The Hobbit: Battle of the Five Armies
MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report, May 6, 2012

Vengeance is a Dish Served Hot

The Avengers rewrote the record books with the biggest ever opening three-day weekend that’s estimated at $200.5 million. With $30 million more than the former champ, there’s little chance that the Monday actual will change Sunday’s ebullience.

The film was anticipated to open at $155 million-$165 million and had already done close to $300 million in its opening week in internationally, where it premiered in 30 territories prior to the U.S. So, the other majors all decided there was little point to bother to offer up counter-programming.

There was still a lot to be said for the limited bow of The Best Exotic Marigold Hotel that racked up $727,000 from a meager 27 engagements. The yarn of senior Brits looking for a golden age life in India has already amassed $70 million internationally.

Apart from the ballet nonfiction First Position that grossed $44,800 on five screen, incoming exclusives were ho-hum.

The Avengers accounted for roughly 80% of the weekend’s $250 million ticket tally. Its entry into the marketplace boosted revenues from last weekend by 131% and improved on last year’s record by 53%. In 2011 the marketplace leader was the Marvelously debuting Thor with $65.7 million with Fast Five as the runner up with $32.4 million in its sophomore session.

The industry rule of thumb is that cinematic behemoths going the Midnight advance route can expect 10-to-1 returns. The Friday announcement that The Avengers had accrued about $18.7 million from early screenings was unquestionably heartening. Removing that portion of the box office from the overall picture was provided a not insignificant Friday-Saturday box office boost and early estimates of $170 million to $180 million were quickly revised.

The response at Disney was not unexpectedly fulsome though they were hard-pressed to explain the better-than-anticipated returns. Distribution EVP Dave Hollis credited Marvel for cleverly “seeding the market” by successfully introducing the likes of Iron Man, Thor and Captain America in earlier film and establishing a movie fan base.

Exit demos revealed a 50/50 split for the over/under 25-year-olds with an overall 60% skew toward males. However, with response at this lofty level the size, regardless of demographic, was considerable. Roughly 52% of revenues derived from 3D engagements which accounted for 75% of the screen count. Imax engagements were 8% of the tally but they will largely disappear next weekend as they’ve been committed to the opening of Dark Shadows.

In general holdover titles took hits of 50% to 65%. The Hunger Games ascended into the top 15 all-time box office grossers and, Avengers notwithstanding, should settle in at position 13.

The French sensation Intouchables continues to perform in Québec at a level that’s comparable to international grosses that are nearing $350 million. Its U.S. distributor would be thrilled to equal some vaguely proportional to Québec’s current $1.7 million box office.


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Klady

The Hobbit: Battle of the Five Armies

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies