MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report: April 10, 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

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson