I’ve been at a friend’s house watching the games all afternoon, so, slow to get this up this weekend. Anyway, we can bet on more poop shenanigans after this monster opening for “Jackass 3D.” I can’t remember what “Life As We Know It” is every time I look at the title, by the way.
[Courtesy: Exhibitor Relations]
For the second week in a row, “The Social Network” tops the U.S. box office charts in a photo finish with “Life As We Know It.” (I’m happy to say I offered up some money for the Fincher cause and saw it a second time yesterday.) But the real story is the soft opening for “Secretariat.” Or will it mirror the subject of the film, start out slow out of the gate and prove to have some endurance? Doubtful.
[Courtesy: Exhibitor Relations]
A solid start and a big win for Sony marketing, I should think. “The Town” pulled in a little more than I would have expected. “Wall Street: Money Never Sleeps” is fading away as it was leapfrogged by “Legend of the Guardians: The Owls of Ga’Hoole.” And “Let Me In” had the life sucked out of it. More importantly: REDSKINS/EAGLES!
Dropped some dollars on “Devil” Friday night. I didn’t hate it. That’s at least going in the right direction, right?
[Courtesy: Exhibitor Relations]
I figure I’ll offer up a chart and a space for you to discuss now that Chad has moved off the box office beat for us. And by the way, I’m just now realizing “Inception” is still in the top 10 (shows how much I pay attention).
(Courtesy: Exhibitor Relations)
*All historical figures cited are adjusted to today’s dollars.
One last bit of excitement before the summer ends and Tapley starts posting random Redskins photos on Sundays. We have a dead heat race for the top spot at the box office, but estimates are handing the crown to “The Last Exorcism.” If it does, indeed, win the weekend, it will be the first time Lionsgate has had two consecutive number one films.
The official estimate is $21.3 million, which puts it just a fraction behind the $23.1 million debut of “Exorcist: The Beginning” on this same weekend of 2004. It’s also a smidge behind the $24.5 mil debut of Lionsgate’s similar looking 2009 shocker, “The Haunting in Connecticut,” but let’s remember that this is a no budget endeavor with no recognizable actors that the studio had to market with smarts and Eli Roth’s name.
Incidentally, they couldn’t use Roth’s name to market his own movie, “Hostel Part II,” to a debut past $9.5 million, but the man can’t win them all. Now we just sit back and wait for the inevitable porno knock-off called “The Last Circumcision.”
*All historical figures cited are adjusted to today’s dollars.
It’s the last full weekend of the summer, the last weekend of me being 27, and the last weekend for Friday Forecast on InContention. A time of introspection. A time of reflection. A time of paying another $20 to see those blue things in 3D again. I can’t wait to not see it again… for the first time.
The dog days of August are notoriously tough on the multiplex as kids start heading back to school so don’t expect any Oscar nominations for this week’s crop of films. Leading the pack is “The Last Exorcism” from Lionsgate. This could be the first time in that company’s history that one of its films takes the top spot away from another one of its films. A low budget faux-documentary, Lionsgate picked up distribution rights and has sold it fantastically with sharp trailers and posters.
Exorcism is a foolproof box office meme, with Sony able to milk a $37.3 million debut for “The Exorcism of Emily Rose” in September 2005. That film had some movie stars and a true story hook, while Lionsgate is definitely no Sony, but we should still be looking at a strong opening for the film. Something like $18 million, but if Lionsgate can get some stories printed about audience members puking, then you can bump that up to $22 million.
Anne and I discuss “Toy Story 3” as the Best Picture category’s best bet coming out of the summer movie months in today’s Oscar Talk. Much of that has to do with critical approval, yes, but plenty has to do with the monstrous box office take the film has generated.
I’ve already written about the potential impact of something like that, but it’s worth pointing out that today the film will cross $1 billion worldwide, the second Disney film to do so this year (the other being “Alice in Wonderland,” which, well, wasn’t as well received critically, to put it mildly). And both films, by the way, are 3D efforts, so that crap isn’t going away for a while. I can’t wait for them to retrofit “True Grit” so we can see bullets whizzing at us off the screen.
Anyway, big news and a big congrats to this franchise for hitting virtually every mark perfectly on the way to assumed awards season glory.
[Photo: Walt Disney Pictures]
*All historical figures cited are adjusted to today’s dollars.
Sorry this is checking in a little late today but I’ve been at Six Flags all day having the time of my life. I hadn’t been since they opened a crazy new ride called Tatsu and it kind of blew my mind, but the X will always be the best ‘coaster. In any case, some movies came out this weekend too and performed with varying degrees of success.
The number one movie, again, is “The Expendables.” Stallone and his fellow band of ‘roid Rangers dropped 53% to $16.5 million but took advantage of a terrible weekend to notch a second frame at the summit. The last time Sly was in a film that spent two weeks at the top was in 1993, when Wesley Snipes was huge and an unknown Sandra Bullock and Jack Black lent support in “Demolition Man.”
“Vampires Suck” confirmed the absence of any justice or God in the world by opening in second place with $12.2 million. $18.6 million has already been conned out of America since Wednesday and I’m pretty sure that’s ten times the total amount of my top 10 favorite films of last year combined.
“Eat Pray Love” takes the bronze, dropping 48% to $12.0 million. Don’t be surprised if this is the real runner-up when actuals are released and even though that drop might seem harsh, “Julie & Julia” did almost exactly the same before leveling out and sticking around through early September.
*All historical figures cited are adjusted to today’s dollars.
Alright guys. Enough is enough. The only thing less funny than a spoof movie made by Friedberg & Seltzer is the conceptual gag that America keeps playing where we ironically buy tickets to see them. Just to make fun of it, of course. Only problem is we’re giving them real money and they are super rich and successful, despite being the worst thing to happen to filmmaking since, well, ever.
“Vampires Suck” leads a gaggle of new releases this week and it’s actually already been out since Wednesday. The beyond tired spoof racked up $6.4 million in two days and should be on course for another $14 or $15 million during the weekend. The last time these two got behind a camera was “Disaster Movie,” which epic failed at the end of summer 2008 and gave hope that these clowns would never work again. But that film was their only one released by Lionsgate, not Fox, and they didn’t know how to market the gold placed in their hands.
Focusing on the biggest phenomenon in film isn’t a bad idea either to get back on track. Congratulations America. You’ve made a scene where something large falls out of the sky and lands on the Old Spice Guy on a horse a part of cinema box office history (note: I have not seen “Vampires Suck” but I’ll eat my hat if that scene isn’t in it).
*All historical figures cited are adjusted to today’s dollars.
The internet had been buzzing for weeks. Would the fact that he spent most of the decade in straight to video titles hurt his box office clout. Did Dolph Lundgren still have the box office muscle we all thought he had or did the lackluster performance of “Direct Contact”, “Hidden Agenda” and “The Mechanik” cause too much irreparable damage? We have our answer this weekend as “The Expendables” tops the chart with $35.0 million.
Some had speculated that since Dolph hadn’t appeared in a single film that hit theaters since his role as “Street Preacher” in “Johnny Mnemonic” that nobody would care about him punching people in the face and killing them anymore. I’m sorry we ever doubted you Dolph. He is now solely responsible for the sixth biggest Lionsgate debut of all time (biggest non-Madea, non-“Saw”). Word of mouth is likely to be atrocious as it seems he wasn’t able to deliver on the early Oscar promise of the project. A steep drop awaits next week but maybe now the Lundgren haters will stay in their place.
“Eat Pray Love” takes second place with $23.7 million. Readers suggested I went over the line making fun of this film and the women who might like it so I’ll let the numbers speak for themselves here.
Pixar’s “Toy Story 3” is pretty much the only sure-thing contender for Oscar’s 10 at this stage, and with good reason. It was the high mark of the summer movie season, a beautiful send-off to a beloved franchise that just got better and better. Fitting, then, that the film has become not only Pixar’s reigning box office champ, but the highest grossing animated feature film of all time.
With $920 million in the bank and climbing, the film sits at the top of that perch, just a few days after passing what I still believe to be Pixar’s most accomplished effort, “Finding Nemo,” and leaving other films like “Shrek 2” and “The Lion King” in the dust. It will also surely be one of only six $400 million earners from the last decade (though talk to our resident box office analyst Chad Hartigan and you’ll get a different story, as he prefers figures adjusted for inflation). Combined with nearly blanket critical approval, you have a perfect awards storm.
While on vacation last week I read a piece by Eric Kohn in the latest issue MovieMaker Magazine that ties in nicely here. It was a look back at Pixar’s Oscar-winning 1988 animated short “Tin Toy,” which of course planted the seeds for the “Toy Story” franchise. Unfortunately, it’s not available online, but I’ve transcribed a section after the jump that I felt was worth passing along.
*All historical figures cited are adjusted to today’s dollars.
If you are a nerd, this is the weekend for you. It doesn’t matter if you’re an action movie nerd, video game nerd or self-help nerd, Hollywood has you covered. All in all, it’s an abnormally stacked August weekend with three films that all have breakout potential and is especially baffling when you look at the shitshow of titles nobody cares about just seven days away.
Of the three openers, Lionsgate is going the widest with “The Expendables.” First off, no matter what happens, this will be profitable for the studio since they just bought the distribution rights from Millennium Films, who actually financed the thing. Lionsgate pulled a similar move with “Rambo” and saw that film open with $20.1 million and tap out at $47.3 million. For an ultra-violent sequel to a franchise dead longer than most of our readers have been alive, all were pretty satisfied.
Expectations are amped up for “The Expendables,” since a bunch of other old guys with muscles are in it. Count me among those not buying the hype that Steve Austin, Terry Crews and Dolph Lundgren add significant interest among any crowd of patrons. Cameos from Schwarzenegger and Bruce Willis have been shamefully advertised and that will dupe a few old timers into thinking there’s something special here, but that trio didn’t really help Planet Hollywood from epic failing. I think a strong Friday will lead to a $32 million weekend and it free falls from there.
*All historical figures cited are adjusted to today’s dollars.
Hey gang. Sorry this is late but I spent all morning at work and then all afternoon at the Home Depot Center watching the Galaxy get shellacked by the Chicago Fire and getting a sunburn on half my face. I’ll try to keep it short and sweet.
The number one movie, for a third weekend in a row, is “Inception.” It’s the third film to spend three weeks at the top in 2010, but the first that wasn’t in 3D. The drop was 36%, a bit harsher than last weekend’s slip and gave it $27.5 million for the three days and $193.3 million total. The film is holding fantastically well and will be only the third live action film of the summer to cross the $200 million mark. The $268.4 million of “The Matrix” is not out of reach, which would make it the most successful original sci-fi property since “Independence Day.” that movie with the big, blue things.
“Dinner for Schmucks” performed to expectations with $23.3 million. As I mentioned on Friday, that’s a bit above normal for Paul Rudd, who is used to sharing a bill with B-listers like Jason Segel and Seann William Scott. Throw Steve Carell in the mix and you’re good for an extra few million. Throw in an animated Steve Carell in a ridiculous accent and you’re good for the surprise smash of the summer. No wonder he’s leaving “The Office.”
*All historical figures cited are adjusted to today’s dollars.
Hey kids! How about that terrifying photo to the right? Make you want to see cats and dogs brutally fighting to the death voiced by Nick Nolte and Joe Pantoliano? While Chris O’Donnell looks on confused? Of course it does. We’ve got three new releases this week but are probably looking at a third straight week at the top for “Inception.”
“Cats & Dogs: The Revenge of Kitty Galore” is probably a half decade too late to capitalize on any good will the audience had for the original (a $131 million grossing summer surprise). Warner Bros. has even wisely lopped off the number two from the title since what few fans there are will know and anyone else might just think it’s a family film with a cool concept. They’ve also given it a hefty 3,700 screen count.
