Box Office Archive for December, 2006

Klady's Friday Estimates

This is one of those weird Fridays where analysis is somewhat defied. What we are really doing is analyzing the season, since the day-to-day is so different than any other time. It


Weekend Box Office

Klady will be here shortly, but here are a few sneak peeks at the small openers…
1. As previously reported, Dreamgirls was massive on 852 screens on Monday, with $8.7 million, about $100,000 of which came from added midnight shows around he country. It is the #3 Christmas Day opening ever, the #10 Christmas Day gross overall, and the single best day for any musical ever (Moulin Rouge had the previous best day ever with $5.68m on 2279 screens – Chicago


What Is A Good Number For Dreamgirls?

Every once in a while, it seems like time to make an offering of what would be a number that is “good” or “great” or disappointing for a highly anticipated opening. Dreamgirls


The Box Office To Come

For any movies now open, studios can, within about 15%, figure out with about 95% certainty what the rest of 2006 is going to look like for them. Black Christmas and Dreamgirls are really the only box office stories left to present themselves.
As it went last year, the Friday before X-Mas pretty much lays out a number that a film will perform close to on every day except the two down days of X-Mas Eve and X-Mas, and the unusually up day of the day after X-Mas. 2004 was unusual because that Friday was X-Mas Eve, but the Day before that, the Thursday, pretty much offered the same rule.
The extra day is a big advantage for films this year over last, since the day after the New Year


Box Office Hell 12/22 (4 days)

Box Office Mojo Friday Numbers
1 | Night At The Museum | $12,250,000 | 3,685 | $12,250,000 / 1
2 | The Pursuit Of Happyness | $5,300,000 | 2,863 | $43,587,000 / 8
3 | Rocky Balboa | $5,000,000 | 3,017 | $14,693,000 / 3
4 | The Good Shepherd | $3,500,000 | 2,215 | $3,500,000 / 1
5 | Charlotte’s Web (2006) | $3,150,000 | 3,728 | $21,959,000 / 8
6 | Eragon | $2,750,000 | 3,030 | $33,246,000 / 8
7 | We Are Marshall | $2,700,000 | 2,606 | $2,700,000 / 1
8 | The Holiday | $1,825,000 | 2,635 | $31,918,000 / 15
9 | Happy Feet | $1,800,000 | 2,565 | $155,756,000 / 36
10 | The Nativity Story | $1,550,000 | 1,824 | $28,235,000 / 22


Sunday Estimates by Klady

The Theatrical Box Office Is Dead! Long Live The Dead Theatrical Box Office!!!
As Father Oyl said endlessly in Popeye, someone owes me – and more importantly, the industry – an apology.
I will explore this further in tomorrow


Klady's Friday Estimates



Box Office Hell 12/15



Klady's Sunday Estimates – 12/10

So Apocalypto will apparently be #1 this weekend.
I have to say, I am shocked by how many readers of this blog care about being #1, as opposed to the amount of money that #1 represents.
In any case, Apocalypto did overcome a potentially very, very ugly situation. But still, this opening has to be called


Friday Estimates by Klady – 12/09

My Oh Mayan.
Well, it


Box Office Hell – 13/08



Klady's Sunday Estimates – 12/3

Not a lot more to add.
The Nativity Story was not saved by a massive wave of Christians. But we’ll see if it picks up. I think the endless media obsession with marketing to Christians has perhaps become a serious problem for distributors who are looking to go after that audience with anything more than the smallest, most subtle campaigns.
Bond continues to run on par/a little behind Die Another Day, Casino Royale about $5 million behind on the third weekend total. Still, it is a great success for Sony, given that they were launching a new Bond. CR is already the biggest first film of a new Bond ever by more than $10 million. And the film has also been huge in the UK, where Daniel Craig was already a much bigger star. But no, Oscar talk remains nutty.
I expect the lame Turistas estimate to be a little high in the end. It is rare to see a Friday number for a film like that triple over 3


Klady's Friday Estimates

This weekend of the year


Box Office Hell – 12/1/06



Box Office

Quote Unquotesee all »

“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