Z
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 »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

Z Weekend Report