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MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report: March 25, 2012

Starved For Inattention

The Hunger Games set a slew of records and debuted to a jaw dropping estimated $153.6 million. Nuff said.

The competition decided there was little point to even consider a counter-programmer. But in the niches Bollywood offered Agent Vinod that bowed to an OK $440,000 at 121 venues.

There were also a few limited freshmen that showed signs of life. The Raid: Redemption, an urban shootout, grossed $219,000 from 14 locations while the Brit period drama The Deep Blue Sea fared fair with $113,400 on 28 screens. The frame’s handful of exclusive generated generally disappointing results.

The anticipation for The Hunger Games was palpable. The popularity of its series of young adult novels was likened to the Harry Potter books … albeit slightly more sophisticated and unquestionably more sober sided. Pundits could not image anything less than a $100 million debut and tracking pegged it at between $130 million and $135 million in the days leading up to its release.

Neither the film’s Thursday midnights of $19.7 million nor Friday additional box office of $48.5 million indicated that the prognostications were off track. Saturday was expected to experience a downturn but (previews aside) stunned the industry with a slight boost and estimates quickly shot up by $20 million.

As for records Hunger can claim the biggest domestic opening for a non-sequel and slots third all-time behind the Harry Potter finale and The Dark Knight. It also fueled the biggest weekend box office outside a holiday session. It also opened day and date in 57 international territories and scored an impressive estimated $60 million that should eventually provide it for the sort of business experienced by the recent Twilight installments.

Exit demos also provided a bit of a surprised. While its 61% female tilt wasn’t really a shocker what stood out was that less than half the crowd was under the age of 25 years; specifically 44%. All this ultimately bodes well in the coming weeks as the current momentum is likely to bring in a younger male crowd.

The Hunger Game accounted for more than 70% of weekend admission that should add up to roughly $212 million. That was sufficient for a 97% boost from last weekend’s tally and 79% better than last year’s gross when debuts of Diary of a Wimpy Kid: Rodrick Rules and Sucker Punch opened respectively to $23.7 million and $19 million.

Holdover titles generally took 50% hits in the wake of The Hunger tsunami. The weather notwithstanding, summer definitely arrived early in 2012.

Weekend Estimates: March 23-25, 2012

Title Gross (average) % change * Theaters Cume
The Hunger Games 153.6 (37,130) NEW 4137 153.6
21 Jump Street 20.4 (6,550) -44% 3121 70.2
Dr. Seuss’ The Lorax 13.0 (3,540) -43% 3677 177.3
John Carter 5.0 (1,570) -63% 3212 62.4
Act of Valor 2.0 (910) -46% 2216 65.9
A Thousand Words 1.9 (1,050) -40% 1787 14.9
Project X 1.9 (920) -53% 2065 51.7
Safe House 1.4 (1,020) -50% 1330 122.5
Journey 2: The Mysterious Island 1.3 (1,000) -44% 1340 97.1
Casa de mi Padre 1.0 (2,170) -55% 475 3.9
This Means War 1.0 (830) -54% 1188 52.3
The Vow .83 (660) -60% 1258 122.8
Friends with Kids .80 (1,440) -45% 556 5.5
Salmon Fishing in the Yemen .68 (5,480) 47% 124 1.6
Silent House .63 (520) -70% 1202 11.9
Good Deeds .59 (950) -57% 621 33.7
Jeff Who Lives at Home .57 (2,240) -33% 254 1.8
The Artist .47 (820) -55% 576 43
Agent Vinod .44 (3,640) NEW 121 0.44
A Separation .34 (1,320) -27% 261 6.1
The Iron Lady .25 (770) -41% 327 29.1
Hugo .24 (850) -50% 283 73.4
Alvin & the Chipunks: Chip-Wrecked .24 (960) -14% 248 132
Weekend Total ($500,000+ Films) $206.60
% Change (Last Year) 79%
% Change (Last Week) 97%
Also debuting/expanding
The Raid: Redemption .22 (13,670) 14 0.22
Footnote .16 (6,920) 137% 23 0.32
The Deep Blue Sea .11 (4,050) 28 0.11
We Need to Talk About Kevin 94,300 (1,180) -6% 80 1.3
Being Flynn 72,100 (990) -51% 73 0.4
In Darkness 58,700 (1,130) -20% 52 0.79
Comme un chef 41,200 (2,750) 15 0.04
Un Heureux evenement 11,400 (540) 21 0.01
One Life 8,700 (2,900) 3 0.01
4:44: Last Day on Earth 8,400 (2,800) 3 0.01
Musical Chairs 7,300 (810) 9 0.01
The Trouble with Bliss 4.950 (4,950) 1 0.01
Brake 4,600 (2,300) 2 0.01
Domestic Market Share (Jan. 1 – March 23, 2012)
Distributor (releases) Market Share
Universal (6) 17.50%
Sony (10) 15.30%
20th Century Fox (8) 13.20%
Warner Bros. (11) 12.90%
Paramount (10) 9.90%
Buena Vista (7) 7.80%
Relativity (3) 3.70%
Lions Gate (4) 3.70%
Weinstein Co. (6) 3.30%
Open Road (2) 2.50%
CBS (2) 2.40%
Summit (4) 2.10%
Fox Searchlight (3) 2.00%
Focus (2) 1.00%
Sony Classics (8) 0.60%
Other * (76) 2.10%
Top Limited Releases (Jan. 1 – March 22, 2012) *
Title Box Office
A Separation 5,746,324
Friends with Kids 4,696,681
A Dangerous Method * 4,131,966
Pina * 3,712,244
Goon 3,689,726
Albert Nobbs 2,864,761
Casa de mi Padre 2,848,252
Born to Be Wild * 2,219,802
Carnage * 2,217,733
Shame * 2,049,382
Agneepath 1,990,856
Monsieur Lazhar * 1,748,051
2012 Oscar Nominated Shorts 1,693,261
We Need to Talk About Kevin 1,252,363
Jeff, Who Lives at Home 1,187,358

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“Oh it was just hellish. This is the worst thing that ever happened to me. It would be stupid for me to say that I didn’t know what I was getting into. It has taken me five years to decide on a first film and I always held out for something like this. The lesson to be learned is that you can’t take on an enterprise of this size and scope if you don’t have a movie like The Terminator or Jaws behind you. Because when everybody’s wringing their handkerchiefs and sweating and puking blood over the money, it’s very nice to be able to say, ‘This is the guy who directed the biggest grossing movie of all time, sit down, shut up and feel lucky that you’ve got him.’ It’s another thing when you are there and you’re going ‘Trust me, this is really what I believe in,’ and they turn round and say ‘Well, who the hell is this guy?’ If I make ten shitty movies, I’ll deserve the flak and if I go on to make 10 great ones, this’ll probably be looked upon as my first bungled masterpiece.”
~ David Fincher, 1992

 

“I was a brat back when I made Pootie Tang. I was dealing with people every day whose pressures I didn’t understand, and I wasn’t very nice about how I said no to them. I put myself in a position I didn’t have to be in. A lot of what makes this kind of stuff work is empathy. If you’re taking money from somebody, they have a right to look after it. It’s all just trying to be clear about the arrangement. That’s why when I set up ‘Louie,’ I just said, ‘This is what I’m comfortable doing, and if you don’t want to do it, I don’t blame you. But in exchange, I’ll take very little money.’ I was only getting $200,000 per show from them, which is insane, and it goes up just by tiny increments every year. The other part of the arrangement with FX is that if this stops working for them, they should just tell me and we’ll stop doing it. Contractually, FX has a right to demand that the scripts be filtered through them before I shoot them, just like any other show. But from the beginning, they haven’t read anything, and they like the show. If I start turning in shit, then they’re going to start asking to see scripts, and that’s perfectly fair.”
~ Louis C. K.

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