MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Weekend Box Office Report – November 7

No Brainer

Megamind led a torrid weekend box office frame (the largest for a pre-Thanksgiving November) with a first salvo estimated at $47.5 million. Two other national openers followed in succession with strong numbers. The comedy road trip Due Date grossed $33.4 million and the Afrocentric For Colored Girls bowed to $20.1 million.

There was also a pair of Bollywood films timed to the Dwali holiday. Golmaal 3 had solid returns of $443,000 from 86 screens while Action Replayy was disappointing with $232,000 from 99 venues. In Quebec Reste avec moi pancaked on a gross of $25,600 in an initial 19 playdates.

In limited and exclusive runs the politically charged Fair Game polled a respectable $663,000 that indicates challenging expansion plans. Among the remaining newcomers there was a good solo for Algerian Oscar submission Outside the Law of $7,500. But the big noise of the weekend was the not-for-the-squeamish 127 Hours, which played to near capacity at four and generated a staggering screen average of $66,570.

Weekend revenues ballooned as a result of buoyant new titles and some very strong holdovers.

The latest from DreamWorks Animation, Megamind, was generally pegged to debut in a mid-$40 million arena though some felt it could have performed better on a less competitive weekend. Though that contention is dubious, the rest of the year really doesn’t offer that option with both pre-sold and award titles beginning to open up the multiplex floodgates.

Due Date — with its obvious references to Trains, Planes & Automobiles — renewed faith in the power of a high concept comedy. But the riskier For Colored Girls, based upon the acclaimed play by Ntozake Shange, was the session’s major question mark. Many had pursued the property for decades and concluded that it was unfilmable, so when Tyler Perry unexpectedly stepped forward there was a collective shudder. Critical response was mixed to positive while the opening box office was better than anticipated.

Overall box office should top $155 million for the weekend and best the immediate prior session by 67%. It’s also a 28% improvement from 2009 with the launch of the animated A Christmas Carol opened to $30.1 million with the frame’s other debs The Men Who Stare at Goats and The Fourth Kind slotting third and fourth with respectively $12.7 million and $12.2 million.

If you believe that there’s no such thing as bad publicity, the opening weekend of 127 Hours would certainly buttress your argument. Aside from sterling reviews, the fact-inspired tale of endurance has generated a lot of ink centering on the intensity of the viewing experience that appears to cause at least a few patrons to faint at every screening. The industry will be watching intently to see whether it remains a date movie as it expands nationally.

Also under the microscope is Fair Game that fell short of dynamic initial business. There’s already debate about the decision to open in more than a handful of venues and a feeling that rapid expansion will result in further disappointment along the lines of Conviction.

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Weekend Estimates – November 5-7, 2010

Title Distributor Gross (average) % change * Theaters Cume
Megamind Par 47.5 (12,040) New 3944 47.5
ue Date WB 33.4 (9,960) New 3355 33.4
For Colored Girls Lionsgate 20.1 (9,440) New 2127 20.1
Red Summit 8.8 (2,720) -18% 3229 71.8
Saw 3D Lionsgate 7.9 (2,820) -67% 2808 38.5
Paranormal Activity 2 Par 7.1 (2,250) -57% 3168 77
Jackass 3D Par 5.0 (2,330) -41% 2165 110.8
Secretariat BV 4.1 (1,570) -18% 2614 51.1
Hereafter WB 4.0 (1,680) -38% 2365 28.7
The Social Network Sony 3.5 (1,890) -22% 1860 85
Life As We Know It WB 3.1 (1,610) -23% 1950 48.6
Conviction Fox Searchlight 1.5 (2,280) -16% 672 4.5
The Town WB 1.2 (1,510) -39% 801 89.8
The Girl Who Kicked the Hornet’s Nest Music Box/Alliance .74 (3,720) 2% 199 2
Fair Game Summit .66 (14,410) New 46 0.66
Easy A Sony .50 (1,070) -53% 468 57.3
Legend of the Guardians WB .45 (610) -74% 740 54
Golmaal 3 Eros .44 (5,140) New 86 0.44
Waiting for “Superman” Par Vantage .38 (1,570) -36% 242 5.4
Wall Street: Money Never Sleeps Fox .34 (960) -57% 353 51.9
Weekend Total ($500,000+ Films) $149.10
% Change (Last Year) 28%
% Change (Last Week) 67%
Also debuting/expanding
127 Hours Searchlight .27 (66,570) 4 0.27
Action Replayy Viva .23 (2,340) 99 0.23
Stone Overture .18 (1,630) -28% 109 1.5
Four Lions Drafthouse 41,300 (5,160) 8 0.04
Reste avec moi Seville 25,600 (1,350) 19 0.03
Client 9 Magnolia 18,400 (6,130) 3 0.02
Red Hill Strand 8,400 (1,680) 5 0.01
Outside the Law (Hors-la-loi) Cohen Media 7,500 (7,500) 1 0.01
Trapped CJ Entertainment 4,400 (4,400) 1 0.01

Domestic Market Share (Jan. 1 – Nov. 4, 2010)

Distributor (releases) Gross Market Share
Warner Bros. (25) 1457.6 16.50%
Paramount (16) 1423.7 16.00%
Fox (16) 1290.9 14.50%
Buena Vista (15) 1163.9 13.10%
Sony (23) 1151.1 13.00%
Universal (17) 776.9 8.80%
Summit (10) 488.3 5.50%
Lionsgate (13) 444.2 5.00%
Overture (7) 81.2 0.90%
Fox Searchlight (6) 75.9 0.80%
Focus (7) 74.8 0.80%
Weinstein Co. (7) 62.3 0.70%
Sony Classics (21) 55.5 0.60%
MGM (1) 51.2 0.60%
CBS (2) 50 0.60%
Other * (281) 233.2 2.60%
8880.7 100.00%
* none greater than .04%

Top Global Grossers * (Jan. 1 – Nov. 4, 2010)

Title Distributor Gross
Avatar Fox 1,953,205,209
Toy Story 3 BV 1,061,408,156
Alice in Wonderland BV 1,024,537,295
Inception WB 831,539,135
Shrek Forever After Par 737,766,901
Twilight: Eclipse Summit 691,483,448
Iron Man 2 Par 622,718,600
How to Train Your Dragon Par 495,792,295
Despicable Me Uni 492,994,376
Clash of the Titans WB 489,778,913
Sherlock Holmes * WB 367,796,599
The Karate Kid Sony 359,315,646
Prince of Persia: The Sands of Time BV 335,692,394
The Last Airbender Par 318,404,181
Robin Hood Uni 311,826,207
Shutter Island Par 301,977,955
Sex and the City 2 WB 301,158,934
Salt Sony 291,684,047
Resident Evil: Afterlife Sony/Alliance 277,419,991
Grown Ups Sony 270,265,798
The Expendables Lionsgate/NuImage 269,273,037
Alvin and the Chipmunks: The Squeakquel Fox 264,341,533
Knight and Day Fox 256,518,022
Percy Jackson & the Olympians Fox 226,497,209
Valentine’s Day WB 217,596,116
* does not include 2009 box office

One Response to “Weekend Box Office Report – November 7”

  1. Keil Shults says:

    This is the second time I’ve seen the title mistyped as Trains, Planes, when it’s actually Planes, Trains. I think the first instance was in a Poland column last week.

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Klady

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas