MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Friday Estimates by Master Box Office Klady

20140222-084519.jpg

9 Responses to “Friday Estimates by Master Box Office Klady”

  1. movieman says:

    Bleuch.
    It’s a shitty weekend for everything but “LEGGO” and (sort of) “The Wind Rises.”
    All of last weekend’s Festivus-fueled “hits” (“ALN,” “Endless Love,” “Robocop”) collapsed, both new wide releases pretty much tanked and the other two high profile limited-ish releases (“In Secret” and “Omar”) were D.O.A.
    “Secret” isn’t great, but it’s not appreciably worse than the Wasikowska/Fassbender “Jane Eyre” from a few years back which did decently enough.
    And “Omar” is actually pretty terrific; kind of shocked that it didn’t open better buoyed by excellent reviews and its Oscar nomination.

  2. Bulldog68 says:

    But Three Days to Kill has a modest budget so a $10m opening is not a disaster. Granted with Non-Stop coming next week, it may not get to $30m domestically but with international it should be okay.

    Pompeii is a disaster domestically however, and will be looking to pull a Robocop with it’s international numbers, otherwise it joins the steaming pile of genre disasters already being racked up this year, including I Frankenstein and Hercules.

  3. EtGuild2 says:

    Aw, I loved Fukunaga’s take on “Jane Eyre.” It doesn’t live up to the BBC miniseries, but it certainly is a cut above previous movies.

    I thought “In Secret” was disappointingly stilted. Carné’s version of the novel was on TCM recently, and while it’s slow-moving, it kept me glued to the screen. On the other hand, Zola’s classic is probably going to be forever associated with “Thirst,” the Chan-woork Park vampiric interpretation a few years back, which is a borderline masterpiece.

  4. EtGuild2 says:

    Double post.

  5. chris says:

    Storm effect? The Midwest pretty much can’t go to the movies this weekend.

  6. cadavra says:

    Back in the old days, Sony (well, Columbia) would’ve quickly made POMPEII and ROBOCOP into a double feature to keep them in theatres. Those, alas, were the days.

  7. movieman says:

    Cad- I think we might be the only ones who still remember the days of “circuit double bills.”
    Yeah.
    Robocop” and “Pompeii” would have made a particularly nice pairing: two entertaining, well-tooled genre films.
    Ditto “Legend of Hercules” and “I, Frankenstein,” although I’m not sure how “nice” it would’ve been for anyone forced to sit (back to back, no less) through those stinkers.

  8. movieman says:

    Et-While no great shakes, I found “In Secret” (dopey title notwithstanding) an easy enough sit.
    And that last scene is really kind of great.
    Maybe Roadside would have been better off opening on 10-15 screens instead of 200+.

  9. YancySkancy says:

    Masterpiece Theater did a great production of “Therese Raquin” back in the early 80s. Kate Nelligan, Brian Cox, Mona Washbourne, a small part for Alan Rickman.

Leave a Reply

The Hot Blog

Quote Unquotesee all »

“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray