MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report: Abandon Hope

A couple of new releases hardly made a ripple in weekend movie going that sunk to a level not seen in decades. The Words, a convoluted yarn of authorship, bowed to an estimated $4.8 million that ranked fourth on the leader board while the thriller The Cold Light of Day – a leftover from Summit films_bowed with $1.8 million. The latter film has already opened overseas where it grossed a disappointing $12.5 million.

In the niches, 1981’s Raiders of the Lost Ark was reissued exclusively on Imax screens and grossed a respectable $1.6 million. However, there was negligible product placement for the futuristic parable Branded that debuted to $250,000 at 307 venues and new Indian imports Hindi Raaz 3 and Telegu Shirdi Sai Baba received tepid response.

Exclusive newcomers were generally dull with only the gay relationship Keep the Lights On; the offbeat rom-com Hello I Must Be Going; and a single screen bow for the non-fiction Detropia displaying the slightest bit of encouraging commercial signs.

Overall weekend box office added up to a smidgen more than $65 million and a 38% plunge from the 3-day portion of last weekend’s holiday session. It was also 18% down from 2011 when the $22.4 million debut of Contagion top the charts.

It was the lowest weekend box office of the past decade and adjusted for admissions one would have to embark on an Indian Jones expedition to find a worse attended session historically. One can only hope that it’s the combination of disinterest for recent product combined with spent interest in holdover fare that’s contributed to such a stark result. Pray that it’s an anomaly.

About the only titles that appear to be maintaining some continued appeal are alternative and adult such as Robot & Frank, Samsara and Sleepwalk with Me. So unless one lives in one of the 25 major metropolitan areas, keep an eye out for pay-per-view opportunities.

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Title Distributor Gross (average) % change * Theaters Cume
The Possession Lions Gate 9.6 (3,380) -46% 2834 33.4
Lawless Weinstein Co. 5.9 (1,880) -41% 3138 23.4
The Expendables Lions Gate 4.8 (1,470) -47% 3260 75.5
The Words CBS 4.8 (1,730) NEW 2801 4.8
ParaNorman Focus 4.1 (1,440) -35% 2856 45.4
The Bourne Legacy Uni 4.0 (1,450) -45% 2766 103.7
The Odd Life of Timothy Green BV 3.7 (1,370) -41% 2717 43.1
The Campaign WB 3.5 (1,370) -39% 2542 79.4
2016 Obama’s America Rocky Mountain 3.3 (1,630) -41% 2017 26.1
The Dark Knight Rises WB 3.2 (1,630) -47% 1987 437.8
Hope Springs Sony 2.8 (1,160) -40% 2437 57.6
Premium Rush Sony 2.2 (1,030) -44% 2182 16.7
The Cold Light of Day Lions Gate 1.8 (,210) NEW 1511 1.8
Raiders of the Lost Ark (reissue) Par 1.6 (6,100) NEW 267 1.6
Hit and Run Open Road 1.1 (600) -48% 1810 12.5
Ice Age: Continental Drift Fox .83 (1,090) -36% 763 157.2
Diary of a Wimpy Kid: Dog Days Fox .81 (870) -43% 931 46.7
Sparkle Sony .79 (900) -56% 873 23.4
The Avengers BV .77 (640) -60% 1209 621.4
Brave BV .70 (730) -51% 959 233.4
Ted Uni .55 (1,070) -32% 515 216.9
The Amazing Spider-Man Sony .53 (1,220) -43% 435 260.5
Robot and Frank IDP .52 (2,570) -25% 202 2
Total Recall Sony .44 (850) -49% 517 57.6
Celeste and Jesse Forever Sony Classics .39 (890) -45% 441 2.6
Madagascar 3: Europe’s Most Wanted Par .38 (1,110) -43% 345 215.2
Beasts of the Southern Wild Searchlight/eOne .36 (1,350) -31% 269 10.3
Sleepwalk with Me IFC .33 (4,520) 2% 73 0.87
Intouchables Alliance/Weinstein .31 (1,580) -19% 194 11.8
Weekend Total ($500,000+ Films) $61.90
% Change (Last Year) -18%
% Change (Last Week) -38%
Also debuting/expanding
Branded Barboss .25 (820) 307 0.25
For a Good Time, Call … Focus .22 (3,890) 51% 56 0.45
Samsara Oscilloscope .19 (7,560) 76% 25 0.48
Bachlorette Weinstein Co. .18 (3,850) 47 0.18
Shirdi Sai Baba Sree Lakshmi .16 (3,080) 53 0.16
Searching for Sugar Man Sony Classics .13 (3,880) -9% 33 0.91
Killer Joe LD .12 (1,810) -50% 68 1.6
Raaz 3 Fox Intl .10 (3,610) 28 0.1
Keep the Lights On Music Box 53,300 (10,060) 5 0.05
Un Bonheur n’arrive jamais seul Remstar 38,800 (3,880) 10 0.03
The Inbetweeners Wrekin Hill 31,900 (3,190) 10 0.03
The Eye of the Storm Sycamore 26,600 (3,800) 7 0.03
Hello I Must Be Going Oscilloscope 25,700 (12,850) 2 0.03
Ajj de Ranjhe Big Pictures 21,900 (1,680) 13 0.02
Detropia Loki 16,500 (16,500) 1 0.02
Toys in the Attic Hannover House 14,200 (570) 25 0.01
Adieu Berthe Metropole 13,800 (4,450) 3 0.01
Beauty is Embarrassing Tremolo 13,500 (4,500) 3 0.01
Beat Down Equinoxe 9,700 (1,210) 8 0.01
For Ellen TriBeCa 5,900 (5,900) 1 0.01
Girl Model First Run 4,800 (4,800) 1 0.01
Pickin’ & Grinnin’ House Lights 3,700 (1,850) 2 0.01

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Klady

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“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic

“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick