The Weekend Report Archive for October, 2006

Booooooooo!

More treat than trick commercially speaking, Saw III sliced through the marketplace with an estimated $34.2 million to take command as weekend movie favorite. The frame had only one other national debut with the political thriller Catch a Fire at a low spark of $2.1 million. Activity was torrid in limited and platform bows with…

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Presto … Chango

The Prestige apparently had the magic to ascend to the top of the box office chart with an estimated $14.8 million. In a session that had anticipated Flags of Our Fathers would take the weekend, the saga of the “greatest generation” struggled to $10.2 and ranked third overall. A glut of new product contributed to…

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Very Scarrrrrry

The Grudge 2 chilled an estimated $22.5 million to take top honors in the weekend movie going derby. In a status quo frame, freshmen entries ranged from a disappointing $12.5 million ballot for Man of the Year to a fair $7 million pin for The Marine and a rather upbeat $4.2 million encounter with One…

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More Bang For The Bucks

The Departed left the station with an estimated $26.5 million to claim weekend bragging rights as the session’s top attraction. There were also upbeat returns for freshmen entries The Texas Chainsaw Massacre: The Beginning that ranked second with $19.1 million and a fourth place finish for Employee of the Month of $11.7 million. Additionally Trailer…

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Seasons Greetings!

Open Season animated an estimated $23.3 million to lead weekend movie biz with the watery actioner The Guardian not far behind with $17.6 million. The combo registered sufficient muscle to provide a double-digit boost from 2005. The session also featured an OK $8.1 million bow for the comic School for Scoundrels. Additionally limited bows for…

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson