The Weekend Report Archive for March, 2009

Monster Smash

The debut of Monsters vs. Aliens scared up an estimated $57.3 million to handily take control of weekend movie viewing.The Haunting in Connecticut, a more traditional chiller, also bowed to an impressive $23.2 million and the two top sellers accounted for approximately 55% of the frame’s admissions. The session also saw a rather flaccid bow…

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Knowing … and Not Knowing

The science-fiction anxiety raiser Knowing led the weekend box office chart with an estimated $24.1 million. In a session where a trio of national releases was expected to be closely bunched, the separations were noticeable. The romantic comedy I Love You, Man debuted in second spot with $17.6 million and the tongue-in-cheek thriller Duplicity took…

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Witch Way to the Front

Race to Witch Mountain ambled to the top of weekend ticket sales with an estimated $24.8 million. The frame’s other national debuts also showed predictable potency. The horror remake Last House on the Left ranked third with a $14.6 million gross and the twenty-something comedy Miss March mustered $2.3 million. Additionally there were a slew…

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A Watchmen Pot Boils

Propelled by the debut of Watchmen, domestic box office rose by 12% from 2008. The adaptation of the acclaimed graphic novel opened to an estimated $56.7 million and accounted for roughly 50% of all movie ticket sales on its opening weekend. The Watchmen saga – at least in regard to its tortured journey to the…

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Jonas and the Wail

Despite a 60% drop in business and anticipated fierce competition, Madea Goes to Jail retained its position as top ticket seller with an estimated $16.4 million gross. The presumed champ – Jonas Brothers: The 3D Concert Experience – got off to a fast start but quickly faltered and finished second overall with a $12.6 million…

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch