Box Office Archive for March, 2011

Weekend Estimates by Klady

It’s the biggest opening of 2011. It would have been the fourth best opening to this time last year, behind Alice in Wonderland, Valentine’s Day, and Shutter Island. 5 animated films have out-opened it in the months before summer: Ice Age, Ice Age 3, Monsters vs Aliens, Horton Hears A Who, and How To Train Your Dragon. All of those animated movies did over $150m at the box office. No one knows what Rango‘s legs will be like.

As I said yesterday, not a sensational opening. But hardly a bad one. $50 million, a number hyped by competitors, would have made it the best opening for an animated film opening before March 27 in history. But I would still say a little more than “Johnny is Rango” might have pushed the number up a bit. Remember that the big sell on Ice Age was the “squirrel” with the nut, not Ray Romano.

The Adjustment Bureau is not a box office car wreck. It’s no superstar either. God bless Matt Damon.

Beastly is now the perfect center of CBS Films’ box office opening prowess… #3 of 5 openers.

Kind of a boring movie weekend… just after everyone seemed to get hyped up on the idea of it being a big weekend. Rango ain’t Alice… but even at $60 million, no one was getting close to Alice this weekend. Listen to the box office boo birds if you like, but prepare to fell stupid in 6 months.


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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