Posts Tagged ‘Soy Yo’

The Weekend Report: April 10, 2011

Sunday, April 10th, 2011

The Best That You Can Do is …

Audiences continued to Hop to it as the animated Easter eggs-travaganza topped weekend tickets sales with an eggs-timated $21.6 million. The film bounded well ahead of a quarter of new national releases that saw the remake of Arthur and the distaff thriller Hanna competing for the second slot with the former squeaking ahead by about 200k with a $12.5 million tally. The inspirational Soul Surfer bowed to $10.9 million and the tongue-in-cheek swashbuckler Your Highness swiped $9.5 million.

Among the new niche releases were the non-fiction nature study Born to Be Wild with $820,000 from 206 cages (194 in 3D) and the Mexican comedy No Eres Tu, Soy Yo that grossed $530,000 at 226 venues. Bollywood entry Thank You failed to revivify that sector with a $253,000 bow from 92 engagements.

Exclusives this weekend saw a couple of glimmers of hope including the minimalist western Meek’s Cut Off with $19,800 at two screens. Solo outings for docs Blank City on Manhattan’s early Punk scene and American: The Bill Hicks Story profiling the late comic genius respectively rang up $10,600 and $6,400 in ducats.

The frame’s overall tally generated roughly $118 million and slipped 5% behind last weekend’s biz. It was a slightly more severe 7% lag from 2010 when the second weekend of Clash of the Titans led with $26.6 million; edging out the $25.2 million gross for newcomer Date Night.

Hopes weren’t particularly high for any of the quartet of newcomers with Arthur given the best prospects that ranged from $12 million to $18 million. Your Highness was also overestimated with pundits pegging its bow somewhere between $11 million to $15 million. Conversely the mavens viewed Hanna’s topmost performance at $10 million with similar expectations for Soul Surfer that proved to be accurate.

Hanna’s strength largely came from unexpected response from males that composed slightly more than half of its audience. Soul Surfer drew a resounding 80% female crowd and was the only one of the four new films that had a majority under 25 demographic with 56%. Arthur was 64% older, Your Highness was 55% dominated by plus 25s and Hanna was at the high end with 69%.

The shift so far this year to an older set of ticket buyers has largely been cited as a reflection of weak product though one can hardly imagine what aspect of such films as Sucker Punch or Drive Angry could possibly draw a mature buyer to the multiplex. The industry mantra is that younger male avids will be back in force come May when the summer tentpole fun rides are unleashed.

What appears to have stumped the pundits is what exactly are these bulwarks of movie going doing during this apparent hiatus? No one appears to have done surveys that might indicate whether a trend exists or if there’s an absence of a conclusive shift to other activities. Regardless, no one believes this segment is staying at home and exercising their fast food options. So, clearly the new VoD initiatives are directed toward them and their involvement in the movie experience remains vital to the industry’s health and welfare.

Weekend (estimates)
April 8 – 10, 2011
Title Distributor Gross (avg) % chng Theaters Cume
Hop Uni 21.6 (5,980) -42% 3616 68.1
Arthur WB 12.5 (3,810) NEW 3276 12.5
Hanna Focus 12.3 (4,850) NEW 2535 12.3
Soul Surfer Sony 10.9 (4,910) NEW 2214 10.9
Insidious Film District 9.8 (4,060) -26% 2419 27.2
Your Highness Uni 9.5 (3,420) NEW 2769 9.5
Source Code Summit 9.0 (3,040) -39% 2971 28.6
Limitless Relativity 5.6 (2,130) -40% 2642 64.3
Diary of a Wimpy Kid: Rodrick Rules! Fox 4.9 (1,690) -52% 2881 45.5
The Lincoln Lawyer Lions Gate 4.4 (1,830) -35% 2420 46.3
Rango Par 2.3 (1,140) -49% 2007 117.5
Sucker Punch WB 2.1 (1,180) -66% 1755 33.9
Paul Uni 1.7 (1,040) -59% 1667 35.1
Battle: Los Angeles Sony 1.5 (1,090) -57% 1408 81.2
Jane Eyre Focus 1.2 (4,780) -3% 247 5.2
Win Win Fox Searchlight 1.2 (5,220) 4% 226 3.5
The Adjustment Bureau Uni .88 (1,120) -59% 783 60.1
Born to Be Wild WB .82 (3,980) NEW 206 0.82
The King’s Speech Weinstein Co. .55 (810) -52% 675 137.6
No Eres Tu, Soy Yo Lions Gate .53 (2340) NEW 226 0.53
Red Riding Hood WB .52 (670) -71% 777 36.7
Weekend Total
($500,000+ Films)
% Change (Last Year) -7%
% Change (Last Week) -5%
Also debuting/expanding
Thank You UTV .25 (2,750) 92 0.25
Kill the Irishman Anchor Bay 91,600 (1,760) -19% 52 0.85
Miral Weinstein Co. 55,700 (1,920) -24% 29 0.25
In a Better World Sony Classics 48,600 (4,050) 47% 12 0.1
Meek’s Cut Off Osciloscope 19,800 (9,900) 2 0.02
Blank City FilmsWeLike 10,600 (10,600) 1 0.01
Meet Monica Velour Anchor Bay 7,300 (3,650) 2 0.01
Ceremony Magnolia 6,800 (2,270) 3 0.01
Henry’s Crime Moving Pictures 6,600 (3,300) 2 0.01
American: The Bill Hicks Story Variance 6,400 (6,400) 1 0.01
To Die Like a Man Strand 2,150 (2,150) 1 0.01
Domestic Market Share (Jan. 1 – April 7, 2011)
Distributor (releases) Gross Market Share
Paramount (9) 413.6 18.20%
Sony (10) 370.9 16.30%
Universal (8) 276.1 12.10%
Warner Bros. (14) 273.6 12.00%
Buena Vista (6) 255.2 11.20%
Weinstein Co. (4) 133.4 5.90%
Fox (6) 127.6 5.60%
Relativity (4) 90.5 4.00%
Fox Searchlight (4) 82.9 3.70%
CBS (3) 56.6 2.50%
Lions Gate (6) 47.5 2.10%
summit (4) 31.8 1.40%
Focus (3) 25.1 1.10%
FilmDistrict (1) 17.4 0.80%
eOne/Seville (7) 14.5 0.60%
Sony Classics (6) 12.3 0.50%
Other * (99) 44.3 2.00%
2273.3 100.00%
* none greater than 0.4%
Top Domestic Grossers *
(Jan. 1 – April 7, 2011)
Title Distributor Gross
The King’s Speech * Weinstein Co. 119,361,676
Rango Par 115,230,893
Just Go With It Sony 101,651,979
True Grit * Par 100,131,192
The Green Hornet Sony 98,588,503
Gnomeo and Juliet BV/eOne 97,075,887
Battle: Los Angeles Sony 79,700,377
Justin Bieber: Never Say Never Par 72,707,468
No Strings Attached Par 70,662,220
Black Swan * Fox Searchlight 65,964,914
Little Fockers * Uni 64,117,440
Unknown WB 62,821,544
The Adjustment Bureau Uni 59,231,700
Limitless Relativity 58,688,230
The Fighter * Par/Alliance 54,624,687
Tron: Legacy * BV 54,483,200
I Am Number 4 BV 53,949,381
The Dilemma Uni 48,800,147
Hop Uni 46,456,305
Hall Pass WB 44,034,990
* does not include 2010 box office

Weekend Estimates by Soul Klady

Sunday, April 10th, 2011

And this is why weekend-to-weekend looks so crappy. Last year on “this” weekend, there were $27m in openers. This weekend, $46m. But the weekend is still well behind last year because Sucker Punch was WB’s entry, not Clash of the Titans, and there was no DWA film (last year, it was a leggy Dragon) doing $25m in a third weekend while Hop, which is a success story (but a mild one), did $21m in Weekend Two. Those two holdovers and one $25m opener (Date Night) overpower nearly $20m in more opening firepower this year than last.

If you simply flipped last year’s WB entry for this year’s, “this year’s weekend” would be ahead of “last year’s weekend” by over $15 million. And if wishes were fishes… But you get the point, no? It’s about the movies, not the market. Until there is a much longer lasting set of data that involves a more muscular set of movies being off by similar amounts, I’m not taking any “slump” seriously. Of course, if you want to believe that somehow Clash of the Titans would have done half the business it did if it opened this year or that Sucker Punch would have done more than double what it’s doing opening last year, please, feel free to make the argument.

One genre that may be nearing its end in this cycle as an industry cash cow is the stoned comedy. Since the Superbad/Knocked Up back-to-back smashes, Team Apatow has racked up just one $100m movie (Step Brothers) in 8 attempts. And while Apatow had nothing to do with the two movies gently opening this weekend (Arthur/Your Highness), they are both bastard children of his camp. Like many niche genres in Hollywood, no reason that this one can’t go on. But costs have to be contained and then these are the kinds of legged-out doubles that studios can use to keep the balance sheet positive build library, an occasionally get a surprise big hit. But right now, they are a little expensive and aren’t delivering on the expectations that the studios have when greenlighting them. (Expectations from tracking come long after the horse is out of the barn.)

Hanna is a really nice opening for Focus. They picked up the film in most of the world (Sony has some territories), extending their relationship with Joe Wright, and this opening is better than any two weekends of Atonement domestic grosses combined. Given some strong word-of-mouth (and a soft market for good movies), it could even end up passing Atonement‘s $50m gross.

Bob Berney is back in business. Soul Surfer is a Sony release, but Film District marketed it for Sony, and the results are strong for what could well have been a much smaller feel-good film. And Insidious had a 26% hold, which is almost unheard of for any film in this front-loaded market, much less a horror film. This is one of this year’s real success stories already, likely heading to more than $50m domestic.

Source Code didn’t hold quite as well, but it does seem that we are in the first stretch of commercial movies this year that anyone is happy to recommend.