*All historical figures cited are adjusted to today’s dollars.
Martin Scorsese and Leonardo DiCaprio’s fourth collaboration together has provided the former with his biggest debut ever and the latter’s second only to “Titanic.” $40.2 million is the estimate, which puts it a fraction behind “Madea Goes to Jail” from this same weekend last year and means that unless word of mouth is particularly poisonous, it should squeak past the $100 million mark. To do so, it’ll have to perform more like an esteemed thriller than a typical horror film as “Friday the 13th” could only translate a $41.4 million February opening into a $68.9 million total last year.
Second place goes to “Valentine’s Day,” which suffered a morale-damaging 69% dip from last weekend. The drop was never going to be kind due to the holiday last Monday but only “New Moon” and Ang Lee’s “Hulk” have dropped harder while playing on more than 3,500 screens. I guess audiences decided not to go back and watch it again for all the hidden nuances in the way Jamie Foxx says “Damn!” to something off-screen.
“The Wolfman” also fell 69% to $9.8 million and fifth place, although that was a bit more expected. It will now be lucky to gross $71 million, which is what it would need to surpass “Teen Wolf.” Maybe if Anthony Hopkins’s character was a bit more like Rupert “Stiles” Stilinksi, Universal could be a little closer to recouping that $150 million budget. Maybe throw in Del Toro doing a handstand on a horse and carriage ride? Just thinking out loud.
“Percy Jackson & the Olympians: The Lightning Thief” fell a decent-by-comparison 51%. That’s still a bit high for a family film on this weekend given no direct competition, but third place and $15.3 million still puts it on course for a healthy total.
Hey, remember “Avatar?” That movie fell 32% to notch a 10th-consecutive weekend in the top 5, making it the first film since “My Big Fat Greek Wedding” to do so and finally giving James Cameron as much Hollywood clout as Nia Vardalos. She still has one more screenwriting Oscar nomination than he does, though.
The best hold in the top 10 goes to “Tooth Fairy,” which has yet to drop more than 34% in any week and has quietly turned a $14 million debut into $50 million already. Well played Dwayne Johnson. Well played.
In limited release, Roman Polanski’s “The Ghost Writer” earned a triumphant $179,000 from only 4 screens, giving it far and away the best per-theater average of 2010 so far. Polanski also won Best Director at Berlin this week so I’d say, aside from being in jail and probably facing life in prison and multiple gang-rapes, it was a good week for him.
Well, as has already been discussed in a comment thread, I spent $13.75 to see 80 excruciating minutes of “Shutter Island” this week. Why only 80? Because I walked out, which I’ve only ever done twice before. And it would have been less but the rest of my group was more lenient than I was. It’s become apparent to me that it would be a fool’s errand to try and convince anyone here why I hated it but if there’s genuine interest, I’ll debate it in the comments.
Thankfully, I was able to wash that bad taste out of my mouth with “Daddy Longlegs,” the truly refreshing second feature by the Safdie Brothers. I encourage you all to catch it On Demand this week (it ends on Friday) because I’m willing to wager that the May theatrical release will be little more than a one week New York formality.
So, who wants to fight about “Shutter Island?” Here are the weekend’s top domestic grossers, courtesy of Exhibitor Relations:
Comments
54 responses to “SUNDAY CENTS: Leonardo leads (Donatello does machines)”
I’m stunned at the gushing response Shutter Island has gotten around these parts. I like the cut of your jib, Chad.
Have yet to see Shutter Island but I’m a Scorcesse fanatic, and seeing as though you didn’t like his past decades work, films I personally very much enjoyed, I’ll probably end up disagreeing with you about his latest. Who knows though, I’m a week from seeing it.
I think you’re right about Shutter Island, and I still think you write the best box-office recaps anywhere. Cameron/Vardalos? Hilarious.
The jab at Polanski was really unnecessary Chad (not to mention offensive). I know I’m not the only one on this site that doesn’t appreciate the way you keep taking these shots at various filmmakers, while at the same time continuing to disparage their films with your sarcastic sense of humor. It’s just getting old. I can look past your narrow tastes in film, but Kris really need to reel in the leash on all your trash talking.
I disagree with you when it comes to SHUTTER ISLAND, which I haven’t seen yet.
Only now did I read the part regarding Polanski. My bad, dear Chadz. Your dour sarcasm is as funny as being raped multiple times by a gang.
I thought the Polanski thing may be toeing the line but… thems the facts.
Chad: Well, I was surprised that Scorsese would take on this project ever since the it was reported in the trade papers, and the premise of the novel seemed highly unoriginal and predictable. Even though I’m not a fan of Dennis Lehane, I felt that Scorsese improved upon the source material, and there aren’t too many actors that could have pulled off Dicaprio’s performance in this film. What specifically caused you to walk out? The fact that it was more of a genre film, and the most heavily-plotted of Scorsese’s works? Also, what were the other films you walked out of?
Seriously who the hell is going to see Valentines Day? I would only go to see with my boyfriend, if I wanted to break up with him!!!
I personally loved the Polanski jab.
I just disliked every choice made by the filmmakers from very early on. DiCaprio’s opening external monologue was lazy exposition, then his conversation with Ruffalo was even lazier. Terrible, terrible writing. But wait, it’s supposed to be like a B movie you say? Bullshit. B-movies aspired to be more than they could be because of limited budgets and resources. Deliberately dumbing down your dialogue when you’re capable of better doesn’t make you a B-movie, it makes you a bad movie. If conceptually, Scorsese wanted to homage B-movies then you don’t do it with $100 mil budget.
Also, I don’t get offended easily but I think it’s generally accepted decency to not use holocaust imagery to ratchet up the stakes of your bullshit Hollywood thriller.
As I mentioned in other threads, there was no consistency to anything. Patients were naked, catatonic loons when Scorsese needed cheap ambiance, but then decided they should be articulate interviewees when the plot needed that instead. Just don’t rub your pencil on paper really fast. They hate that! Sets didn’t serve any practical purpose except to be creepy sets. Not once, but twice someone says the laughable line, “It’s a mental hospital…. for the criminally insane!”.
SPOLER!!!!!
The twist (which I admittedly didn’t see) was telegraphed from the beginning in discouraging ways. Close up of DiCaprio saying, “She doesn’t know she’s in a mental hospital? Don’t you think she would figure it out?” (paraphrased) End of mystery. Whatever additional layers the ending may have brought to the table were not worth waiting for when the setup was so insipid.
It all felt like the only thing that brings Scorsese to make movies anymore is to reference other movies. And I don’t get anything out of that. His earlier work has much more vibrancy and unmanufactured energy.
I also walked out of Wing Commander and King Kong
Your supposed “facts” shouldn’t have a place in a column like this that’s supposed to be about box-office gross.
Don’t you think you should have more respect for those in your own profession then that? It’s bad enough you walk out of films midway, and then expect people to take your opinion seriously.
Chad:
Sorry, man, but you’re missing the entire point of the film’s construction. You’re watching a charade unfold, which inherently lends the drama to being inauthentic. To use that as a way into crafting a spooky, near-throwback style exercise is, in my opinion, rather brilliant. If you think that choice doesn’t work, that’s fine, but your criticisms don’t hold water thus far because you are, in fact, being the lazy one.
and david: Let it go. Chad always offers up his thoughts on what he saw during the week in this column. If you don’t like those thoughts, great, argue, but don’t tell us how to steer the ship.
Feel free to not take my opinion seriously. I won’t be offended.
This article is why people don’t like you, Chad. Not that you care, of course, simply stating a “fact.” You gotta admit, though, your taste in film is rather narrow. Walking out on a Scorcese film? I’ve never walked out on a movie in my life (and that includes drek like Epic Movie), and you go wasting 13.75 by walking out on a Scorcese film. Stop being so goddamn pretentious
Oh, and one more thing Chad:
SPOILERS
You missed the real “twist,” which isn’t what’s telegraphed (the telegraphed twist I frankly knew from the moment I saw the trailer). Knowing that he’s a patient frankly makes watching the character study unfold all the more effective, which is why this is one of a precious few “twist ending” movies that will hold up on second viewing.
Again, it’s the denouement of the film that makes it a rich piece of work, and that denouement, which comes after the twist, you missed it.
Sorry, you missed the boat, partner.
I didn’t mean to offend Kris. It’s just that I can’t understand why you want a writer on your site that clearly lacks professionalism, and purposefully tries to provoke your site members.
“[Nia Vardalos] still has one more screenwriting Oscar nomination than he does, though.”
Best line I’ve read this year.
Kris, why do you let this douchbag write on your site ?
It’s useless Rishi…Kris has Chad’s back. It’s like he says…he’s the captain…and it’s his ship.
I loved the Cameron joke but the graphic details regarding Polanski were just wrong. And fact has nothing to do with it. There are many facts we choose not to mention all the time.
Still, I love tour writing. And the title was genius.
I hate the recent Chad hate. This article has been a must for me ever since he suggested changing Everybodys Fine title to Everybodys Awesome. The humors top notch.
I think there is a reason why Chad doesn’t write reviews, he just writes b.o. recaps which he does brilliantly. I don’t think there is a human on the planet who can give an ounce of respect to a critic who states they walk out of film and then expects to be taken seriously. But I don’t think of Chad at all as a critic, I think of him as a b.o. analyst with one of the funniest and wittiest tongues out there. And the Polanski jab was just one of the hilarious highlights in this write up, I was laughing throughout and was being caught up on b.o. facts at the same time. I love that and you can’t get that anywhere else on the web.
and chad better not go anywhere! some readers might want to lighten up a bit since he is obviously just trying to be funny and add a different style of writing to the mix of other writers on this site. It is good to have some provoking every now and again and I don’t see chad ever going the road of jeffrey wells so I think we should just let him say what he wants to say and not take it so seriously. just don’t read his articles if you don’t like them, if you want to be bored by b.o. updates go anywhere else on the web. but some of us really like his presence here even if we don’t always agree on his views.
I guess I am the only one who thinks Chad has the best film taste of the writers on this site. I don’t see why people feel the need to get so angry about such things.
Wing Commander, huh? Why would one go see such a thing? I was much younger, so I had an excuse.
I think Chad just should’ve said something like, “I didn’t see it all, so I have no comment, but really, Chad, the second half is MUCH better than the first half.
And, uh, yeah, the “twist” you mentioned isn’t the twist at all. So, no, not “end of story.”
Kris- Obviously, I can’t refute any claims that the ending makes the film much better. But I think a better film would have been able to get there without alienating me so much first.
And Michael nailed it. Kris doesn’t pay me to see and review films (he doesn’t pay me at all actually), he is just nice enough to let me throw my two cents in at the end of my box office column. I take advantage to highlight films like Daddy Longlegs and that’s all there is to it.
But I don’t read Jeff Wells so what does it mean to go his road?
“This article is why people don’t like you, Chad.”
It’s also why people like me actively look forward to his column every week. I love that Chad infuses dry box-office reporting with actual perspective and wit — if you just want the numbers, there are a zillion other places on the web you can go.
And I think Polanski himself would have laughed at that jibe.
I’d love to have Marty, Roman, and James Cameron read what Chad has been saying about them. Not that they would waste there time with such drivel…mind you. Nor will I from now on.
Awards Daily at least has class.
Chad, did you come up with the headline? I just about busted out laughing while I was at work today after reading that. Good on ya, sir.
Going to see Shutter Island some time this week. Fingers crossed that I fall into Kris’ “It’s brilliant” camp.
Leave Chad alone. The Polanski thing was needless but the guy has a decent amount of wit otherwise.
So long, david.
More like a nitwit.
Jeff Wells can tend to be overly provoking about topics that he knows are going to get people riled up about. And he doesn’t do it in an eloquent or ironic way. For example, any chance he can call Gabourey Sidibe fat he does, just for the sake of it. And his hatred for Mo’nique is biblical and without any sense of sanity whatsoever. You are a much better writer than he ever was Chad so don’t worry you are too funny to start being a dick like Jeff Wells.
Back already, David?
Just thought of something…how did Polanski make this film if he’s still in prison?
For what it’s worth, I typically enjoy Chad’s B.O. write-ups. Keep ’em coming, Chad! :-)
However, on the ‘Shutter Island’ front, gotta agree with Kris when he said:
“Chad: Sorry, man, but you’re missing the entire point of the film’s construction. You’re watching a charade unfold, which inherently lends the drama to being inauthentic. To use that as a way into crafting a spooky, near-throwback style exercise is, in my opinion, rather brilliant. If you think that choice doesn’t work, that’s fine, but your criticisms don’t hold water thus far because you are, in fact, being the lazy one.”
What Kris said there is exactly correct. And there’s no way you (Chad) could say otherwise unless you saw the entire film.
While I don’t think SI was “brilliant”, I think it’s very good. I think I’ll see it again in the theaters. And it far exceeded my expectations.
Though I couldn’t disagree with Chad more regarding Shutter Island, I do love reading his articles and I normally don’t pay any attention to the box office. They’re one of my favorite features of the site, actually.
It does kind of blow my mind though that such a film buff can actually “hate” Scorsese’s recent work and not manage to sit through one of his films. But whatever, like people said, he’s not writing reviews.
Also, something about Jeff Wells I forgot to add was the he just doesn’t have a lot of credibility either. He is always on the offensive and loves to dish it out but rarely can take it (he frequently bans people in the comments section if they disagree with him.) I say all this but I still more or less visit Hollywood-Elsewhere at least once a day, not b/c I think of it as a source of well-written or informed movie news, but for more of an Us Weekly tabloid level trashy fix that I could avoid if I wanted but there is a rubber-necking at the train wreck appeal to his site that fascinates me.
This site on the other hand is one of my most frequently visited sites on a daily basis. There is just a much warmer presence within the comments section here than in most places and Kris and Guy certainly have the hookup as it were so I like to hear some things from the inside. In regards to Friday Forecast and Sunday Cents – there is just no better place anywhere else on the web for this info. I didn’t realize you didn’t get paid to write these articles Chad, b/c they are really good imho and I think you should!
Tony Rock: Please tell me that’s not a serious question.
Where’s Raphael and Michaelangelo?
I’m in the Chad camp on this one. His pieces get funnier and funnier. And I think his analysis of the box office is always interesting in comparing opening weekends and movies, etc.
Also, while I didn’t walk out of Shutter Island, I agree that the movie was severely lacking. Let’s say you didn’t know it was a “B-movie homage”, then it was just a B-movie, a.k.a. something not entirely worth it. I thought the foreshadowing was as blatant and laid in front of you as in Avatar (“Only five people ever have tamed that bird” = “What about those caves in the rocks and that creepy lighthouse?”). And the twist at the end was ineffectively telegraphed.
But keep up the good work Chad (and Kris and the rest of the gang too!)
I havent watched Shutter Island, but I too have been underwhelmed by Scorsese’s films over the past 10 years. The last Scorsese film that affected me even remotely was Kundun, and that was in 1997 (I didn’t see Shine a Light). So in spite of this man’s legendary status, in spite of the Best Director accolades, no one can convince me to embrace The Aviator, Gangs of New York or even The Departed. With The Departed, I admit I might have liked it better had I not watched Infernal Affairs, the HK film from which it was remade – possibly made with just 2% of The Aviator’s budget, with better performances, better direction, better editing, better script, why bother to remake it with big stars if you cant make it better or give it a new spin?
There is nothing unprofessional for a critic to dislike or walk out of a Scorsese film, unless you work for Harvey Weinstein. If you don’t like Chad’s logic, argue on the topic, debate on the film, or just stop reading altogether. All these personal attacks are just plain stupid & childish.
Guy: it is a serious question. I havn’t kept up with any Polanski news so I have no idea if he’s actually been in prison or not.
Tooth Fairy is the real story in the b.o. for the past three weeks. I don’t think these are audiences watching it for the 2nd or 3rd time like Avatar. I wonder if TF will take in a weekly more than Avatar soon–b/c of the limited 3D screens.
tony rock:
I believe Polanski finished production on “The Ghost Writer” last summer and was in the midst of post-production work on the film when he went to Zurich and got arrested.
“Also, I don’t get offended easily but I think it’s generally accepted decency to not use holocaust imagery to ratchet up the stakes of your bullshit Hollywood thriller.”
no, his service in WWII traumatized him and further contributed to his psychotic break. it wasn’t a plot point just for the sake of shock or controversy. perhaps if you had watched the entire movie you would’ve realized that?
“Patients were naked, catatonic loons when Scorsese needed cheap ambiance, but then decided they should be articulate interviewees when the plot needed that instead. Just don’t rub your pencil on paper really fast. They hate that! Sets didn’t serve any practical purpose except to be creepy sets. Not once, but twice someone says the laughable line, “’It’s a mental hospital…. for the criminally insane!”’
there were many things about ashecliffe that made me roll my eyes, but the movie is set in the early ’50s and mental institutions were notoriously horrible then. before the social movements of the ’60s, psychiatry had a penchant for barbarism and treating patients more like curious animals than like human beings (even though there are many activists today who would say psychiatry has a long way to go). yes, some of it was rather ridiculous thriller/b-movie tropes, but like i said, the movie takes place before psychiatry underwent the massive upheaval that figures like rd laing helped bring about. as someone who has spent some time in a psych. unit, i didn’t find the pencil bit at all hard to buy; some patients really are deeply affected by such things. sometimes merely making eye contact w/ someone is all it takes to open the floodgates.
also, admitting that you didn’t see the “twist” coming, but also mentioning that it was so obviously telegraphed from the get-go isn’t much of a ringing endorsement for your gifts of observation, does it?
and, bro, walking out of a scorsese movie? if i could stomach avatar TWICE*, then why couldn’t you watch this once? it just makes you look weak. bro.
*i hated it so much that i became convinced i was missing something; nope, upon second viewing it turned out that i really just hated it.