Box Office Archive for January, 2009

Friday Estimates by Klady

iPhoning this in, but as I consider Fox’s second $20m+ opening this month, it strikes me that the way that the attack on Rothman will continue is through the Rotten Tomato score and not the box office… not unlike the perameters of the false “box office slump” story were changed from overall gross to by-the-weekend gross to ticket sales (an estimated irrelevance that has now become a feature of any negative bo story) in order to keep the negativity going.
The real negative story on Taken is that Fox let B13 get away.


This Slumdog Moment Brought To You By The Film's Publicist…

Slumdog Millionaire Exceeds Expectations in Achieving the 3rd Highest Opening Day Box Office Amongst all Hollywood Studio Releases in India
Slumdog Millionaire opened in India on 351 screens this past weekend to universally positive press reviews. It now holds the record as having the 3rd highest opening day numbers amongst all Hollywood studio releases in India ever. The first is Spider-Man 3 and the second is Casino Royale. The box office increased by over 33% on its second day of release. It also now holds the record for the highest box office figures for any Fox release in the country. The per screen average of Slumdog Millionaire is higher than the #1 film, Raaz 2. The total box office for the weekend is just under $2 million US dollars.

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Friday Estimates by Klady – 1/24/09

Not much of note, even at this late hour.
A $19 million opening for an Underworld film without – even pretending to have – Kate Beckinsale is fine.
Slumdog is getting a nice Oscar bump, but with about 2.5x the screens, not overwhelming.
Ben Button’s pop is smaller.
Gran Torino remains a commercial film, appropriately without big Oscar noms, and people still want to see Clint force people off of his lawn.
WB seemed intent on proving they had no idea what to do with NL leftover Inkheart... and they were right. The failure doesn’t make it any less embarrassing that 3 of WB’s top five films of the last year came from the all-but-dead NL.


Weekend Estimates by Klady

11:55a corrected chart for cut off figures
Not too much to add.
The Ben Button Friday cume was off, so that’s why that number doesn’t match the Friday chart that was posted yesterday.
It looks like this year’s December films will match 2001 and 2003’s record for 4 films released that month cracking $100 million before Oscar nods. On the other hand, it will be the first year since 1999 that there will not be a single $200 million+ film coming out of December.


Friday Estimates by Klady

Gran Torino = Commercial Movie. Is anyone actually surprised?
I still think they should have opened wide earlier. They would have eaten into Button a little over the holidays, but I feel their final gross domestically would have been at least $20 million higher.
Bride Wars may be a little dissapointing becuase of the Anne Hathaway advantage, but it will land right about where 27 Dresses did for Fox last year.
The Unborn is a decent horror/thriller opening, likely to switch spots with the brides by the end of the weekend.
The holdover drops were to be expected coming off the holiday.


Friday Estimates by Klady

THE OSCAR NUMBERS (as of today)
The Dark Knight – $531m
Wall-E – $224m
The Curious Case of Benjamin Button – $67.7m
Slumdog Millionaire – $25.5m
Milk – $15.9m
Doubt – $15.5m
Gran Torino – $7.7
Frost/Nixon – $5.4m
The Reader – $2.5m
The Wrestler – $1.3m
Revolutionary Road – $690,000
Defiance – $39,100


Box Office '08

The box office in 2008 was healthy. But it was a better year in the upper middle class than it was for the blockbusters


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