MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report: Float Like a Butterfly … Sting Like a Bee

The debut of Underworld: Awakening led weekend ticket sales with an estimated $25.2 million. Two other films bowed nationally and a fourth platformed after four weeks in Oscar-qualifying exclusives. The saga of the Second World War Tuskegee Airmen, Red Tails, ranked second with $19.1 million and the take no prisoners actioner Haywire kicked out with $8.9 million. Wedged in-between was the expansion of Extremely Loud & Incredibly Close in position four with $10.4 million.

Despite patches of inclement weather box office was generally spritely and considerably more potent than last year’s weak outset.

A trio of Oscar foreign-language submissions opened strategically but, ironically, none made the short list announced last week. Of the three only Mexico’s Miss Bala showed promise with an $8,070 average from four screens. Conversely China’s The Flowers of War was un-blooming with $51,400 at 30 venues. Also of note were the non-fiction Crazy Horse with $8,700 from a single screen and the modern-day adaptation of Coriolanus that grossed $62,500 from nine engagements.

Overall box office generated roughly $135 million that was flat with last weekend’s three-day portion of the MLK holiday. However, it was 31% improved from 2011 when the debut of No Strings Attached led with $19.6 million and Green Hornet’s sophomore weekend added $17.7 million.

The fourth installment of the Underworld franchise was expected to top weekend charts and managed to exceed the previous edition’s $20.8 million bow. It played largely to loyal fans with exit polls indicating an audience composed 55% of males and 60% of viewers aged 25-years and older.

For many the weekend surprise was Red Tails, the chronicle of the African American flying aces that George Lucas financed when all the majors took a pass. Pundits predicted opening day interest followed by steep drops. But Friday to Saturday posted a sizeable 44% boost. Exit demos showed a crowd composed 51% male and 66% aged 25 years and older but ethnic breakdowns were unavailable. Fingers are crossed that the picture will skew younger in the coming weeks.

With the Oscar slate announcement just days away Extremely Loud & Incredibly Close launched nationally in hopes of capitalizing on Academy attention. So far the yarn hasn’t been a significant award’s contender but Oscar favor is particular difficult to predict this year. The film drew a not unexpected 59% female audience and a whopping 82% aged 25 plus.

Haywire tilted 55% male with 64% of the audience 35 years old and younger. Notwithstanding its results, the movie going crowd is definitely aging and the majors are both mulling a shift toward more mature content and pictures that will ease the erosion of that younger demographic that had dominated ticket sales for decades.

Weekend Estimates

Title Gross (average) % change * Theaters Cume
Underworld: Awakening 25.2 (8,190) NEW 3078 25.2
Red Tails 19.1 (7,620) NEW 2512 19.1
Contraband 12.2 (4,250) -50% 2870 46.1
Extremely Loud & Incredibly Close 10.4 (3,960) 11350% 2630 11.1
Haywire 8.9 (3,640) NEW 2439 8.9
Beauty and the Beast 8.6 (3,290) -51% 2625 33.4
Joyful Noise 6.0 (2,200) -46% 2735 21.9
Mission Impossible – Ghost Protocol 5.5 (2,190) -53% 2519 197.3
Sherlock Holmes: A Game of Shadows 4.7 (1,880) -46% 2485 178.5
The Iron Lady 3.7 (3,470) -31% 1076 12
The Girl with the Dragon Tattoo 3.7 (1,930) -45% 1907 94.7
War Horse 3.0 (1,200) -49% 2525 72.2
Alvin and the Chipmunks: Chip-Wrecked 2.9 (1,410) -50% 2070 124.5
We Bought a Zoo 2.7 (1,320) -51% 2065 69.5
The Devil Inside 2.5 (1,140) -69% 2207 51.1
The Artist 2.4 (3,590) 99% 662 12.1
The Descendants 2.4 (4,340) 16% 560 51.3
The Adventures of Tintin 2.2 (1,630) -46% 1340 72.3
Tinker, Tailor, Soldier, Spy 1.8 (2,420) -45% 730 18.3
Hugo .90 (1,380) -14% 650 55.8
Happy Feet Two .42 (1,270) -13% 331 62.6
A Dangerous Method .41 (3,890) -18% 105 3.4
Puss in Boots .34 (1,160) -18% 292 147.7
My Week with Marilyn .32 (1,430) -32% 225 12.1
Carnage .31 (1,250) -55% 248 2
The Twilight Saga: Breaking Dawn .30 (820) -61% 370 280.2
Weekend Total ($500,000+ Films) $128.80
% Change (Last Year) 31%
% Change (Last Week) 0%
Also debuting/expanding
Shame .23 (2,440) 61% 95 3
A Separation .18 (13,650) 147% 13 0.55
We Need to Talk About Kevin 72,800 (10,400) 72% 7 0.18
Pariah 63,200 (3,010) -37% 21 0.49
Coriolanus 62,500 (6,940) 9 0.06
The Viral Factor 61,700 (2,800) 22 0.06
Fullmetal Alchemist 59,600 (1,320) 45 0.06
The Flowers of War 51,400 (1,710) 30 0.05
Miss Bala 32,300 (8,070) 4 0.03
16-Love 10,200 (780) 13 0.01
Crazy Horse 8,700 (8,700) 1 0.01
The Front Line 6,800 (1,130) 6 0.01
Carol Channing: Larger Than Life 5,100 (2,550) 2 0.01
The Pruitt-Igoe Myth 4,400 (4,400) 1 0.01
The City Dark 2,900 (2,900) 1 0.01

Domestic Market Share:  January 1 – 19, 2012

Distributor (releases) Gross Market Share
Paramount (8) 157.8 30.90%
Warner Bros. (9) 78.8 15.40%
20th Century Fox (4) 68.1 13.30%
Buena Vista (5) 63.4 12.40%
Sony (6) 43.7 8.50%
Universal (2) 34.9 6.80%
Weinstein Co. (3) 17 3.30%
Summit (2) 14.3 2.80%
Focus (2) 13.3 2.60%
Fox Searchlight (3) 11.2 2.20%
Sony Classics (5) 2.8 0.60%
Other * (22) 6.1 1.20%
511.4 100.00%

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Klady

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Kyle Buchanan: I think the deal with a lot of white, male critics is there’s a very empirical way that they write that they write their movie reviews that always puzzled me. Movies are such subjective things. Back in the day, I used to be the film critic for The Advocate, and it was really striking to me when I would go into screening rooms and I was by far the youngest. They were filled with old white men. And when you watch a film like Black Snake Moan, that’s playing with a whole lot of gender and race issues, I was like, Are like 70-year-old white men like really the sole voices that I want to hear on this movie? It just didn’t feel right.

Jen Yamato I’ve been very pleasantly surprised to see the receptions Moonlight has gotten. But one of the films that I was disappointed to see not get more traction was American Honey. I distinctly remember sitting in a screening room full of mostly older white guys and thinking during the film, How are any of them going to relate to this movie?

~ Taking On The “Old White Guys”

“I was frustrated, a bit angry even. There should be no need for winning in the arts. Awards condition people into thinking that art is a competition, that good cinema is prize-winning … that a filmmaker must win an award or two to be considered finance-worthy. It enables the slow death of many and lack of support for most. My films do not ask to be liked. In fact, my films actively seek to be disliked. It seems that I have failed at this goal. What does it mean to be political in the time of Trump… in the country of Duterte? I dedicate the film to all the outsiders of the world: kids, midgets, freaks, paralytics, prostitutes, scoundrels. These are my people. I make outsider films that talk about the pain and joy of not belonging, of always being on the outside peering in.”
~ Prolific Philippines Filmmaker Khavn de la Cruz On Getting A Prize From Geneva Int’l Film Fest