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 »

“I am just grateful I am still around. I would love to be Steven Soderbergh, but I am lucky to be Joe Swanberg. Actors want to work with me, people want to give me money, and my nightmare scenario remains: Getting in bed with a studio, spending years on a movie, and it turns out horrible, but now I’m rich.”

Actually, by Hollywood standards, you’re right, I said. That is unambitious.

“It is, and yet, if you can go to bed happy at night, doing what you want, isn’t that ambition for a lifetime?”
~ Swanberg On Swanberg By Borelli

“In retrospect, nothing of that kind surprised me about Philip, because his intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect.”
John le Carré on Philip Seymour Hoffman