Night Moves
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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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato