MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report: May 8

Oh, God! Book XXIV

The god of thunder  –  Thor – hammered an estimated $65.8 million to handily reign at the top of the weekend box office charts. The session also saw a pair of counter-programmers bow nationally with the sweetly romantic Something Borrowed slotting third with $13.2 million and Jumping the Broom a breath behind at $13 million.

In limited wide was the political drama There Be Dragons with $660,000 from 259 playdates and once again it was a Telegu film from India  –  100% Love –  that dominated in that niche with an impressive $203,000 at a mere 23 screens.

Among the exclusive bows the focus was unquestionably on the highly acclaimed The Beaver. Audiences however failed to concur with the film grossing roughly $102,000 in its first blush at 22 venues.

In what’s become the kickoff for the summer season of blockbusters, you’d have to say that 2011 came in like a lamb with revenues of just north of $160 million. It was a sliver better than last weekend and an 11% depression from last year when Iron Man 2 debuted to $128.1 million.

Thor wasn’t expected to debut to jaw dropping numbers with pundits predicting opening power between $70 million and $80 million. Exit polls not surprisingly pegged ticket buyers at 63% male but, more surprisingly, it was according to the studio a crowd that was 72% over the age of 25 years.

Add to that a decidedly older crowd for Jumping the Broom. Only Something Borrowed skewed younger and again predictably female.

So, where are the young males that have historically been at the vanguard (and head of the line) of movie going? That’s the industry’s biggest question and so far no one has a definitive answer (it’s unlikely they were buying $30 passes to the recently launched premiere VOD). Though not personally a betting man, I wouldn’t want to take the side _ regardless of long odds _ that the upcoming Pirates of the Caribbean would turn the tide back.

The other puzzler of the frame was the limpid debut of The Beaver. The film’s subject matter _ abject depression _ was never likely to be an audience magnet. But its prestige elements should have at least drawn an upscale crowd regardless of such barriers and an opening salvo twice as large as what’s been recorded.

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Weekend Estimates: May 6-8, 2011

Title Distributor Gross (average) % change * Theaters Cume
Thor Par Intl 65.8 (16,640) NEW 3955 65.8
Fast Five Uni 32.3 (8,830) -62% 3662 139.7
Something Borrowed WB 13.2 (4,540) NEW 2904 13.2
Jumping the Broom Sony 13.0 (6,370) NEW 2035 13
Rio Fox 8.3 (2,560) -44% 3258 115
Water for Elephants Fox 5.6 (2,150) -40% 2614 41.6
Medea’s Big Happy Family Lions Gate 3.5 (1,850) -65% 1881 46.4
Prom BV 2.4 (880) -48% 2730 7.8
Soul Surfer Sony 2.1 (1,170) -38% 1781 36.7
Hoodwinked Too! Weinstein Co. 1.9 (770) -53% 2505 6.8
Insidious Film District 1.3 (1,340) -50% 1001 50.3
Source Code Summit 1.2 (1,300) -52% 930 50.9
Hanna Focus 2.2 (1,410) -58% 748 36.79
African Cats BV .87 (840) -64% 1035 12.7
Scream 4 Weinstein Co. .71 (530) -67% 1333 36.9
The Conspirator Roadside Attractions .68 (1,480) -38% 460 9.8
There Be Dragons IDP .66 (2,550) NEW 259 0.66
Hop Uni .50 (550) -81% 902 106.4
Win Win Fox Searchlight .46 (1,730) -30% 268 8.3
The Lincoln Lawyer Lions Gate .45 (1,030) -43% 440 55.5
Limitless Relativity .43 (1,1300 -61% 379 76.9
Rango Par .41 (1,480) 31% 277 120.4
Jane Eyre Focus .37 (1,500) -27% 248 9.4
Weekend Total ($500,000+ Films) $154.80
% Change (Last Year) -11%
% Change (Last Week) 1%
Also debuting/expanding
100% Love Blue Sky .20 (8,840) 23 0.2
The Beaver Summit .10 (4,650) 22 0.1
In a Better World Sony Classics 82,300 (1,710) 15% 48 0.52
The Greatest Movie Ever Sold Sony Classics 65,700 (1,430) -27% 46 0.34
Engeyum Kadhal Sun 38,500 (2,960) 13 0.04
Forks Over Knives Monica Beach 26,600 (4,430) 6 0.03
Last Night TriBeCa 25,300 (2,810) 9 0.03
Battle of the Brides Variance 20,200 (4,040) 5 0.02
Octubre New Yorker 6,900 (3,450) 2 0.01
Haunted 3D Big Pictures 6,100 (550) 11 0.01
Caterpillar Lorber 2,100 (2,100) 1 0.01
Passion Play Image Entertainment 1,800 (900) 2 0.01

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Klady

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“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller