Box Office Archive for September, 2008

Friday Estimates by Klady

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The Shia-Getting-In-Trouble franchise continues to grow, from a $22 million opening for Disturbia to what looks like a somewhere-near $30 million opening for Eagle Eye, an inferior retread with some excellent ads.
Lane & Gere are doing about what they do. The last time out was Unfaithful (the movie that convinced college girls to have stairwell sex for a few months), which opened to $14.1 million.
Another boring week at the box office…

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Weekened Estimates by Klady

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Friday Estimates by Klady

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Lakeview Terrace‘s start has to be a little dissapointing for the once can’t-miss Screen Gems team. The thing that strikes me is that the movie is genre, but it’s not Screen Gems genre, which is to say horror, girls, teen splat, and black/hispanic/urban. What teen wants to see a thriller about suburban angst? What black audience is running to see Sam Jackson terrorize the nice white guy next door? And how can a quick turn studio division think that the adult audience, who this movie really is after, will show up before weekend two?
Dame Clunk may finally be going away, with this weak’s release looking at half of what last year’s Jessica-Ablba’s-skirt-twirls-up weak shite did.
Igor did not convince the kiddies that this was a must see… not a shock… one actually has to spend TV dollars to do that.
And the not-so-shocking shocker is Ghost Town, which reminds us that America has no idea who the f Ricky Gervais is, no matter how wonderful a performer. WB has him next and I expect to see them lay down a much thicker base coat than Paramount – in one of their weakest efforts on outdoor and print images that I have seen in a long time – did. How ugly is it when Tea’ Leoni can’t get a second of TV-spot time and Greg Kinnear just slightly less? Maybe someone had a bet that they couldn’t open a Gervais movie and was trying to win… probably not.
Of course, it’s good to keep in mind that we are still in the studio Dump Zone for movies… which ends next weekend with Eagle Eye and Nights in Rodanthe… we hope.

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It's Crappy… But It's Box Office!!!

Klady’s Weekend Estimates…
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This is actually quite a good number for The Coens… though one should keep in mind that even Leatherheads opened to almost $13 million and it’s the worst wide opening for a Brad Pitt film in nine years. Mixed bag. Focus, I imagine, will be pleased.
11a- This just in… This is not only The Coens’ best opening (by around 50%), but Focus’ best opening ever (by $10 million). Do keep in mind that both entities release most of their product via platform, but still, very much worth noting.
The Tyler Perry is a little low for him, but he is close to unrecognizable in the ads and he shows once again that even without a Madea in his films, he can open in the $20m range (if not $20m this time).
Righteous Kill‘s opening shows that even if everyone can see that it’s a pig in a poke (with lipstick), they want their beloved actors to be there.
And Tropic Thunder closes in on paying for its domestic marketing with its domestic box office. Foreign release has barely begun, but conservatively, the film will have to significantly improve on its domestic number overseas (at least $250 million total ww) to not be in the red when the books are closed.

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Box Office

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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