Box Office Archive for April, 2006

Friday Numbers by Klady – April 29

Not a memorable weekend at the box office… except…
RV making a $13 – $15 million dent at the box office is hardly overwhelming. It may be enough for #1, but with Sony knocking $20 million openings out of the park with cheap goods lately, Robin Williams in a Barry Sonnenfeld comedy with a significant budget doing less than The Benchwarmers is not a win. It

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Friday Estimates by Klady

The Benchwarmers, in the official

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Beating Myself Up For Your Amusement

This week’s 20 Weeks of Summer is about what I got wrong from my April predictions last year… hmm…
“Last year’s first chart, published on April 21, had eight films on it that ended up not being released during the May-August summer season. (This allows me to avoid the disastrously wrong call on xXx2.)
Of the remaining 42 movies, I was within $10 million of the final actual gross on the films. That leaves 30 movies on which I ended up being less accurate.
My biggest misses, by percentage, were the films that performed significantly better than I expected. Two of the films were late season films that offered no clear signals of being nearly as successful as they were

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Friday Estimates by Klady

Those teenagers are really staying away from the theaters in droves!
I didn

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Klady's Friday Estimates – 4/8/06

Ice Age: Meltdown is pretty much in the expected trajectory. And so is The Benchwarmers.
This is where it gets frustrating for film critics. This film could open to $20 million, despite features smacking it around, followed by no reviews, followed by scathing reviews. The irony is that even a tough critic like Manohla Dargis gave the film a fairly negative review

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Friday Estimates by Klady

Looks like Ice Age 2 will be the second biggest opener outside of summer or holiday slots after The Passion of The Christ

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“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima

“They’re still talking about the ‘cathedral of cinema,’ the ‘communal experience,’ blah blah. The experiences I’ve had recently in the theatre have not been good. There’s commercials, noise, cellphones. I was watching Colette at the Varsity, and halfway through red flashes came up at the bottom of the frame. A woman came out and said, ‘We’re going to have to reboot, so take fifteen minutes and come back.’ Then they rebooted it from the beginning, and she had to ask the audience to tell her how far to go. You tell me, is that a great experience? I generally don’t watch movies in a cinema at all. Netflix is the future. It’s the present. But the whole paradigm of a series, binge-watching, it’s quite different. My first reaction is that it’s more novelistic, because if you have an eight-hour season, you can get into complex, intricate things. You can let it breathe and the audience expectations are such that they will let you, where before they wouldn’t have the patience. I think only the surface has been touched with experimenting with that.”
~ David Cronenberg