(Photo by Paramount/courtesy Everett Collection)
Three ways to start a movie star career: Have a famous actor father, produce a Best Picture winner, or be in a hit TV series for a while before making the leap. Uh, check, check, and check for Michael Douglas, son of Kirk, producer of One Flew Over a Cuckoo’s Nest, and star of early ’70s procedural The Streets of San Francisco.
So by the time San Francisco ended in ’77, Douglas was ready to get plastered all over the silver screen, starring in Michael Crichton’s Coma. He put out a few more like-minded high-stakes adult thrillers (The China Syndrome, The Star Chamber) before being made as an ’80s man with Romancing the Stone. The cheeky globe-trotting adventure film, directed by Robert Zemeckis and co-starring Kathleen Turner, turned him into a sex symbol, with all the women (Fatal Attraction), money (Wall Street, a Best Actor Oscar winner), and power (Black Rain) that implies.
It all came to a head in the ’90s with the supremely watchable sleaze that is Basic Instinct, which left mouths wide open, among other things. Other movies of the decade, like Falling Down and David Fincher’s The Game, are still watched today, especially for their exploration of broken-down masculinity and power.
Douglas got another taste of Best Picture gold with 2000’s Traffic (nominated, but struck down by Gladiator). This marked Douglas’ first collaboration with director Steven Soderbergh: The two would reunite for Haywire and Behind the Candelabra. He was brought into the Marvel Cinematic Universe as the famous Dr. Hank Pym for Ant-Man, a role he reprised for the Wasp sequel. Now, we’re ranking all Michael Douglas movies by Tomatometer!
The Hogwarts posse is back with the highly anticipated launch of "Harry Potter and the Order of the Phoenix", the fifth film in the blockbuster wizard series which has already grossed $3.53 billion worldwide.
The PG-13 film reunites the major cast members and features British television director David Yates at the helm this time. Unlike previous installments, this new one began with a record $44.2M Wednesday launch instead of the usual Friday bow. This spreads the opening weekend audience out over five days and reduces the amount of comparisons the industry will make to "Spider-Man 3" which set a new all-time debut record in May with its gargantuan $151.1M three-day launch.
Opening weekend grosses for the most part have gotten bigger through the "Potter" series. "Sorcerer’s Stone" bowed to a then-record $90.3M and was followed by "Chamber of Secrets" with $88.4M, "Prisoner of Azkaban" with $93.7M, and "Goblet of Fire" with $102.3M. "Prisoner" was the only summer release (early June when most kids were still in school) and remains the lowest grossing of the franchise with $249.4M. This time, Warner Bros. has positioned "Potter" in the middle of July when all students are out of school and can go to the movies seven days a week. The move was smart since these films usualy don’t have good legs and absorb the bulk of their business upfront.
By Friday, "Phoenix" will be playing in an eye-popping 4,285 theaters making it the second widest opening in history after the 4,362 of May’s "At World’s End" which grossed $139.8M in its first four days. The new "Potter," however, is more likely to play out like "Spider-Man 2" which launched on a Wednesday in late June/early July of 2004. It captured a stunning $152.4M in its Wednesday-to-Sunday frame with the Fourth of July holiday falling on day 5. "Phoenix" does not have a holiday to utilize, but it does stand as a another megahyped sequel from one of the most popular franchises of this decade.
The studio’s marketing has been strong as usual for their favorite son. A record 91 Imax locations are playing the soon-to-be-blockbuster which will help add more potency to the numbers. Plus, excitement is extra high this time because of the anticipation surrounding the seventh and final book which by some strange coincidence will be released at the end of next week. Film 5 and book 7 will join forces and help market each other and push the media to do even more stories than usual on the property.
Competition for the long-titled film will come from pics with short names like "Transformers" and "Ratatouille," but that should not be too much of a factor since "Potter" has a clearly-defined audience. Despite some negative reviews from key critics, overall the film has earned good marks. Again this should not matter much since die-hard fans would never miss being part of the opening weekend anyway. What will matter is word-of-mouth. With the Wednesday bow, the studio will need fans to love the picture in order to spread positive buzz to more casual fans and to come back again for repeat viewing. The film’s B+ average grade from over 9,000 votes on Yahoo Movies is a decent but not spectacular start in that department.
Warner Bros is not out to break records this weekend. It’s all about collecting cash over as many summer nights as possible. "Harry Potter and the Order of the Phoenix" might be able to open to about $90M over the Friday-to-Sunday period and around $155M over the five-day debut frame.
Elisha Cuthbert enters the horror scene in the new gorefest "Captivity," a new fright flick quietly being tossed into the marketplace. Released by After Dark Films, the R-rated entry chronicles the capture and torture of a successful model and is aimed at genre fans who like the most extreme form of horror. The marketing push has not been very strong and aside from "1408," most fright films in recent months have all flopped. This should be no different. With Optimus Prime, Mr. Potter, and John McClane all offering brand name summer action, "Captivity" should find it difficult to get noticed. Opening in about 1,500 locations on Friday the 13th, a $4M debut seems likely.
Last weekend, "Transformers" rocked the box office with its extended opening week haul of $155.4M. A severe drop is in store this weekend thanks to the wizard sequel. Had both "Transformers" and "Potter" opened on a Friday, a weekend drop of 60% or more would result. But since frames are diluted down from their full potential, a 50% decline may instead occur. That would give Paramount about $35M for the frame and a cume of $222M after 13.5 days.
Disney’s "Ratatouille" is holding up well but will lose some of its kid audience to the Hogwarts flick. Since the "Potter" pics are getting darker, parents of younger children will probably avoid it and opt for the G-rated rodent cartoon instead. A 35% drop to around $19M would give the toon a plump $143M after 17 days.
LAST YEAR: Despite dropping 54%, "Pirates of the Caribbean: Dead Man’s Chest" topped the box office with a colossal $62.3M in its second weekend. In a close race for the silver medal, Sony’s comedy "Little Man" edged out a second place debut with $21.6M followed closely by Universal’s rival comedy "You, Me and Dupree" which bowed to $21.5M. The Wayans brothers found their way to $58.3M while the Owen Wilson pic enjoyed better legs with a $75.6M final. Rounding out the top five were "Superman Returns" with $12.3M and "The Devil Wears Prada" with $10.4M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Despite a pair of newcomers close behind in its rearview mirror, Will Ferrell‘s hit comedy Talladega Nights: The Ballad of Ricky Bobby finished in first place for the second consecutive weekend to retain its North American box office trophy.
The frame’s biggest shocker came in second place with the stellar debut of the teen dance drama Step Up which flew past expectations to edge out Oliver Stone‘s high-profile 9/11 film World Trade Center which opened with solid results in third place. The new horror film Pulse launched in fifth place with mediocre results while Tim Allen‘s family film Zoom imploded with a disastrous bow in seventh place.
Talladega Nights held onto the number one spot with an estimated $23M in its second weekend of release dropping an understandable 51%. The $73M Sony hit raced to a total of $91.2M after ten days of release and could find its way to the $140M mark.
Getting high marks in the runnerup spot was Buena Vista’s Step Up which surprised the industry with a sizzling $21.1M opening weekend, according to estimates, from 2,467 theaters. The PG-13 pic about a trained ballerina who joins forces with a tough street dancer averaged a sturdy $8,539 per location and was powered primarily by teenage girls and young women. The surprise muscle of Step Up played out much like the bow of another late-summer film targeting teen girls – 2000’s Bring It On. That pic debuted at number one with $17.4M, spent two weeks at the top, and found its way to $68.4M followed by a pair of non-theatrical sequels keeping the franchise alive to this day.
Oliver Stone’s 9/11 drama World Trade Center finished in third place grossing an estimated $19M over the weekend and $26.8M since debuting on Wednesday. Averaging a solid $6,431 from 2,957 theaters over the Friday-to-Sunday portion, the Paramount release stars Nicolas Cage and Michael Pena as cops buried underneath the rubble of the collapsed Twin Towers. Reviews were mostly positive for the $65M film and word-of-mouth so far seems positive. Studio research showed that 91% of those polled called the disaster drama "excellent" or "very good".
While young moviegoers were lining up for Step Up, World Trade Center skewed mostly to a mature adult audience with 65% of the crowd being over the age of 25. Females made up 55% of the audience. With good reviews, positive buzz, and almost no interesting films for adults opening in the coming weeks, World Trade Center could hold up well in the weeks ahead.
Paramount’s animated comedy Barnyard dropped only 36% in its second weekend to an estimated $10.1M for fourth place. With $34.1M in the bank after ten days, the toon could find its way to about $60M. The PG-rated film’s budget was under $50M.
The suspense thriller Pulse debuted in fifth with an estimated $8.5M from a launch in 2,323 sites. Averaging a mild $3,640 per location for The Weinstein Co., the PG-13 film made only a small dent in the overall box office.
Disney took in an estimated $7.2M with its summer tentpole Pirates of the Caribbean: Dead Man’s Chest lifting its incredible total to a towering $392.4M. The Johnny Depp smash fell just 35% and now sits at number seven on the list of all-time domestic blockbusters just behind Spider-Man which hauled in $403.7M in 2002. Overseas, there’s still no stopping Pirates which vaulted its international total to $463M pushing the global gross to a stunning $855M.
Sony’s Tim Allen family pic Zoom crashed and burned in its debut grossing a measly $4.6M in its opening weekend. Playing in 2,501 theaters, the PG-rated film about an old super hero recruited to train a bunch of kids averaged an embarrassing $1,839 per venue.
The horror flick The Descent dropped 48% in its second weekend to an estimated $4.6M and pushed its ten-day tally to a decent $17.5M. The Lionsgate release should dig up $25-27M by the end of its run. Universal’s action remake Miami Vice suffered another steep drop falling 56% to an estimated $4.5M for a $55.1M total. The animated pic Monster House rounded out the top ten with an estimated $3.3M, off 46%, giving Sony $63.7M to date.
Four more films were tossed right out of the top ten this weekend. Fox’s high school comedy John Tucker Must Die fell 52% to an estimated $3M in its third frame. With a solid $35.7M, the low-budget teen hit should finish with around $40M. Fellow comedy You, Me and Dupree grossed an estimated $1.9M, down 48%, and has collected $70.8M to date. Universal’s $54M pic is set to reach an impressive $74M.
Not-so-impressive results came from The Ant Bully with an estimated $1.8M and The Night Listener with an estimated $1.4M. Tumbling 55%, the Warner Bros. toon has taken in just $22.4M and will stumble to about $25M. Miramax’s Robin Williams thriller has grossed a puny $6.3M for Miramax and could end up with only $8M.
With Hollywood’s summer season of blockbusters coming to an end, plenty of activity was brewing over the weekend with limited release titles. ThinkFilm opened its critically-acclaimed indie Half Nelson in just two New York theaters but grossed a stellar $55,000, according to estimates. The R-rated drama about an inner city teacher with an addiction to crack averaged a potent $27,475 and expands to Los Angeles, San Francisco, and Washington D.C. on August 25.
Sony Classics premiered the Brazilian drama The House of Sand in five locations in New York and Los Angeles and grossed an estimated $33,000 for a moderate $6,600 average. The distributor’s teen pregnancy drama Quinceanera widened from eight to 27 theaters in its second weekend and grossed an estimated $138,000 giving the Sundance award winner a mild $5,111 average. Total to date stands at $278,000.
Indie darling Little Miss Sunshine witnessed another powerful expansion widening from 58 to 153 locations for a weekend estimate of $2.6M and a sizzling average of $16,993. Fox Searchlight reported that audiences in the new cities are responding to the stellar word-of-mouth while theaters in existing markets are holding up remarkably well. The weekend decline among holdover theaters was only 17%. With $5.6M in the bank, look for Little Miss Sunshine to pop into the top ten next weekend when it expands into 600 playdates nationwide and remain there with a wider push into 1,500 locations the following frame. So far, the dysfunctional family comedy has performed even better than the distributor’s spring indie hit Thank You for Smoking as well as its 2004 hit Garden State which was released at this same time and in similar fashion. Those films went on to gross $24.7M and $26.8M, respectively.
Paramount Vantage’s global warming film An Inconvenient Truth became the third biggest documentary of all time over the weekend. Al Gore‘s success story took in an estimated $367,000 in its 12th weekend and lifted its cume to $21.9M surpassing the $21.6M of 2002’s Oscar-winning doc Bowling for Columbine.
The top ten films grossed an estimated $105.9M which was up 6% from last year when Four Brothers debuted at number one with $21.2M; but down 12% from 2004 when Alien vs. Predator opened in the top spot with a robust $38.3M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Comedy superstar Will Ferrell scored his first-ever number one opening in a lead role with the stronger-than-expected debut of his latest hit Talladega Nights: The Ballad of Ricky Bobby which left all competitors in the dust at the North American box office.
Solid opening weekend results came from the animated comedy Barnyard: The Original Party Animals in second place and the horror film The Descent in fifth, but the Robin Williams thriller The Night Listener failed to find much of an audience in its debut. Overall, the marketplace was healthy and showed substantial improvement over the first weekend of August from the last two summers.
Sony crossed the finish line in first place for the industry-leading eighth time this year with the turbo-charged opening of Talladega Nights which grossed an estimated $47M over the Friday-to-Sunday period. Playing in a massive 3,803 theaters, the PG-13 film about a legendary NASCAR driver averaged a fantastic $12,359 per location. Will Ferrell has collected more than his share of second place trophies. The former Saturday Night Live star has opened at number two numerous times in recent years with films such as Kicking and Screaming, Bewitched, Anchorman, Elf, and Old School. Elf climbed into first place in its second weekend, and Ferrell has had supporting roles and cameos in number one openers from other stars. But Talladega Nights marks the first time he has anchored a top spot debut, and he did it decisively.
Reviews were generally positive for the racing comedy, which co-starred John C. Reilly, Sacha Baron Cohen, and Michael Clarke Duncan, and the weekend gross was roughly three times the take of its closest competition. Sony backed the $73M film with a lavish marketing campaign which involved promotional support from numerous corporate sponsors. Even veteran talk show host Larry King turned his daily chat session on opening night into a one-hour commercial for the film by interviewing Ferrell and Reilly in character as Ricky Bobby and his racing pal Cal Naughton Jr.
Talladega reached a broad audience with young males standing out slightly, as expected. Studio research indicated that 53% of the audience was male and that 52% was under 25. Aside from being Ferrell’s biggest opening weekend ever, the film also generated the third best bow ever in the month of August. Only 2001’s Rush Hour 2 and the following year’s Signs did better with debuts of $67.4M and $60.1M, respectively. Those two pics also launched on the first frame of the month which studios still look at as a good weekend for programming a high-profile summer film on. By this point, most of the season’s tentpole films have played out, but there is still enough summer playing time ahead to have long-term success.
Finishing far back in second place, but still enjoying an impressive debut, was Paramount’s animated comedy Barnyard with an estimated $16M. The PG-rated toon bowed in 3,311 locations and averaged a solid $4,844 per theater. The opening was better than The Ant Bully‘s $8.4M from last weekend, but did not reach the $22.2M debut of Monster House from two weeks ago. Barnyard was produced by Nickelodeon Movies for just over $50M and played mostly to kids and parents. Audience research showed that 75% of the crowd was made up of families with males and females represented evenly. With two other cartoons in the top ten, and with Pirates still pulling in every age group, the opening performance of Barnyard was commendable.
The year’s biggest blockbuster Pirates of the Caribbean: Dead Man’s Chest dropped 47% to an estimated $11M boosting its domestic treasure to a stunning $379.7M. That puts the Johnny Depp adventure sequel at number eight among all-time domestic blockbusters surpassing the $377M of The Lord of the Rings: The Return of the King. Pirates also managed to bump Mel Gibson‘s The Passion of the Christ off the all-time top ten list. Overseas, Disney scored another colossal gross taking in $57M from 47 markets to rule the international box office for the fifth straight frame. That sent the offshore cume soaring to $392M and the worldwide haul to $771.7M making it the top-grossing global hit of 2006 after just one month of release. Pirates could certainly be on its way to the one billion dollar mark with another installment in the franchise on deck for a May 2007 release.
Audiences rejected Miami Vice which tumbled a horrendous 62% in its second weekend to an estimated $9.7M. With $45.7M in ten days, the Universal action thriller is on course to end with $65-70M. That would give Vice a domestic gross of about half of its $135M production budget. Good news did, however, come from the U.K. where the cop pic debuted at number one this weekend.
Opening in fifth place was the new horror entry The Descent with an estimated $8.8M from 2,095 locations. The R-rated fright flick about a six-pack of young ladies trapped in an underground cave full of flesh-eating creatures averaged a solid $4,200 per venue. Reviews were unusually positive for the genre and distributor Lionsgate pitched The Descent in its advertising as being from the studio that brought audiences Saw and Hostel. But the opening was far short of the $18.3M and $19.6M that those low-budget hits opened to. Still, with a modest pricetag of its own, the cave exploration flick looks to make a few bucks theatrically and dig up a bigger audience when released on DVD.
Fox’s teen comedy John Tucker Must Die dropped 58% in its second weekend to an estimated $6.1M. With $28.6M in ten days, the revenge flick should find its way to the neighborhood of $40M. Sony’s animated scarefest Monster House followed close behind with an estimated $6M, off 49%, for a $57M cume. Competing toon The Ant Bully fell 54% in its sophomore session to an estimated $3.9M. Warner Bros. has collected just $18.2M in ten days and should conclude with an underwhelming $25-27M.
A pair of films tied for ninth place with an estimated $3.6M each. Universal’s comedy You, Me and Dupree declined 49% and upped its sum to $66.8M. Miramax’s new Robin Williams thriller The Night Listener bowed in 1,367 locations and averaged a weak $2,634 per site.
Opening with healthy but not spectacular results in platform release was the teen drama Quinceanera which grossed an estimated $97,000 from only eight sites for a $12,125 average. The R-rated tale of a Mexican-American girl’s impending coming-of-age party won both the Grand Jury Prize and Audience Award at this year’s Sundance Film Festival and was snapped up by Sony Classics. Quinceanera will expand beyond New York and Los Angeles in the weeks ahead.
Three comedies and a bedtime story dropped out of the top ten over the weekend. Fox’s hit fashion industry pic The Devil Wears Prada held up well once again in its sixth frame with an estimated $3.1M, off 35%, lifitng the cume to a stellar $112.7M. It was the Meryl Streep film’s fourth consecutive weekend with a drop of less than 40%. Produced for just $35M, Devil should find its way to a fabulous $120-125M making it one of the more profitable hits of the summer.
On the other hand, the Warner Bros. suspense thriller Lady in the Water has been falling by more than 60% each frame and took in an estimated $2.7M in its third scare. Down a steep 62%, the M. Night Shyamalan pic has grossed only $38.7M in 17 days and looks to drown with a mere $42-44M overall. The production budget was reportedly in the $75M range.
Sony’s Little Man fell 51% to an estimated $2.5M in its fourth outing and pushed its cume to $55.1M. The Wayans brothers pic cost $64M to produce and should end its domestic run with a respectable $58-60M. Fox’s super hero comedy flop My Super Ex-Girlfriend stumbled 73% in its third flight and grossed an estimated $1.1M. With $20.2M in the bank, look for a disappointing $22M finish.
In limited release, Fox Searchlight expanded its hit indie comedy Little Miss Sunshine from seven to 58 theaters in the top dozen markets and grossed an estimated $1.5M. That resulted in a muscular $25,169 average and a $2.2M total. The distributor will add 17 more cities on Friday and widen nationally the following weekend on the heels of strong word-of-mouth momentum.
The top ten films grossed an estimated $115.7M which was up 18% from last year when The Dukes of Hazzard debuted at number one with $30.7M; and up 23% from 2004 when Collateral opened in the top spot with $24.7M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Detectives Crockett and Tubbs shot their way to number one in North America with the cop thriller Miami Vice which finally managed to knock the megablockbuster Pirates of the Caribbean: Dead Man’s Chest out of the top spot.
The new teen comedy John Tucker Must Die debuted well but the animated entry The Ant Bully got squashed in its opening weekend. Overall, the box office saw a summer slowdown as the top ten films attracted the weakest sales since early May.
Universal hit the top of the charts with its big-budget actioner Miami Vice which opened with an estimated $25.2M. Starring Jamie Foxx and Colin Farrell as the famous South Florida cops from the hit 1980s television series, the R-rated film averaged a strong $8,340 from 3,021 theaters. The debut was in line with the opening of director Michael Mann‘s last film Collateral which was also an R-rated actioner and bowed to $24.7M in August 2004. That film, which starred Tom Cruise and Foxx, eventually squeaked past the $100M mark domestically. The studio reported that the audience for Miami Vice was older, multicultural, and evenly split between men and women. Studio research showed that a high 62% of the crowd was age 30 and older, 51% was male, and 52% was non-white. Reviews were mixed for the $135M production.
After three weeks of ruling the box office, Pirates of the Caribbean: Dead Man’s Chest dropped to second place but still posted strong results grossing an estimated $20.5M. The Disney smash dropped only 42% and propelled its cume to a staggering $358.4M after just 24 days. More records were looted by Captain Jack Sparrow. Chest became the fastest film in history to sail past the $350M mark doing so on Saturday in only 23 days. Shrek 2 held the record previously with 26 days in 2004. The Pirates sequel also stands as the top-grossing movie ever for its studio surpassing the $339.7M of 2003’s Finding Nemo.
The middle film in the swashbuckling adventure trilogy vaulted to number 11 on the list of all-time domestic blockbusters right behind the $370.3M of 2004’s The Passion of the Christ. Pirates has also put an end to the industry’s seven-year streak of the top-grossing summer film coming out of the month of May. Johnny Depp and friends have completely dominated the moviegoing world this month as no other film since has opened north of $30M. The last time the month of July saw only one $30M+ opener was ten years ago when Independence Day ruled the mid-summer box office in 1996. Dead Man’s Chest looks to smash the $400M mark in the weeks ahead.
Teenagers pushed the high school comedy John Tucker Must Die into the number three spot with an estimated opening of $14.1M. Bowing in 2,560 theaters, the PG-13 film about a group of young women who get revenge on the guy secretly dating all of them averaged a solid $5,498 per site. However, sales plunged a disturbing 24% on Saturday from a strong Friday turnout indicating there could be trouble ahead. Still, with no pricey stars, Tucker should become a nice little hit for Fox. The studio’s divide-and-conquer marketing approach seems to have worked. Television spots aimed at females focused on the revenge-on-a-cheating-boy angle while those targeting males showed off the title character’s ability to juggle three chicks.
Sony’s digital toon Monster House dropped 48% in its second weekend to an estimated $11.5M and raised its total to $43.9M after ten days. The $75M film looks to find its way to a relatively good $65-70M.
Warner Bros. stumbled with the opening of its rival kid toon The Ant Bully which finished the weekend in fifth place with an estimated $8.1M. Playing in 3,050 locations, the PG-rated adventure about a boy who enters the world of insects averaged a weak $2,670 per location. Big-time Hollywood stars Julia Roberts, Meryl Streep, and Nicolas Cage provided the voices, but audiences were not swayed. Bully’s opening weekend couldn’t even beat the second weekend of Monster House. The kidpic market will get even more crowded on Friday when Paramount launches its own animated film Barnyard targeting the exact same family audience once again.
Sixth place was too close to call with a pair of films claiming an estimated $7M in ticket stubs this weekend. Universal’s comedy You, Me and Dupree fell 45% in its third weekend and boosted its 17-day cume to a solid $59M.
However, M. Night Shyamalan‘s bedtime story Lady in the Water followed its weak opening weekend with a steep 61% crash and gave Warner Bros. a feeble $32.1M in ten days. By comparison, ten-day totals for the filmmaker’s last films have been $85.6M for 2004’s The Village and $117.7M for 2002’s Signs. Lady, which is not even in the same ballpark, has not excited audiences and it could stumble to a final tally of about $45M making its entire total smaller than the opening weekend of his last film.
It’s been a difficult summer for Warners. First, its costly ocean liner actioner Poseidon flopped grossing $100M less than its production budget. Then Superman Returns, the most expensive movie ever, did not live up to expectations. Now the studio is suffering a double blow with Lady and Ant Bully both being ignored by moviegoers. Of course, overseas box office and worldwide home video will add more revenue, but expensive marketing campaigns will make it hard for these films to become moneymaking ventures. The studio’s other summer film The Lake House has enjoyed a respectable run though, grossing $51M.
Sony’s Wayans brothers comedy Little Man placed eighth with an estimated $5.1M, down 54%, and raised its sum to a decent $50.2M. Meryl Streep followed with the sleeper hit of the summer, The Devil Wears Prada, which grossed an estimated $4.8M. Off only 35%, the Fox hit pushed its total to $106.7M.
Crumbling 61% to an estimated $3.9M in its sophomore session, Kevin Smith‘s Clerks II rounded out the top ten and put its ten-day cume at $18.5M. The inexpensive $5M production should continue to fade fast, but looks to end with around $25M making it a nice little moneymaker for MGM and The Weinstein Company. Smith’s last summer film Jay and Silent Bob Strike Back dropped a hefty 53% in its second weekend in 2001 although the Labor Day holiday frame helped to cushion the blow.
Opening in platform release to sensational results was Fox Searchlight’s indie comedy Little Miss Sunshine which bowed to an estimated $357,000 from only seven theaters for an eye-popping $50,980 average. Since its Wednesday launch in New York and Los Angeles, the R-rated comedy starring Greg Kinnear, Steve Carell, Toni Collette, and Alan Arkin has grossed $449,000. Sunshine was the hottest film at this year’s Sundance Film Festival and the distrib is now looking to turn it into a strong word-of-mouth hit for moviegoers numbed by all the mindless popcorn films of the summer. Reviews were outstanding and the road comedy will continue to expand in the weeks ahead. The distributor plans to widen to ten cities and about 60 theaters this Friday, 175 playdates the following weekend, and a full national release in over 600 sites on August 18.
Also debuting this weekend was Woody Allen’s latest film Scoop with an estimated $3M from 538 locations for a good $5,582 average. The Focus release stars Scarlett Johannson and Hugh Jackman and earned mixed reviews from critics.
Three films dropped out of the top ten over the weekend. Superman Returns fell 49% to an estimated $3.8M in its fifth mission and reached a cume of $185.8M. After 33 days of release last summer, Warner Bros. collected a similar $183.1M with its other super hero revival Batman Begins. However, the Caped Crusader posted a stronger $6M frame, ranked higher with a fifth place finish, and was enjoying smaller weekly declines on its way to $205.3M. With a reported production budget north of $240M, Superman Returns is on a course to end its domestic run with roughly $195M and will need some sort of special re-release in order to cross the double-century mark.
Fox also grabbed an estimated $3.8M with its super hero comedy My Super Ex-Girlfriend which tumbled 56% in its second weekend. With a weak $16.4M in ten days, the Uma Thurman–Luke Wilson comedy should find its way to only $25M.
Disney watched Pixar’s durable toon hit Cars become the second highest-grossing film of the year this weekend. The G-rated smash fell 50% to an estimated $2.5M boosting its cume to $234.6M surpassing the third X-Men flick. Add in the recent Pirates sequel and the Mouse House can now claim the two biggest box office hits of 2006 with no other films in the near future looking to get in their way.
Al Gore‘s global warming hit An Inconvenient Truth became only the fourth documentary in box office history to cross the $20M mark this weekend. The Paramount Vantage title took in an estimated $773,000 in its tenth frame, off 23%, to lift its cume to $20.2M. The only docs to score better have been Fahrenheit 9/11 ($119.2M), March of the Penguins ($77.4M), and Bowling for Columbine ($21.6M).
The top ten films grossed an estimated $107.3M which was up a scant 2% from last year when Wedding Crashers climbed to number one in its third weekend with $20M; but down 22% from 2004 when The Village opened in the top spot with $50.7M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Johnny Depp made this weekend’s four new releases walk the plank as his megablockbuster Pirates of the Caribbean: Dead Man’s Chest became the first film of the year to spend three consecutive frames at number one and zoomed past the $300M mark in record time.
Among the new offerings debuting in theaters, Sony’s animated film Monster House posted the best results opening in second place while M. Night Shyamalan‘s latest supernatural thriller Lady in the Water stumbled in its first weekend settling for third place. The comedies Clerks II from Kevin Smith and My Super Ex-Girlfriend from Ivan Reitman debuted with more modest single-digit results outside the top five. Overall ticket sales were a healthy amount ahead of last year’s.
Sailing past more box office records with ease, Pirates grossed an estimated $35M in its third weekend to remain the top choice among summer moviegoers across North America. Off a moderate 44%, the Disney smash became the fastest film to break the $300M mark when it surpassed the milestone on Saturday, its 16th day of release. Star Wars Episode III previously held the record doing the deed in 17 days last summer. Pirates now stands at $321.7M after a mere 17 days and has soared up to number 16 on the list of all-time domestic blockbusters ahead of Harry Potter and the Sorcerer’s Stone which grossed $317.6M in 2001.
Dead Man’s Chest also entered a very exclusive club of films that reached the triple-century mark while still at number one. It joins only 1982’s E.T., 1997’s Titanic, and 2003’s The Lord of the Rings: The Return of the King. The third weekend hold for Pirates was commendable showing that the high seas adventure is not falling apart like many action sequels and instead still pleasing audiences. It now looks to be on course to reach $400M in box office treasure.
Sony generated a solid debut for the animated film Monster House which opened in second place with an estimated $23M from 3,553 locations. The PG-rated tale about three kids who discover an evil home averaged an impressive $6,473 per theater. Oscar-winning directors Steven Spielberg and Robert Zemeckis served as executive producers and had their names used prominently in the marketing. As the first toon for kids in over a month, Monster scored with children and parents who made up the bulk of the audience. The studio released the $75M production in 163 3-D theaters which collected $2.6M of the overall gross for a sizzling $16,012 average. Reviews were mostly positive.
Suffering his worst opening since becoming an A-list director, M. Night Shyamalan saw his latest thriller Lady in the Water struggle in its debut grossing an estimated $18.2M from 3,235 theaters. The PG-13 film about a mysterious creature from the water who must return to her world averaged $5,629 per site. The opening was less than half the size of the $50.7M bow of Shyamalan’s last film The Village and less than one-third of the $60.1M that his previous film Signs took in when it opened in 2002. Critics panned Lady which was promoted as being a "bedtime story" as the Oscar-nominated filmmaker earned the worst reviews of his career.
Shyamalan’s last four thrillers were all released by Disney but after The Village, the studio passed on the opportunity to make Lady. The project found itself over at Warner Bros. Village opened impressively based on the brand name of Shyamalan, however negative word-of-mouth led to it crashing 68% on the second weekend and quickly disappearing soon after. In fact, its final domestic tally of $114.2M remains the lowest gross ever for any film opening north of $50M. Many former fans may have decided to pass on his follow-up which was Lady. It could be rough seas ahead for Water as well since its Saturday sales were flat compared to Friday’s. Plus, it has scored a weak B- average grade from over 3,000 users of Yahoo Movies which means ticket buyers have not been very thrilled.
Universal’s hit comedy You, Me, and Dupree dropped a moderate 41% in its second weekend and placed fourth with an estimated $12.8M. With a solid $45.3M in ten days, the $54M picture should find its way to a sturdy $70-75M. Fellow sophomore comedy Little Man saw a larger drop and fell 49% to an estimated $11M for a total of $40.6M in ten days. Sony’s $64M Wayans brothers film looks to find its way to $60-65M.
Fans showed support for Kevin Smith whose comedy sequel Clerks II debuted in sixth place with an estimated $9.6M from 2,150 theaters. Averaging a good $4,477 per site, the R-rated story of a pair of slackers still doing little with their lives in their thirties opened a bit weaker than Smith’s 2001 late-summer pic Jay and Silent Bob Strike Back which bowed to $11M on its way to $30.1M. Ticket sales for Clerks II fell a sharp 18% on Saturday from Friday indicating that Smith’s loyal fans rushed out on opening day and that there may not be much of an audience left for future weeks. The film earned favorable reviews and was released by MGM and The Weinstein Company.
Fox saw a disappointing opening for its romantic comedy My Super Ex-Girlfriend which debuted to an estimated $8.7M from 2,702 theaters for a mild $3,220 average. The PG-13 film stars Uma Thurman as a woman who is secretly a super hero that exacts revenge on her ex-boyfriend (Luke Wilson) for dumping her. Reviews were mixed for the Ivan Reitman-directed pic. Studio research showed that the audience was split evenly between men and women with those age 25 and older making up 59% of the crowd. With so many other comedies in the marketplace from Owen Wilson, the Wayans brothers, Kevin Smith, Meryl Streep, and Adam Sandler, plus Pirates still raking it in, audiences found no special reason to spend money on Ex-Girlfriend.
Superman Returns dipped 39% in its fourth flight to an estimated $7.5M and pushed its cume to $178.4M. The pricey Warner Bros. film is still ahead of the $171.9M that its last super hero film Batman Begins collected after the same amount of time. The Caped Crusader pic, however, held up better grossing $10M in its fourth frame. The $200M domestic mark still seems reachable for Superman. Overseas, the international cume climbed to $110M.
Meryl Streep’s hit comedy The Devil Wears Prada enjoyed another solid hold suffering the smallest decline in the top ten. The Fox release took in an estimated $7.4M, off only 29%, to lift its sum to $97.6M. Devil opened on the same weekend as Superman Returns with a much smaller gross, but is now doing nearly identical weekend business.
Disney bookended the top ten with its Pixar smash Cars which dropped 37% to an estimated $4.9M in its seventh lap. The animated hit has now grossed $229.4M putting it at number 49 on the list of all-time domestic blockbusters after X-Men: The Last Stand which opened two weeks earlier and has taken in $232.8M to date.
The weekend’s four new releases tossed a quartet of summer pictures out of the top ten. Adam Sandler’s latest winner Click grossed an estimated $4M in its fifth frame, off 45%, for a total of $128.2M. The $83M Sony title should finish with $135-140M. Fellow comedy Nacho Libre with Jack Black tumbled 69% to an estimated $505,000 for a cume of $78.7M to date. Paramount looks to end its run with just under $80M.
Keanu Reeves grossed an estimated $661,000 for his sci-fi toon A Scanner Darkly and an estimated $625,000 for his sci-fi romance The Lake House this weekend. Warner Independent Pictures has taken in $3.2M with Scanner and is shooting for the $5M mark. Parent company Warner Bros. has grossed $50.7M with its Sandra Bullock tale and is heading for $52M.
The global warming documentary An Inconvenient Truth remains a popular summer flick slipping just 14% to an estimated $1M in its ninth weekend. Paramount Vantage has collected $18.8M to date and is enjoying remarkable momentum.
The top ten films grossed an estimated $138.2M which was up 12% from last year when Johnny Depp’s Charlie and the Chocolate Factory remained at number one for the second time with $28.3M; and up 2% from 2004 when Matt Damon‘s The Bourne Supremacy opened in the top spot with $52.5M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Directors take center stage this weekend providing starpower to four new films opening in North American theaters all hoping to take down reigning box office king Pirates of the Caribbean: Dead Man’s Chest.
M. Night Shyamalan leads the way with his latest creepy tale Lady in the Water while fellow east coast helmer Kevin Smith lets the expletives fly in the comedy Clerks II. Oscar winners Steven Spielberg and Robert Zemeckis serve as producers on the animated film Monster House which is aiming for kids, and Ivan Reitman provides a different type of super hero film in My Super Ex-Girlfriend. With four interesting new films and Johnny Depp still firing off his cannons, the overall marketplace should expand as it moves into the late July period.
Writer/director M. Night Shyamalan returns to theaters with his fantasy chiller Lady in the Water which marks his departure from the Disney family. The Warner Bros. release tells the story of a superintendent who discovers a mysterious creature in his building’s pool that must be sent back to her world. Paul Giamatti, Bryce Dallas Howard, Jeffrey Wright, and Bob Balaban star in the PG-13 pic. Known for his small cameos in previous pics, Shyamalan the actor has been promoted this time around and gets a meaningful supporting role. As they say, it pays to know the director. Could he be preparing himself for playing the lead role in a future film? Only time will tell.
The Philadelphia-based director has been seeing diminishing returns at the box office over the last few years. In 2002, his alien drama Signs with Mel Gibson opened to a sturdy $60.1M on its way to a robust $228M. Two years later, The Village tested Shyamalan’s brand name since it lacked any A-listers and the opening was still strong with $50.7M. But poor word-of-mouth quickly set in with the film plunging 68% in its second frame on its way to $114.2M overall. This time around, the director is once again the biggest name attached to the project. Giamatti won plenty of acclaim with Sideways, but he’s still not a star who drives in audiences on opening weekend. Shyamalan’s starpower will be put to the test once again, and some who left The Village with a bad taste might just pass on Lady. The new film should also open weaker than Village because it will debut in 500 fewer theaters.
Many elements to the film and its marketing are new this time around. With a different studio in charge, a notable difference is the female voiceover on the television commercials where a little girl whispers to viewers in a creepy way. This reinforces the new angle where the picture is being sold as a bedtime story. Shyamalan also became very visible this year with his American Express commercial. Instead of relying again on a twist, Lady instead plays out like a fantasy arthouse film that offers more comedy than all of Shyamalan’s past films combined. Audiences may end up once again dividing themselves into the love and hate camps after coming out of theaters. But in a world where people complain about the lack of originality coming out of Hollywood, the filmmaker does deserve credit for offering moviegoers something new and different.
The summer has not seen too many scary movies yet so Lady in the Water will stand out to audiences who like a good fright. With a story that is really out there, the film may find more fans with the fantasy and sci-fi crowds than with mainstream moviegoers. That will hurt ticket sales in the long term. Still, like with other Shyamalan movies, there is a mystery to them which draws in fans. That magic will work its charm again as the film will try to attract enough moviegoers to knock the popular Pirates out of first place. Emerging in 3,235 locations, Lady in the Water might find itself with around $33M this weekend.
The late-summer cartoon wars begin with Sony launching the first attack with its computer-animated entry Monster House. The PG-rated film tells the story of some teenage kids who believe that a neighborhood house is actually a ferocious beast. Although directing duties fell on newcomer Gil Kenan, it’s executive producers Spielberg and Zemeckis whose names are used most prominently in the marketing materials. Many families are sure to be fooled into thinking these brilliant filmmakers were behind the camera. The studio reported encouraging results for the sneak previews it offered last weekend to help spread advance buzz.
And advance buzz will be essential to box office success since rival studios will be unleashing their big toons in each of the next two weekends with Warner Bros. opening The Ant Bully on July 28 and Paramount tossing in Barnyard on August 4. There might not be room for all three to thrive so Sony’s early jump on the competition gives it a major leg up. The Disney/Pixar hit Cars has raced past the $220M mark, but is aging so young kids will be looking for something new to rally behind. Direct competition should not be too fierce for Monster this weekend since even the PG-13 Pirates is a bit too scary for smaller children. Sony is going all out with their push of Monster House which debuts in 3,553 sites on Friday. An opening of about $25M could result.
Mixing the date movie formula of The Break-Up with the comic book antics of X-Men, Fox unleashes its new comedy My Super Ex-Girlfriend. The PG-13 film stars Luke Wilson as a man who dumps his squeeze only to learn that she is secretly a famous super hero who now will use her powers to exact revenge. The plot has ample appeal to both men and women so interest from the date crowd will be solid. But the marketplace has been flooded with comedies over the last several weeks so those looking for a laugh can easily go elsewhere. The concept does, however, offer a unique what-if scenario that is sure to attract business. A slight female skew is likely.
Starpower is also an important component here. Uma Thurman has had many hits and though Wilson is not much of a leading man, he does offer value when playing second fiddle to a bigger star, like in this case. Trailers in front of the studio’s recent mutant sequel have raised awareness with the comic book crowd. But Wilson’s brother Owen, coming off of a $21.5M bow for You, Me and Dupree, won’t help any and Super probably has the most direct competition in its way among the weekend’s four freshmen. Flying into 2,702 theaters, My Super Ex-Girlfriend could take off with around $13M this weekend.
Kevin Smith leaves the Jersey girls behind and revisits the boys in Clerks II, a sequel to the 1994 indie hit that launched his career. The R-rated film finds his Garden State slackers in their thirties and working at a fast-food restaurant where colorful customers make their way in and out each day. Released by The Weinstein Company and MGM, Clerks II has a very specific audience of Smith fans it will appeal to. Others will be hard to reach as there is little starpower on the screen. The director’s 2001 summer comedy Jay and Silent Bob Strike Back opened to $11M from 2,765 theaters for a $3,985 average while 1999’s Dogma starring Matt Damon and a pre-J. Lo Ben Affleck bowed to $8.7M from 1,269 theaters for a $6,832 average.
Clerks II will debut in a level of theaters that is in between those two pics. Males in their twenties and thirties will make up the core crowd and there will be other options competing for their attention like Pirates and Lady. The marketing push has been good, but multiplexes will be crowded this weekend so getting in the undecided vote will be difficult. Opening in over 2,100 sites, Clerks II might bow to roughly $12M this weekend.
After two weeks of sailing ahead of the rest of the box office fleet, Pirates of the Caribbean: Dead Man’s Chest will face a serious challenge for its number one position this weekend. The Johnny Depp megahit dropped 54% in its second frame, but should suffer a smaller decline this time around. A number of new enemies will invade its waters so audiences will be scattered and competition should be formidable. Pirates may fall by 45% this weekend giving Disney about $34M for the frame. That would push the adventure sequel past the triple-century mark in a record 16 days and up to a staggering $321M by the end of the weekend.
Last weekend, the competing comedies Little Man and You, Me and Dupree battled it out for the distinction of being the biggest non-pirate movie in the country. Man inched ahead of Dupree by less than $100,000, but this weekend, the Wayans Brothers could see the larger decline losing about half of its business. That would give Sony around $11M for the frame and a ten-day cume of $40M. Dupree won’t have it easy though. My Super Ex-Girlfriend will offer direct competition for its core audience. A 45% drop could occur leaving Universal with roughly $12M for the frame and a stronger $44M after ten days.
Superman Returns has been chugging away trying to get itself to the $200M mark. But the Man of Steel’s third weekend gross of $12.3M was weaker than the corresponding takes of some of last summer’s big action offerings like Mr. & Mrs. Smith, Batman Begins, War of the Worlds, and even Fantastic Four. Pirates has been taking its toll on Superman and this weekend, the Clark Kent flick will no longer be in a massive 3,700+ theaters. Warner Bros could see a 45% decline to about $6.5M which would push the cume to $178M.
LAST YEAR: Johnny Depp spent his second weekend atop the charts with his cooky comedy Charlie and the Chocolate Factory which fell 50% to $28.3M fending off competition from a quartet of new releases plus some solid holdovers. Owen Wilson and Vince Vaughn spent another week in the runnerup spot with Wedding Crashers which held up remarkably well in its sophomore date slipping only 24% to $25.7M. The super hero flick Fantastic Four remained in third with $12.6M in its third mission. Among new movies, the highest gross came from the action thriller The Island which bowed to $12.4M. Given its enormous budget, it was a big disappointment for DreamWorks which found its way to just $35.8M. Paramount did not fare much better with the remake Bad News Bears which debuted in fifth with $11.4M. The Billy Bob Thornton pic scored just $32.9M overall, but at least it didn’t have a huge production cost. Opening in fewer theaters, but with an impressive average, was the pimp drama Hustle and Flow which bowed to $8M and a $7,915 average. The horror film The Devil’s Rejects followed with a $7.1M opening. Final tallies reached $22.2M for the Paramount Classics hip hop pic and $17M for the Lionsgate gorefest.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
The Johnny Depp juggernaut Pirates of the Caribbean: Dead Man’s Chest remained the most popular film in North America for a second weekend easily defending its box office crown against two new comedies that fought bitterly for the runnerup spot.
According to studio estimates, Sony’s Little Man narrowly edged out Universal’s You, Me and Dupree opening in second and third, respectively. With less than $400,000 separating the two new releases, chart positions could change when final numbers are tabulated on Monday.
Disney shattered more box office records with its runaway smash Pirates which hauled in an estimated $62.2M in its second weekend in theaters to boost its ten-day total to an eye-popping $258.2M. That’s the largest ten-day start of any film in history and the fastest any movie has cracked the quarter-billion dollar mark beating the old records which were both set last summer by Star Wars Episode III. The final Jedi sequel collected $236.9M in its first ten days and surged to $255.6M in its eleventh day.
Pirates did suffer a sizable 54% drop from its record-breaking opening weekend, however a large decline was widely expected since it had already absorbed such a massive amount of business when it entered its sophomore frame. Second weekend declines for the summer’s other big-budget tentpole pictures were larger including 56% for The Da Vinci Code, 59% for Superman Returns, and 67% for X-Men: The Last Stand. In just ten days, Dead Man’s Chest has quickly become the top-grossing film of 2006 and now sits at number 34 on the list of all-time domestic blockbusters ahead of Monsters, Inc. which grossed $255.9M in 2001.
The high seas adventure also enjoyed the third best second weekend gross ever trailing the $72.2M of 2004’s Shrek 2 and the $71.4M of 2002’s Spider-Man. Pirates is already the seventh biggest film ever for Disney and the fourth largest among live-action pics for the studio. The Mouse House also scored its 13th film to top the $200M mark which is the most of any Hollywood studio.Where can Captain Jack Sparrow sail to from here? The triple-century barrier should come crashing down by next weekend as the megablockbuster sequel continues on a trajectory that could see it loot $350-400M from the domestic market alone.
Opening in second place with an estimated $21.7M was Little Man starring Marlon and Shawn Wayans from director Keenan Ivory Wayans. The $64M Sony release averaged a stellar $8,567 from 2,533 theaters and tells the story of a diminutive crook who masquerades as a toddler in order to retrieve a stolen diamond. Teens and young adults made up the core crowd as studio data indicated that 59% of the audience was under the age of 25. Women slightly outnumbered the guys with 53% of the crowd. Reviews were mostly negative.
Little Man enjoyed an opening that was similar to that of the last effort by the Wayans brothers, White Chicks. That Sony comedy bowed on a Wednesday in June 2004 with a Friday-to-Sunday take of $19.7M as part of a $27.2M five-day launch on its way to $69.1M. The studio reported encouraging exit polls for Man with 85% marking it "excellent" or "very good." If estimates hold, it will be the third consecutive second place opening for Keenan Ivory Wayans after 2001’s Scary Movie 2 and White Chicks which were also summer comedies.
Close behind with an estimated $21.3M debut was Universal’s new comedy You, Me and Dupree. The PG-13 film averaged a solid $6,815 from 3,131 theaters and stars Owen Wilson as a houseguest who crashes in the home of a newlywed couple played by Kate Hudson and Matt Dillon. The $54M film played mostly to young adults in their twenties and thirties and skewed more towards women. Studio research indicated that 58% of the audience was under the age of 30 and 58% was female. Reviews were not very favorable. Dupree opened below the levels of Wilson’s previous hits like Starsky & Hutch which bowed to $28.1M in March 2004 and the $33.9M of Wedding Crashers which debuted one year ago this weekend.
While both new comedies opened with roughly the same weekend gross, and chart positions could change on Monday, it was Little Man that clearly delivered the more impressive performance. Playing in 600 fewer theaters, the Wayans brothers attracted enough of an audience to still sell the same amount of tickets and generated a per-theater average that was 26% stronger than Dupree’s. The Owen Wilson film however, cost $10M less to produce as it did not need to rely on costly special effects.
In its third battle against the forces of box office evil, the big-budget super hero flick Superman Returns fell to fourth place with an estimated $11.6M. Off a moderate 47%, the Warner Bros. pic lifted its cume to $163.7M after 19 days. The Man of Steel is well behind the $192.4M that War of the Worlds collected over the same period last year, but a bit ahead of Men in Black II‘s $158.1M from July 2002. However, those pricey pics posted stronger third weekend grosses of $15.2M and $14.6M, respectively. Superman Returns remains on a course to fly to $190-200M domestically which is less than what most in the industry were expecting from the Bryan Singer film.
Superman flew into over a dozen new countries around the world this weekend and grossed an estimated $38M from 36 markets to boost its international cume to $77M. In most territories, the comic book pic rocketed straight to number one, however in the United Kingdom it scored a solid number two bow behind the sophomore weekend of Pirates.
Despite competition from two new comedies, Meryl Streep held up well with her hit The Devil Wears Prada which grossed an estimated $10.5M in its third session. Down a little more than 30%, the Fox release has commanded an impressive $83.6M and is heading for the vicinity of $115M.
For the third straight weekend, the Disney/Pixar toon Cars enjoyed the smallest drop in the top ten and slipped less than 30% to an estimated $7.5M. After its sixth weekend, the G-rated blockbuster has upped its cume to a sturdy $219.7M passing The Da Vinci Code to become the third highest grossing film of the year after the Pirates and X-Men sequels. Cars is running 6% behind the pace of Pixar’s last film The Incredibles after the same amount of time, but is 3% ahead of the company’s Monsters, Inc. Those pics ended up with $261.4M and $255.3M, respectively. Cars looks to have enough gas in its tank to be able to reach $250M. Barring any surprise megahits, that would give Disney the two biggest blockbusters of the summer season. Coincidentally, the studio also ruled the 2003 summer contest with the first Pirates and Pixar’s Finding Nemo both crossing the $300M threshold.
Adam Sandler followed close behind in seventh with Click which fell 41% to an estimated $7M in its fourth frame. With $119.7M in the bank, the Sony release is still running a bit ahead of the studio’s 2003 Sandler vehicle Anger Management which collected $115.3M at the same point on its way to $135.6M. Click should be able to reach $135-140M.
The Lake House starring Keanu Reeves and Sandra Bullock grossed an estimated $1.6M, off 45%, for a $48.9M total. The Warner Bros. romance should end with a respectable $53M. Paramount’s Nacho Libre laughed up an estimated $1.5M, down 54%, putting its sum at $77.1M. Jack Black‘s wrestling comedy looks to go home with around $81M.
Warner Independent Pictures expanded its animated crime drama A Scanner Darkly from 17 to 216 theaters nationwide and hit the top ten with an estimated $1.2M. Richard Linklater‘s R-rated film averaged a healthy $5,486 per location and raised its cume to $1.8M. The Keanu Reeves-starrer will stay in roughly the same number of locations this coming weekend.
With a brutal heat wave hitting much of the country, audiences continued to flock to the hit global warming documentary An Inconvenient Truth which slipped a scant 5% to an estimated $1.1M. Now in its eighth weekend of release, the Paramount Vantage title finished a hair out of the top ten and has taken in a solid $17M.
Three films from the Universal Studios family fell from the top ten over the weekend. The racing sequel The Fast and the Furious: Tokyo Drift dropped 59% to an estimated $1M in its fifth lap pushing its domestic total to $59.7M. The $75M actioner has grossed an additional $42M overseas and continues to open in new countries each week. In North America, look for a final take of $61M.
The Break-Up fell 52% to an estimated $777,000 giving the Vince Vaughn–Jennifer Aniston comedy $116M to date. The $52M production should end its relationship with theaters at $118M. Internationally, Break-Up has grossed $24.5M thus far with major European markets like the United Kingdom, Germany, and Italy still to come between now and September. The Focus Features actioner Waist Deep tumbled 63% to an estimated $695,000 putting its cume at $20.7M. Little more is expected for the inexpensive film which might close with around $22M.
The top ten films grossed an estimated $146.1M which was off 4% from last year when Johnny Depp‘s Charlie and the Chocolate Factory debuted at number one with $56.2M; but up 8% from 2004 when Will Smith‘s I, Robot opened in the top spot with $52.2M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
A pair of new star-driven comedies will try to steal away some treasure from the record-breaking hit Pirates of the Caribbean: Dead Man’s Chest in a laugh-filled battle for the number two slot.
Universal launches You, Me and Dupree starring Owen Wilson, Kate Hudson, and Matt Dillon while Sony counters with Little Man anchored by Marlon and Shawn Wayans. Neither film, though, is expected to come close to the massive second weekend haul that Johnny Depp will take away as his blockbuster sequel looks to shatter the quarter-billion mark in a mere ten days.
52 weeks after Wedding Crashers opened to stellar business, Owen Wilson returns to the big screen playing a slacker in his mid-thirties who moves in with his best friend and his wife who are a newlywed couple. The PG-13 film stars Hudson and Dillon as the lucky duo while Michael Douglas plays the father to Hudson’s character. The date crowd will be the primary audience here and like most romantic comedies, Dupree should skew a little more female. However, the starpower and the concept give the film solid male appeal so both genders should show interest which will be important. Though formulaic and predictable as can be, the Universal release does offer up lots of laughs which will work with audiences willing to check their brain at the door.
As the anchor, Wilson has seen his share of box office hits, especially when there are other stars surrounding him. The R-rated Wedding Crashers with Vince Vaughn bowed to $33.9M this weekend a year ago, 2004’s Starsky and Hutch with Ben Stiller opened to $28.1M, and his last Jackie Chan action-comedy Shanghai Knights debuted to $19.6M. The blonde funnyman plays the exact same character for the umpteenth time, but somehow audiences keep buying it.
June has served up a steady diet of hit comedies like The Break-Up, Click, and The Devil Wears Prada so audiences are certainly not starving for a laugh right now. Competition will be tough and Little Man’s arrival will take away some folks looking for a chuckle too. Even Pirates, which packs a hundred laughs into its two-and-a-half-hour package, will be a factor. But Dupree does offer four big and likable stars even if Douglas has been underutilized in the marketing campaign. The plot has come across very clear in the advertising which is crucial. And the same audience that powered March’s Failure to Launch to a $24.4M opening could be out once again for this one. Making itself comfortable in 3,131 locations, You, Me and Dupree could gross around $22M this weekend.
For the fourth time in seven summers, the Wayans brothers regroup for some raunchy fun in Little Man opening this Friday. Keenan is once again at the helm while younger siblings Marlon and Shawn take to the screen in another high concept story. This time, a pint-sized criminal disguises himself as a toddler in order to uncover a stolen diamond from an unsuspecting couple. CGI allows Marlon to become a little man and laughter ensues. The Wayans clan last hit theaters two years ago in White Chicks which opened to $19.6M and a five-day $27.2M take. Little Man’s plot is not as catchy as Chick’s, but much of their loyal fan base is still likely to give it a try.
Sony has been pushing its latest summer comedy heavily, but with so many other laughers in the marketplace right now, some of the audience will get split. The Wayans team has always had a strong urban following which will once again be out in solid numbers. Waist Deep has been the only summer film anchored by black stars so an underserved audience is sure to come out and drive ticket sales. With about 600 fewer theaters than Dupree, Little Man is likely to find itself debuting in third place with an average that will challenge Owen’s. Poor reviews should not make a difference and a PG-13 rating will open the doors to a large teen crowd that might find Dupree to be too mature. Hiding out in 2,533 theaters, Little Man could make off with about $18M over the weekend.
Dead Man’s Chest set off the kind of box office fireworks last weekend that the industry has never seen before with a towering $135.6M opening and a per-theater average of nearly $33,000 from more than 4,000 locations. Despite its popularity, the Disney smash is bound to see a substantial drop this time coming off of such a large number. Spider-Man, which previously held the record for the largest opening weekend, dropped only 38% in its second session in May 2002 while fellow megahit Star Wars Episode III fell 49%. However, the webslinger was not a sequel and did not have Thursday night preview grosses during its debut frame, and the final Jedi flick had the Memorial Day holiday prevent its decline from surging too high.
Even though audiences are happy with Johnny Depp and his motley crew in their second adventure, big budget summer sequels like Chest are made to erode quickly. Plus with no holiday or expansion to soften the blow, sales could get sliced in half and then some. Weekday sales have been red hot with the Davy Jones pic looting $18.1M on Monday and $15.7M on Tuesday. By the end of its first full week in theaters, Disney should have more than $190M in its chest. A weekend fall to about $66M would give Pirates the third largest sophomore weekend gross in history after Shrek 2 ($72.2M) and Spider-Man ($71.4M). Coincidentally, all three franchises will launch their third installments next May. After only ten days, Captain Jack Sparrow would drink down an amazing $261M worth of rum.
Superman Returns has been completely overshadowed by Pirates. Its 59% sophomore fall last weekend was troubling but this weekend’s decline should stabilize to around 50%. No new action films will be opening which is good news to Warner Bros. A weekend gross of about $11M would give the Man of Steel $163M in 19 days.
Meryl Streep‘s The Devil Wears Prada is likely to see more competition from Dupree than from Little Man.this weekend. A 40% drop would give Fox a weekend take of about $9M and a 17-day cume of $81M surpassing the $71.4M of 2001’s Bridget Jones’s Diary which was also based on a best-selling book.
LAST YEAR: Starting an annual tradition, Johnny Depp was the handsome groom and Owen Wilson settled for the best man spot at the mid-July box office. The dashing pirate reteamed with his favorite filmmaker Tim Burton for Charlie and the Chocolate Factory which opened impressively at number one with a $56.2M debut. The Warner Bros. remake would go on to collect $206.5M domestically and over $470M worldwide. Premiering in its shadow at number two was Wedding Crashers starring Wilson and one of his favorite co-stars Vince Vaughn. The New Line sleeper smash bowed to $33.9M but enjoyed amazing legs and eventually outperformed Charlie in North America with $209.2M. The global gross reached a terrific $285M. Dropping 59% to third place was Fantastic Four with $22.8M in its sophomore frame for Fox. More effects-driven actioners rounded out the top five. Paramount’s War of the Worlds grossed $15.2M and Batman Begins captured $6M for Warners.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
This week at the movies, we’ve got some unwanted houseguests, in the guise of a guy with a bad case of arrested development ("You, Me and Dupree," starring Owen Wilson, Kate Hudson and Matt Dillon) and a pint-sized thief on the lam ("Little Man," starring Marlon and Shawn Wayans). Will the critics be welcoming, or will they boot these flicks into the street?
Owen Wilson has made a side career of crashing things. He (literally and figuratively) crashed weddings in "The Royal Tenenbaums" and "Wedding Crashers," and now, in "You, Me and Dupree," he’s crashing on the couch of uptight newlyweds, played by Kate Hudson and Matt Dillon (who’s been involved in a "Crash" of his own). The plot involves the recently jobless Wilson, whose free-wheeling antics get under the skin of his hosts. While the critics say "Dupree" is reasonably warm and fun, it’s inconsistent and lacks the real comic punch to be anything more than mildly amiable. At 22 percent on the Tomatometer, "Dupree" may not be for you and me.
Shawn and Marlon Wayans‘ previous film, "White Chicks," has legions of guilty defenders, despite (or, perhaps more accurately, because of) the fact that it’s tasteless, ludicrous, and often downright bizarre. Now they’re back with "Little Man," the story of a diminutive thief who poses as a baby in order to infiltrate the home of a suburban couple unwittingly in possession of stolen goods (said couple wisely takes the baby in, despite the fact that he has a mouthful of teeth). The question among critics is not whether "Little Man" is a good movie, but whether it contains laughs. Many say no, some resoundingly so, but for those of you who treasure lowbrow humor, politely ignore "Little Man"’s Tomatometer of 20 percent.
Also opening this week, albeit in limited release: Francois Ozon‘s latest, "Time to Leave," is at 87 percent on the Tomatometer; "Gabrielle," starring Isabelle Huppert, is at 73 percent; "Changing Times," starring Catherine Deneuve and Gerard Depardieu, is at 70 percent; the black comedy "Mini’s First Time" is at 50 percent; the David Mamet adaptation "Edmond" is at 33 percent; Ed Burns‘ latest guy-bonding flick "The Groomsmen" is at 29 percent; and the sex comedy "The Oh in Ohio" is at 24 percent.