Here’s the thing though. With “Alvin and the Chipmunks: The Squeakquel” being the only exception, talking animal movies have terrible drop offs from the original to the sequel. “Babe,” “Garfield” and “Stuart Little” can all attest. With so much time in between films here, and the almost identical “G-Force” less than a year old, it seems like these cats and dogs are headed for the same pile. I think $17 million is the best they can hope for.
*All historical figures cited are adjusted to today’s dollars.
Despite the collective nerd consciousness being zeroed in on the events happening in San Diego, there were enough nerds elsewhere to propel “Inception” to a second week at the top of the box office. Actually that’s unfair, it’s not just nerds who are seeing the movie as Christopher Nolan’s dreamscape now looks to be the leggy, late summer blockbuster that nerds and Warner Bros. always hoped it would be. If it gets my Mom to go, then it’ll be a downright phenomenon, but the last non-animated film she saw was probably “Mamma Mia!.”
Alright, “Inception” dropped a petite 31% to $43.5 million and easily walked away with what I predicted would be a close race at the box office. For comparison, “The Dark Knight” dropped 53% in its second weekend, but that was coming off a much, much higher figure and it eventually settled into 35-40% drops after that. If “Inception” continues at this pace or better, it could make a decent pass at $300 million. To put those legs into perspective, you would have to go back six years to “Meet the Fockers” to find a film that crossed that threshold with a debut under $65 million.
“The Other Guys” will take a bit of the audience away, but other than that, I don’t see much in terms of competition. While remakes and sequels continue to post one and done weekend numbers and get people talking, it’s nice to see “Avatar” and “Inception” showing that original properties are the ones that keep them talking.
*All historical figures cited are adjusted to today’s dollars.
Laziest headline ever? It’s that kind of Friday folks.
Hey boys! Anything you can do, Angelina Jolie can make look sexier and she’s here to prove it with “Salt.” Originally a vehicle for Tom Cruise, Jolie stepped in and is literally the only woman in Hollywood who can have action scripts rewritten and re-gendered to fit her interest. She’s also the only woman in Hollywood who is currently sleeping with Brad Pitt, so let me just add this up; Angelina Jolie-2, every other woman in Hollywood-0.
This clout came from solid performances for “Lara Croft: Tomb Raider,” “Mr. & Mrs. Smith” and “Wanted.” The last of which opened to a very strong and surprising $56.4 million back in 2008. Sure, it was based on a comic book and had other recognizable faces in it, but the marketing really didn’t have much going for it other than the promise of Jolie shooting ridiculous weapons and leaning out of cars.
She’s had less success when dipping into dramatic territory, with “Changeling” and “A Mighty Heart” earning her rave reviews but fizzling at the box office. Nobody wants to see those hit lips quivering like a victim. We want to see fights and just enough skin to warrant a PG-13 rating!
*All historical figures cited are adjusted to today’s dollars.
Alright, let’s talk about “Inception.” People have been salivating over this thing since before it even went into production and the marketing campaign Warner Bros. put together was pretty top notch. The director was coming off the biggest film of the decade (at that time) and the cast was impressively assembled, led by one of the biggest names on the planet. Early reviews were ecstatic and the market was desperate for a live action blockbuster to live up to the hype.
With all that said, “Inception” opened at the top of the box office this weekend with $60.4 million. Is that any good? Well, it’s less than “The Dark Knight” made in one day, but it’s by far the biggest opening of Leonard DiCaprio’s career. With no previous source material and a tricky sci-fi premise aimed at adults, Warner Bros. was always going to have an uphill battle here.
As far as summer sci-fi goes, it’s a little less than what “I, Robot” debuted with in July 2004, but well ahead of the $48.8 million launch for “Minority Report,” which had Cruise and Spielberg to help sell. That film had similarly positive reviews and went on to gross 3.7 times its debut with a $180.7 million finish. If “Inception” were to do the same, we’d be looking at a $223 million total.