regardless one has to wrestle with whether the split is a triumph of substance over gimmickry or a sign that audiences won’t automatically shell out for just any 3-D experience.

The other lower budgeted new entries targeted narrower audiences and the studio spin is that each hit or slightly exceeded their bottom line expectations. However, as the box office sage often observed, studios aren’t in the business to break. Only The Informant! displayed signs of a second weekend hold that might translate into profits among the group.

Weekend revenues were headed toward a $100 million overall total that translated into a 9% improvement from seven days prior that was also 13% better than the 2008 comparable frame. A year ago the premiere of Lakeview Terrace led with a $15 million box office with other debs My Best Friend’s Girl and Igor adding respectively to the till with $8.3 million and $7.8 million.

The Saturday livecast of the Merryweather/Marquez fight is another instant hit for Fathom Productions that has effectively employed the one-time only strategy for everything from opera broadcasts to the upcoming anniversary screening of The Wizard of Oz. Digital projection blue skiers have talked about the switch from celluloid providing a more diverse slate at the multiplex but to date this is the only company that has effectively zeroed in on very specific niches. Whether there’s room in the auditorium for competition will be determined in time but one has to hope in light of the otherwise risk averse in the mainstream production environment.

by Leonard Klady


Weekend Estimates: September 18-20, 2009

Title Distributor Gross (avg) % change Theaters Cume
Cloudy with a Chance of Meatballs Sony 30.3 (9,720) New 3119 30.3
The Informant! WB 10.5 (4,190) New 2505 10.5
I Can Do Bad All By Myself Lionsgate 10.0 (4,450) -57% 2255 37.9
Love Happens Uni 8.4 (4,420) New 1898 8.4
Jennifer’s Body Fox 6.7 (2,490) New 2702 6.7
9 Focus 5.3 (2,560) -51% 2060 22.6
Inglourious Basterds Weinstein Co. 3.8 (1,510) -38% 2519 110.1
All About Steve Fox 3.3 (1,530) -41% 2159 26.6
Sorority Row Summit 2.4 (920) -53% 2591 8.8
The Final Destination WB 2.4 (1,310) -57% 1805 62.4
Whiteout WB 2.0 (730) -59% 2745 8.4
Julie & Julia Sony 1.9 (930) -41% 2003 88.4
District 9 Sony 1.8 (1,160) -49% 1558 111.6
Gamer Lionsgate 1.3 (830) -59% 1605 18.9
G.I. Joe: Rise of Cobra Par 1.2 (850) -53% 1361 146
The Time Traveler’s Wife WB 1.0 (740) -56% 1372 60.8
Halloween II Weinstein Co. .74 (710) -65% 1038 31.5
Extract Miramax .64 (680) -70% 937 10.1
(500) Days of Summer Fox Searchlight .62 (1,020) -47% 608 31
The Proposal BVI .46 (980) 22% 468 162.2
The Hangover WB .44 (1,100) -38% 401 273.8
Weekend Total ($500,000+ Films) $94.30
% Change (Last Year) 13%
% Change (Last Week) 9%
Also debuting/expanding
My One and Only FreeStyle .27 (1,350) -22% 202 1.5
Secrets of Jonathan Sperry 5 x 2 .26 (2,190) New 117 0.26
Mayweather vs.Marquez Fathom .25 (1,470) New 171 0.25
Dil Bole Hadippa! Yash Raj .25 (4,380) New 57 0.25
Bright Star Apparition .19 (9,890) New 19 0.21
Unnaipol Oruvun UTV .10 (3,910) New 26 0.1
Wanted Eros 93,800 (1,320) New 71 0.09
The Burning Plain Magnolia 59,300 (2,820) New 21 0.06
Paris IFC 45,400 (7,570) New 6 0.05
Detour Seville 36,500 (1,520) New 24 0.04
Disgrace Paladin 11,800 (3,930) New 3 0.01
Fuel Greenlight 10,200 (2,550) New 4 0.01
35 Shots of Rum Cinema Guild 9,600 (9,600) New 1 0.01

Domestic Market Share: To September 17, 2009

Distributor (releases) Gross Mrkt Share
Warner Bros. (26) 1568.6 20.50%
Paramount (13) 1329.3 17.40%
Fox (14) 935.1 12.20%
Sony (16) 909.9 11.90%
Buena Vista (16) 896.4 11.70%
Universal (16) 680.6 8.90%
Lionsgate (10) 282.9 3.70%
Fox Searchlight (9) 233.3 3.10%
Summit (9) 172.1 2.20%
Weinstein Co. (8) 171.5 2.20%
Focus (8) 130.1 1.70%
Paramount Vantage (4) 67.5 0.90%
Miramax (6) 50.8 0.70%
MGM (3) 42.3 0.50%
Other * (221) 182.2 2.40%
* none greater than 0.4% 7652.6 100.00%

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Klady

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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier