(Photo by Disney/courtesy Everett Collection)
We’re ranking all actor and jazzman Jeff Goldblum movies by Tomatometer, including Jurassic Park, The Fly, The Grand Budapest Hotel, and Independence Day! What are your favorites?
(Photo by Columbia/courtesy Everett Collection)
Robin Williams earned his big-screen debut as Popeye in 1980 on the the growing popularity of his frenzied, freewheeling stand-up routine, and his literally out-of-this-world role on TV’s Mork & Mindy. Williams’ follow-up, The World According to Garp, was quick to reveal the sensitive artist, the melancholic side to the actor that sought fulfillment in dramatic characters and movies. Of course, it was the ’80s, and the market demanded awful comedies, which Williams was obliged to make until that special breakthrough role that would propel him out of yuppie slapstick. That moment arrived in 1987 with Barry Levinson’s Good Morning, Vietnam, a box office smash that nabbed Williams his first Oscar nomination and was part and parcel of Reagan-era movies like First Blood and Platoon that re-defined the American perception of the War.
Vietnam kicked off a strong run of critical praise and Academy recognition, as William appeared in Dead Poets Society, Awakenings, and The Fisher King one after the other. If comedy was beginning to look like something in the rear view mirror, Williams abruptly shifted gears into family fare, starting with 1991’s Hook, and then Aladdin (a turning point for celebrity voice actors as animated marketing draws), Mrs. Doubtfire, Jumanji, and Flubber. Williams was everywhere in the ’90s, and it all culminated with the multiple career-launching Good Will Hunting, which got him his final Oscar nomination (he was previously recognized for Fisher King and Dead Poets) and only win.
After flops Bicentennial Man and Jakob the Liar saw him veer hard into sentimentality, Williams re-invented himself as a dark angel in 2002 with Death to Smoochy, Insomnia, and One Hour Photo. Broad comedies (like Old Dogs, Man of the Year, RV, or License to Wed) would still remind audiences of the old eager-to-please Williams, even as they repelled critics. And he could use his pre-conceived image as a genial figure in his favor in ensemble pieces like the Night at the Museum series, Happy Feet, or Lee Daniels’ The Butler. But it was obvious Williams was increasingly drawn to pitch-black comedies and dramas, which ramped up in menace over the course of The Night Listener, World’s Greatest Dad, The Angriest Man in Brooklyn, and A Merry Friggin’ Christmas.
Williams’ final on-screen performance was 2015’s Boulevard, and his last voice role featured in 2017 for Absolutely Anything. A Certified Fresh 2018 documentary, Robin Williams: Come Inside My Mind, remains to illuminate more of his life, as we rank all Robin Williams movies by Tomatometer.
Five new films push their way into nationwide release on Friday hoping to challenge two-time champ The Rock making for what should be a free-for-all at the North American box office with many different studios having a realistic shot at claiming the number one spot. Among the top contenders are Sony’s crime thriller We Own the Night, the Lionsgate comedy Why Did I Get Married?, and the George Clooney vehicle Michael Clayton which expands nationally after its scorching debut in limited release. Adding to the mix are the costume drama Elizabeth: The Golden Age and the baseball tale The Final Season. The box office race should be a tight one with as many as four films likely to reach the low double digit millions.
Oscar nominated actors Mark Wahlberg and Joaquin Phoenix face off as brothers on different sides of the law in the new action thriller We Own the Night. The R-rated pic co-stars Robert Duvall and Eva Mendes and will target an adult audience with a slightly male skew. The former Marky Mark proved his box office pull last spring as the only major star in Shooter which bowed to $14.5M and a $5,176 average by targeting the same audience. Things will be more difficult this time because of the intense competition for mature audiences especially from Michael Clayton. But Night‘s biggest advantage over Michael is that it has two commercial stars instead of just one. The combo should lead to a slim edge at the cash registers.
Despite its awkward title, Night has been pushing itself as an action-packed thriller with faces people love to watch. Reviews have been mixed and with such a crowded field, it will be hard to stand out as a must-see option. Starpower should be the main factor here and showdowns between two solid actors are usually popular with ticket buyers. Opening in over 2,000 theaters, We Own the Night could debut to about $12M.
Clayton will test his drawing power since the film has no other box office anchors in it. Co-stars Tom Wilkinson, Tilda Swinton, and Sydney Pollack are well-respected, but they don’t sell tickets. There is plenty of direct competition which is why the film got a head start a week early. Buzz from its red hot platform bow has spread helping to build interest. The crowd will consist of the same people that opened Syriana to $11.7M, The Black Dahlia to $10M, and Zodiac to $13.4M. Night will take away some males and Elizabeth will steal some females so a huge gross will be hard to find. But over the long-term the film could have legs. Expanding into 2,511 locations, Michael Clayton stands as the widest of the new offerings and may capture around $11M over the Friday-to-Sunday period.
Married does not have the promotional value of Black History Month or the help of Presidents Day which Girls had early this year. However, Perry’s new film will not face any direct competitors for its target audience. Girls had to face the second weekend of Eddie Murphy‘s hit comedy Norbit which offered some audience overlap. Plus Married boasts more starpower with Perry back on screen and an added boost will come from Janet Jackson who is always a strong draw at the box office with the target audience every time she makes a rare appearance in a movie. The PG-13 film from Lionsgate is unlike anything else in the marketplace right now and with few buzzworthy films aimed at black moviegoers in recent months, it should successfully connect. Debuting in 2,011 theaters, Why Did I Get Married? might open with roughly $12M this weekend.
The first Elizabeth opened in limited release in November 1998 and rolled through awards season that winter eventually reaching an impressive $30M while never playing in more than 600 theaters. It also bagged seven Oscar nominations including Best Picture. Now the studio is hoping that a built-in audience will want to take another trip to the past. Though the first was an acclaimed picture, no real demand ever surfaced for a sequel. So it will be tough for Golden Age at the box office especially with all the competition. Female-led dramas often struggle in the marketplace since it is often too hard for adult women to drag men with them to the multiplex for these stories. New films from Clooney and Wahlberg offer more cross-gender appeal. Ordering her troops into 2,000 theaters on Friday, Elizabeth: The Golden Age might take home about $8M over the three-day period.
Paramount and DreamWorks were caught by surprise by the lack of strength for the opening of the Ben Stiller comedy The Heartbreak Kid. With nothing to keep it afloat, a 45% decline might be in order especially since adults will be distracted by a wide assortment of other options. That would give the Farrelly brothers a sophomore session of about $7.5M and a cume of only $25.5M after ten days.
LAST YEAR: Sony used the Friday the 13th before Halloween to launch the sequel to one of the most successful horror films in history and captured the number one spot. The Grudge 2 bowed on top with $20.8M accounting for more than half of its $39.1M final. Eventual Oscar champ The Departed slipped to second with $19M easing only 29% for Warner Bros. The Robin Williams political comedy Man of the Year debuted in third with $12.3M before finishing with a disappointing $37.3M for Universal. Rounding out the top five were the Sony toon Open Season with $11.1M and New Line’s fright franchise flick Texas Chainsaw Massacre: The Beginning with $7.5M for a steep 60% plunge. Opening with weak results in sixth was the action pic The Marine with $7.1M on its way to $18.8M for Fox. The religious-themed drama One Night with the King bowed to $4.1M with a good $4,518 average and finished with $13.4M for 8X.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Megatron and his sinister robot chums invade the North American box office aiming to extract riches from the multiplexes over the extended Fourth of July holiday week with the tentpole action vehicle "Transformers."
Also entering the marketplace, but likely to gross only a fraction of the cash, is the comedy "License to Wed" starring Robin Williams. With Independence Day falling on a Wednesday, moviegoers have all different kinds of schedules with some having only one day off from work while others are taking extra time for themselves. That will make for a tricky box office trajectory since ticket buyers have many films to choose from and many days to make their trip to cinemas.
Paramount sets off the fireworks with "Transformers" which already got an early start to the holiday week with a strong $8.8M in ticket sales on Monday night with shows beginning at 8pm. The PG-13 film from director Michael Bay is adapted from the popular toys and cartoon series that became a cult favorite in the 1980s, but instead has been geared up to fit modern summer movie standards with action, humor, and plenty of special effects. Shia LaBeouf stars alongside Tyrese Gibson, Jon Voight, Anthony Anderson, and John Turturro.
[Editor’s Note: "Transformers" broke records for having the biggest opening on a Tuesday at $27.9 million, according to Boxofficemojo.com. As of Wednesday night (the original "official" release date), "Transformers" had raked in $36.7 million at the box office — a figure that grants the flick the title of Best 4th of July opening ever. That number (what many have pointed out amounts to over $36 million in 36 hours of release, or $1 million per hour and $16,666 per minute) results from the Paramount release’s $8.8 million Monday night take combined with $27.9 million on Tuesday. An additional $29.1 million from Wednesday’s moviegoers bumps the current "Transformers" box office to $65.7 million — and there are four more days to go.]
"Transformers" is trying hard to follow in the footsteps of "Independence Day" which eleven years ago this week wreaked havoc on the box office with a Fourth of July opening week gross of $96.1M over five and a half days beginning with Tuesday night shows starting earlier at 6pm. That would amount to about $125M at today’s ticket prices from 1,129 fewer theaters than what the robots in disguise now control. Both films are essentially disaster pictures about alien forces that invade Earth that are driven by amazing special effects and feature ensemble casts with no huge stars.
The fanboy crowd has been energized for months for "Transformers" so that vote is locked in. To really see the grosses soar, Paramount and DreamWorks will need non-fans to pony up the dough and take interest not because they remember watching the cartoon as a kid, but because it looks and feels like good escapist summer fare. Luckily the pic delivers on that. Appeal to teens and young adults is potent but older adults looking for action may be tempted to buy a ticket for Bruce Willis in the latest "Die Hard" sequel. In addition, younger children afraid of mean transforming robots will instead line up for "Ratatouille." But so far reviews have been pretty good for its genre and fans are giving high marks too as witnessed by the encouraging A- average grade from over 6,000 votes on Yahoo Movies.
Other effects-driven sci-fi action tentpoles opening over this extended holiday week include 2002’s "Men in Black II" with $87.2M over five days, 2003’s R-rated "Terminator 3" with $72.4M over five and a half days, and $100.5M over five days for "War of the Worlds" in 2005. Optimus Prime should soar higher since it has a full six and a half days of play this week by the time Sunday night arrives. Invading 4,011 theaters, "Transformers" might gross about $67M over the Friday-to-Sunday period and a stellar $130M from Monday night through Sunday.
Taking one of his worst beatings from critics in years, Oscar winner Robin Williams hit multiplexes on Tuesday with his latest comedy "License to Wed" playing a wacky priest who puts a newly engaged couple through a series of tests before marrying them. The PG-13 film stars Mandy Moore and "The Office"’s John Krasinski as the lucky twosome. The Warner Bros. title is slotted into this extra long holiday week as counter-programming to the Decepticons and hopes to appeal to women and adult couples not interested in the summer’s umpteenth action extravaganza.
Aside from the former Mork, "License" has no real starpower at the box office. Even Williams has struggled to pack them in on opening weekend in recent years. His last film "Man of the Year" bowed to $12.3M last fall. Word-of-mouth is not likely to be very positive and if anything, the early opening may spread bad buzz as by Friday many will hear from friends that they should avoid this pic. The midweek debut will also dilute the weekend numbers too. A stronger title could have excelled this week with the target audience given all the testosterone flicks, but this one just doesn’t have the goods. Opening in 2,401 theaters, "License to Wed" might collect about $11M over the weekend and $18M during the extended Tuesday-to-Sunday debut period.
Disney and Pixar enjoyed a brief three-day stint in the number one spot last weekend with "Ratatouille" before being pushed aside by the Autobots on Monday. Second weekend drops for Pixar’s summer toons include 44% for last year’s "Cars" and a slimmer 34% for 2003’s "Finding Nemo." The rodent flick is well-liked by moviegoers and competition for younger children is not too direct this coming weekend so a decline in between those two may result. A 35% drop would give "Ratatouille" about $30M for the weekend and a ten-day cume of $109M.
Bruce Willis will have his hands full with "Live Free or Die Hard" on the second weekend thanks to fierce direct competition from "Transformers." A 50% drop would not be surprising and would give Fox around $16.5M for the session boosting the 12-day tally to $83M. Universal’s "Evan Almighty" should continue its rapid slide and dip by 45% to roughly $8M. That would put the Steve Carell comedy at $78M after 17 days.
LAST YEAR: After a long four-year term as the top opening of all-time, "Spider-Man" had its record stolen by Captain Jack as "Pirates of the Caribbean: Dead Man’s Chest" crushed the industry mark with an eye-popping three-day bow of $135.6M. The Disney smash easily became the biggest blockbuster of the year with $423.3M domestically and a towering $1.065 billion worldwide and it still stands as the third largest global grosser of all-time. "Superman Returns" tumbled down to second place falling by a disturbing 59% to $21.8M for Warner Bros. Fox’s "The Devil Wears Prada" enjoyed a better sophomore hold dropping 46% to $15M for third place. Rounding out the top five were Adam Sandler‘s "Click" with $11.9M for Sony and Disney/Pixar’s "Cars" with $10.7M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
America fell in love with Borat this weekend as the underdog movie-film about a TV journalist from Kazakhstan shocked the film industry by opening at number one, despite playing in a fraction of the theaters as Hollywood’s other new offerings.
Shattering expectations, the Fox hit surged ahead of two debuting family films that had hoped to capture the box office title — Disney’s Christmas story The Santa Clause 3 and Paramount’s animated comedy Flushed Away.
In the year’s biggest box office surprise, the much-talked-about film Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan conquered North America grossing an estimated $26.4M in its first weekend beating out all competitors. Playing in only 837 theaters, the R-rated road trip pic averaged a jaw-dropping $31,511 per theater with sell outs from coast to coast. Based on the character created by British comedian Sacha Baron Cohen, Borat was expected to open with strength in the top five, but was never seen as being powerful enough to reach the number one spot.
Fox debuted the raunchy film in moderate national play hoping word-of-mouth would build and help to bolster the second weekend when it would go fully national. Instead, the red hot buzz and heavy doses of media publicity seemed to fuel demand on opening weekend. According to studio research conducted on Friday, the audience for Borat was 55% male and 53% under the age of 25. Fox expects the audience to broaden as women and older adults begin hearing from their friends about the crude laugher. Critics showered the $18M film with nearly universal praise calling it one of the funniest films of all time. This Friday, the studio will triple the number of theaters expanding to as many as 2,500 locations. A domestic gross well north of $100M is assured.
Borat began the weekend with a potent $9.2M gross on Friday. Unlike many R-rated cult hits aimed at young males, the Kazakh tale grew on Saturday increasing by 10% to $10.1M. Fox is hoping that many of those who were sold out will return on Sunday to get tickets and is estimating a modest 30% drop to $7.1M for the final day of the frame. Brilliant out-of-the-box marketing on Fox’s part helped to turn a cult character into a can’t-miss blockbuster event thanks to outrageous publicity stunts carefully executed over the past few months which sparked intense curiousity from those unfamiliar with Cohen’s creation. People had to just go and see it to believe it. The road ahead looks glorious thanks to positive word-of-mouth, a sophomore weekend expansion, and the additional wave of free publicity that its surprise top spot debut will generate this week.
The opening weekend performance was stunning, but not unique. It matched the results of two other low budget films that attracted widespread media attention from recent years — Michael Moore‘s political documentary Fahrenheit 9/11 and the suspense hoax The Blair Witch Project. In June 2004, Fahrenheit also shocked the film biz by debuting at number one with $23.9M from just 868 sites for a stellar $27,558 average. Blair Witch went nationwide after two weeks of very limited play in July 1999 and grossed $29.2M from just 1,101 sites for a colossal $26,528 average landing it in second place. Both films would average about $30,000 per theater at today’s ticket prices. Each film expanded the following weekend and went on to reach a final gross that was five times its opening tally.
Overseas, Borat opened day-and-date in Cohen’s native U.K. plus in other European markets with fantastic results. Cultural Learnings grossed an estimated $17M from 17 countries and captured the number one spot in Germany and the U.K. With such great success, Borat will surely not be execute.
Settling for second place was The Santa Clause 3: The Escape Clause which grossed an estimated $20M from 3,458 theaters for an encouraging $5,784 average per venue. The Disney sequel debuted well below the $29M launch of the last installment of the franchise from this same frame in 2002. In Escape, Martin Short joins the cast playing the sinister Jack Frost who is out to ruin Christmas. Disney ruled the box office over the first weekend of November for four of the last five years with its family films. Tim Allen‘s latest G-rated turn as Kris Kringle was expected to be at the top of the charts this time too, but the phenomenon that is Borat was just too much. Competition from Flushed Away also split the family audence in two contributing to Santa’s lower-than-expected weekend bow. Reviews were mostly negative.
Opening close behind in third place was the computer-animated toon Flushed Away with an estimated $19.1M from an ultrawide 3,707 theaters. Averaging a good $5,152 per site, the PG-rated pic follows the adventures of a domesticated pet mouse flushed into the underground world of a sewer rat. Hugh Jackman, Ian McKellen, and Kate Winslet provide the voices. The Paramount release was produced by DreamWorks and Aardman Animations who previously made Chicken Run and last fall’s Oscar-winning Wallace and Gromit: The Curse of the Were-Rabbit. Flushed exceeded the respective openings of $17.5M and $16M for those two films and earned strong praise from critics. Despite competition from Santa, the sewer pic opened impressively and slightly above expectations.
The long-term race between the two kidpics will be an interesting one to watch given the similar openings. Flushed should benefit from better word-of-mouth, however Santa’s Christmas theme could help it stay relevant as the holidays approach. Most yuletide pics debuting in early November have had very good legs with some rebounding over the Thanksgiving frame.
With three new films getting all the attention, last week’s champ Saw III got shoved down to fourth place with an estimated $15.5M in its second weekend. The Lionsgate horror sequel tumbled an understandable 54% and raised its ten-day cume to a bloody $60.1M. The latest chapter in the highly successful torture series suffered a larger drop than its predessor Saw II which fell 47% in its sophomore session on its way to an identical ten-day gross before ending its run with $87M. Budgeted at $12M, Saw III looks to depreciate at a faster pace and could be headed for a finish of about $80-85M.
Two former number one hits holding up with great strength followed in the five and six slots with a slender weekend decline of 19% each. Martin Scorsese scored only the second $100M blockbuster of his career over the weekend with The Departed which in its fifth round took in an estimated $8M. The Warner Bros. hit lifted its total to $102.3M and joined the director’s last film The Aviator ($102.6M) as his only films to reach nine digits in North America. The Leonardo DiCaprio–Matt Damon crime saga also became the 13th film of 2006 to cross the century mark matching the number of blockbusters at this same point last year. Buena Vista’s The Prestige grossed an estimated $7.8M in its third weekend pushing its cume to $39.4M.
Clint Eastwood‘s war story Flags of Our Fathers expanded by another 185 theaters in its third mission and grossed an estimated $4.5M from 2,375 locations for a weak $1,895 average. The Paramount release saw its weekend take drop by 29% and its average decline by 35% putting the cume at a disappointing $26.6M. The Robin Williams comedy Man of the Year followed in eighth place with an estimated $3.8M, off only 19%, giving the Universal release $34M to date.
Sony’s toon Open Season got hurt by the new family films and dropped 47% to an estimated $3.1M in its sixth hunt pushing the sum to $81.4M. Miramax’s awards contender The Queen finally popped into the top ten at number ten with an estimated $3M. The Helen Mirren film expanded from 152 to 387 theaters and averaged a solid $7,778 per location. The Queen has seen its theater count and gross climb each week and has now lifted its cume to $10.1M with much more still to go.
Opening with sensational results in platform release was Pedro Almodovar’s newest story Volver which bowed to an estimated $202,000 from only five sites for a scorching $40,400 average. Sony Classics released the Spanish-language drama in only three New York and two Los Angeles locations and will expand to other cities in the weeks to come. Penelope Cruz, who is already establishing herself as a serious candidate against frontrunner Helen Mirren in the Oscar race for Best Actress, plays a young woman connecting with the spirit of her deceased mother.
Paramount Vantage generated terrific numbers with the expansion of its cross-continent drama Babel which grossed an estimated $918,000 from 35 theaters for a potent $26,242 average. The Brad Pitt–Cate Blanchett film widened from 7 theaters in New York and Los Angeles last weekend to thirteen additional markets this weekend. Babel opens nationally on Friday in over 1,200 total theaters going head-to-head with four other new wide releases plus the further expansion of Borat. Cume sits at $1.5M.
The Dixie Chicks doc Shut Up and Sing widened from four to nine theaters in its second weekend and grossed an estimated $78,000. The Weinstein Co. release averaged a solid $8,613 and put its total at $146,000.
Four films, including a trio of Sony titles, dropped out of the top ten this weekend. Fox’s family drama Flicka grossed an estimated $2.7M, down 43%, for a $17.6M total. The $14M girl-and-her-horse pic should conclude with a not-so-dazzling $22-24M. Sony’s period pic Marie Antoinette slipped only 19% to an estimated $2.3M but its cume reached a mere $13M after 17 days. Look for a weak $20M final.
The studio’s dysfunctional family flick Running with Scissors fell 35% and took in an estimated $1.7M after its second weekend of national play. With a puny $5.3M in the bank, the Annette Bening comedy should sputter to a dismal $9M. Sony’s fright sequel The Grudge 2 has scared up a decent $38M to date. The $20M franchise film looks headed for a domestic finish of about $40M or so. Though profitable, the sequel will end up grossing only about one-third of the $110.2M of Sarah Michelle Gellar‘s first Grudge pic from two years ago.
The top ten films grossed an estimated $111.2M which was down 4% from last year when Chicken Little debuted at number one with $40M; and down 16% from 2004 when The Incredibles opened in the top spot with $70.5M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Moviegoers were in the mood to be spooked this weekend as the horror sequel The Grudge 2 scared its way to a number one opening after its release on Friday the 13th.
Last week’s chart-topper, the mob thriller The Departed, remained strong in its second weekend taking the runnerup spot while the new Robin Williams political comedy Man of the Year finished third in the polls with a respectable voter turnout. The weekend’s other new releases, the action film The Marine and the historical epic One Night with the King, generated low-to-moderate ticket sales. Overall, the North American box office remained vibrant with one of the best October showings in recent years.
With Halloween around the corner, teens and young adults were craving a good scare and powered the horror flick The Grudge 2 to the top of the charts with an estimated $22M in its opening weekend. Averaging a creepy $6,851 from 3,211 locations, the PG-13 film gave Sony its 12th number one opener of 2006 even though it debuted far below the $39.1M launch of its predecessor two years ago. Sarah Michelle Gellar, who anchored the first Grudge, only appears briefly in the sequel which instead stars the lesser-known television actress Amber Tamblyn as the sister who comes across a supernatural curse. Takashi Shimizu, the director behind the first Grudge as well as the Japanese Ju-On pics which inspired it, once again helms.
After the 2004 surprise smash went on to gross $110.2M from a measly $10M production budget, a sequel was developed. Once again, young women led the way in buying tickets. Studio research showed that 52% of the audience was female and 54% was under the age of 21. The PG-13 rating of the $20M sequel was key to bringing in the high school set, but arriving in the marketplace just seven days after the R-rated horror pic The Texas Chainsaw Massacre: The Beginning made it a bit difficult to get the college crowd. Fall’s fright film festival continues on its merry way with the October 27 launch of Saw III and the November 10 arrival of Gellar in a full starring role in the supernatural thriller The Return.
Enjoying a powerful second weekend was Martin Scorsese‘s crime thriller The Departed which slipped from first place grossing an estimated $18.7M. Dropping only 31%, the Warner Bros. hit posted a terrific hold thanks to strong word-of-mouth and lifted its cume to an impressive $56.6M after ten days. Starring Leonardo DiCaprio, Matt Damon, and Jack Nicholson, The Departed looks to be on course to become the director’s top-grossing film ever as it should beat the $102.6M of 2004’s The Aviator. The vicinity of $110M could be reached domestically for the $90M production with much more on tap overseas. Asian cinema inspired both of the top films in North America as Departed is a Hollywood remake of the Hong Kong blockbuster Infernal Affairs.
Robin Williams returned to making mainstream comedies for adults with his political satire Man of the Year which debuted in third place with an estimated $12.6M. Playing in 2,515 sites, the Universal film about a popular talk show host who runs for president averaged an encouraging $4,990. For the Oscar winning funnyman, it was his second best opening this decade for a non-family film after the $20.9M bow of 2002’s cop thriller Insomnia. Williams scored recent hits with last spring’s RV which grossed $71.4M and last year’s animated film Robots which took in $128.2M. Man of the Year did not fare well with critics and The Departed continued to pull away adult audiences. But the Barry Levinson-directed comedy performed well as the only funny option for grown ups in the current marketplace.
In its third weekend, Sony’s hit toon Open Season eased only 30% and grossed an estimated $11M pushing the 17-day total to a solid $59.2M. The horror prequel The Texas Chainsaw Massacre: The Beginning tumbled an understandable 58% to an estimated $7.8M in its second weekend. New Line’s $16M fright flick has grossed $30.5M in ten days and should finish with $40-45M. Its predecessor, 2003’s remake of Chainsaw, held up better dropping 49% in its sophomore frame on its way to a $80.1M final.
Wrestling superstar John Cena made a quiet debut on the big screen as his action film The Marine opened in sixth place with only $7M, according to estimates. Averaging a mild $2,750 from 2,545 theaters, the PG-13 pic appealed mostly to the entertainer’s core audience of young males. The Fox title about a discharged jarhead who sets out to save his kidnapped wife suffered horrendous reviews.
The Ashton Kutcher–Kevin Costner Coast Guard adventure The Guardian continued to play well slipping 39% to an estimated $5.9M. Cume stands at $41.1M. Lionsgate’s Jessica Simpson comedy Employee of the Month fell 51% in its second weekend to an estimated $5.6M. With $19.9M in ten days, the PG-13 pic could reach $28-30M.
Connecting with Christian audiences in moderate national release was the historical epic adventure One Night with the King which bowed to an estimated $4.3M from 909 theaters. The 8X release averaged a good $4,759 per site. The PG-rated film about the rise of the Queen of Persia stars Tiffany Dupont, Omar Sharif, and Peter O’Toole and was given a church-based marketing campaign. King ranked ninth but had the fourth best per-theater average in the top ten.
Rounding out the top ten was a film not targeting churchgoers. Former number one Jackass: Number Two grossed an estimated $3.3M in its fourth outing falling 49%. Paramount has captured $68.4M thus far.
Opening to weak results in limited release was the indie drama Infamous which grossed an estimated $435,000 from 179 theaters for a disappointing $2,430 average. The Warner Independent release about writer Truman Capote failed to generate interest with arthouse moviegoers who recently spent $28.8M on Capote which went on win an Oscar for Best Actor for Philip Seymour Hoffman earlier this year. Toby Jones, Sandra Bullock, Daniel Craig, and Gwyneth Paltrow star in Infamous which will not be given a wider release.
Still generating muscular numbers in limited release was Miramax’s acclaimed drama The Queen which expanded from 11 to 46 locations and grossed an estimated $1M. Jumping into the Top 20, the Helen Mirren film averaged a sensational $22,174 and boosted its sum to $1.9M with more markets set to open in the weeks ahead.
Another world leader pic, The Last King of Scotland, also expanded into more cities this weekend while in its third conquest. The Fox Searchlight film grossed an estimated $605,000 from 104 locations for a solid $5,817 average. Total is $1.3M.
Four films dropped out of the top ten this weekend. Leggy hit The Illusionist witnessed another of its under-30% drops in its ninth weekend of release. The Edward Norton drama slipped only 24% to an estimated $1.4M giving Yari Film Group a respectable $36.3M to date. A final tally of $40-42M could result. MGM’s comedy School for Scoundrels crumbled 63% to an estimated $1.3M giving the Billy Bob Thornton pic $16.3M. A $18M final gross is likely.
Also falling hard were the male-skewing action films Fearless and Gridiron Gang with weekend estimates of $969,000 and $800,000, respectively. Jet Li‘s martial arts epic dropped 58% and has grossed $23.5M for Focus – a solid figure for a subtitled film. $25M may be reached. The Rock‘s football flick stumbled 64% and raised its cume to $38M. Sony’s final take should fall into the $39-40M range.
The top ten films grossed an estimated $98.1M which was up a stellar 48% from last year when The Fog debuted at number one with $11M; and up 14% from 2004 when Shark Tale stayed in the top spot for a third consecutive weekend with $22M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
This week at the movies, we’ve got comedians in the White House ("Man of the Year," starring Robin Williams), continued creepy curses in Tokyo ("The Grudge 2, starring Amber Tamblyn and Sarah Michelle Gellar), a marine with a missing wife ("The Marine," starring John Cena), and a dramatization of the Book of Esther ("One Night with the King," starring Tiffany DuPont). What do the critics say?
It’s an election year, so it seems like a pretty good time to satirize our cherished democratic process, right? Perhaps, but the critics don’t believe "Man of the Year," starring Robin Williams and Laura Linney, is the movie to do it. Williams plays a late night talk show host who runs for president as a joke — only to find the electorate is more receptive to his campaign than he thought. Critics say the film benefits from some good performances — including Linney and Christopher Walken as Williams’ manager — but writer-director Barry Levinson‘s script doesn’t know whether it’s a satire, a thriller, or a romantic comedy. Worse, this political send-up lacks bite when it comes to, well, politics. At 21 percent on the Tomatometer, "Man of the Year" is dipping in the polls.
It seems it is a momentous time to be a wide-release movie. This week, not one, not two, but three films were not screened for the scribes!
First up, we’ve got "The Grudge 2," starring Amber Tamblyn and Sarah Michelle Gellar in a sequel to director Takashi Shimizu‘s 2004 remake of his own Japanese-language horror flick, "Ju-On." The first "Grudge" garnered 40 percent on the Tomatometer; go ahead and guess how the pale-faced little ghost boy and his frighteningly hirsute mother will fare this time around.
Next, there’s "The Marine," WWE Films’ fourth release starring pro-wrestler John Cena as an Iraq vet who must rescue his kidnapped wife from bad guys. The last WWE release, "See No Evil," scored a miniscule Tomatometer of 6 percent. If it helps to Guess The Tomatometer for "The Marine," the freestyling Cena was known back in his WWE days as the "Marky Mark of wrestling."
And finally, completing the trifecta of this week’s releases not screened for critics, we have "One Night With The King," Fox Faith’s second theatrical release geared toward the Christian set. In this retelling of the Book of Esther, a young Jewish girl (newcomer Tiffany DuPont) grows up to save her people; screen greats Omar Sharif, Peter O’Toole and John Rhys-Davies fill out the cast. As does Tommy "Tiny" Lister (AKA Deebo from "Friday"). Guess away.
Also opening this week in limited release: "Deliver Us from Evil," a searing documentary about a convicted pedophile Catholic Priest, is at 100 percent on the Tomatometer (check out Jen Yamato’s review from the Toronto Film Fest here); "So Much So Fast," a documentary about a man with ALS and his family’s response, is at 100 percent; "Driving Lessons," a coming-of-age Brit-com starring Rupert Grint and Laura Linney, is at 73 percent; "Infamous," starring Toby Jones and Sandra Bullock and based on Truman Capote‘s experiences writing "In Cold Blood," is at 58 percent (See Tim Ryan’s Toronto Review here); "Nearing Grace," about a family coping with the death of their wife and mother, is at 40 percent; "Alex Rider: Operation Stormbreaker," the tale of a teen secret agent, is at 37 percent; and "Tideland," Terry Gilliam‘s perverse take on "Alice in Wonderland," is at 21 percent.
Recent Movies Starring Pro Wrestlers:
6% — See No Evil (Kane) (2006)
16% — Grandma’s Boy (Kevin Nash) (2006)
53% — The Devil’s Rejects (Diamond Dallas Page) (2005)
29% — The Longest Yard (Stone Cold Steve Austin, Goldberg, Kevin Nash, The Great Khali) (2005)
27% — Blade: Trinity (Triple H) (2004)
Authors: Tim Ryan and Jen Yamato
With the pumpkin holiday approaching, Sony unleashes the terror with its frightfest "The Grudge 2" which aims to dominate the marketplace this weekend.
Giving ticket buyers some not-so-scary alternatives are the political comedy "Man of the Year," the action flick "The Marine," and the historical epic "One Night with the King." After a September slump, the North American box office should continue its October rebound.
Two years after shocking the film industry with one of the biggest openings ever for a horror film, Sony returns to the scene of the crime with its new supernatural thriller "The Grudge 2." Director Takashi Shimizu is once again at the helm, but the PG-13 pic this time tells the story of a young woman who investigates the curse that previously afflicted her sister in Tokyo. Amber Tamblyn ("Joan of Arcadia") and Jennifer Beals ("Flashdance") star in this new installment. "The Grudge 2" has one of the best release dates a studio with a horror film could ever ask for – a Friday the 13th in the middle of the Halloween month of October. But with Sarah Michelle Gellar having only little face time this time around, the sequel has lost significant starpower. The former "Buffy" star was integral in getting teens, young adults, and genre fans out on opening weekend last time. With the story now shifting to her character’s sister, many of those who turned up on opening weekend for the first, will decide to skip the second installment in theaters.
Sony has been giving "Grudge 2" a healthy marketing push hoping to reach young females once again. As a fright flick, guys will automatically be there. The sequel should give the underserved audience of teenage girls an exciting option and the rating opens the door to plenty of business. Even the teen date crowd could contribute a nice chunk of change. However, the competing horror pic "The Texas Chainsaw Massacre: The Beginning" is coming off of a strong bow and will take dollars from some older teens away. Numbers should not come close to Gellar’s first "Grudge" which had the whole horror crowd to itself two Octobers ago with a potent $39.1M launch on its way to a $110.2M domestic final. Still, between the relatively low costs and the solid sales in theaters and on DVD, these types of scary sequels tend to become very profitable, very fast. "The Grudge 2" will spook audiences in 3,211 locations and could gross about $27M this weekend easily giving it the number one spot.
Fresh off of his hit family picture "RV" from last spring, Robin Williams tries to get his career back in order with the new political satire "Man of the Year." Written and directed by Barry Levinson ("Rain Man," "Wag the Dog"), the PG-13 film finds the former Mork playing a popular talk show host who decides to run for U.S. President adding lunacy to an otherwise dull election. Christopher Walken, Laura Linney, Jeff Goldblum, and Lewis Black round out the cast. After struggling for hits after 1998’s "Patch Adams," Williams rebounded at the box office by appealing to kids. He lent a voice to last year’s animated Fox pic "Robots" and enjoyed great legs with "RV" which went on to gross $71.4M after spending seven weeks in the top ten.
Now the Oscar winner goes after adults with "Man" which is not likely to pull in many votes from teens and young adults. The subject matter will appeal most to the 30+ crowd making last weekend’s well-liked champ "The Departed" a serious competitor. Universal’s mid-October release makes sense as the studio is placing the pic in the marketplace just weeks before the country’s mid-term elections when politics are on the minds of many citizens. But the story will not be too big of a factor in pulling in audiences which means Williams will see his starpower put to the test once again. Luckily he is back with a comedy which is his comfort zone when it comes to commercial success. Casting votes in 2,515 theaters, "Man of the Year" might debut with about $11M.
Wrestling superstar John Cena anchors his first Hollywood film in "The Marine" playing, well, a marine discharged from duty in Iraq that must fight to save his kidnapped wife. The PG-13 actioner will play mostly to young males who follow the antics of the champ in the squared circle. Crossover potential is limited as those not familiar with who he is will probably take a pass. Fox won’t see many good reviews and a bigger audience should find it on DVD early next year. Marching into 2,546 locations, "The Marine" could open with roughly $8M this weekend and find itself dismissed soon after.
Babylon is the setting for the epic historical adventure "One Night With the King" which stars Tiffany Dupont, Omar Sharif, John Rhys-Davies, and Peter O’Toole. The PG-rated tale following the rise of the Queen of Persia is using church-based marketing to reach Christian audience members looking for entertainment that the whole family can enjoy together. These types of grassroots efforts have worked magic at the box office in the past, but not every time. Distributor 8X generated a respectable $5,011 opening weekend average with 2001’s "Megiddo: Omega Code 2" but struggled with a $3,315 average for "Carman: The Champion" earlier that year. While those films never made it past 400 theaters, "King" will enter about 900 sites and is getting a more mainstream promotional push so the potential could be more. A $4M bow may result.
Last weekend’s top choice "The Departed" plans to stick around and still be a popular film in its second weekend. Strong reviews and word-of-mouth will help the Warner Bros. crime thriller hold up well in the sophomore frame. Plus there is little competition for adult audiences as "Grudge" and "Marine" should skew younger while the comedy of Robin Williams may play to a different segment of the mature crowd. "The Departed" might fall by 35% this weekend which would give the DiCaprio–Damon hit around $17M and an impressive ten-day cume of $55M.
On the other hand, "The Texas Chainsaw Massacre: The Beginning" will face a direct threat from the "Grudge" sequel beginning on Friday. Horror franchise flicks typically drop hard anyway so a 55% tumble would give the New Line prequel about $9M and a respectable $32M after ten days.
LAST YEAR: The horror remake "The Fog" topped the charts with the worst gross of the year for a number one film bowing to $11.8M to lead the weak box office. Sony’s fright offering stumbled to just $29.5M. Close behind in second place was the DreamWorks toon "Wallace and Gromit" with $11.5M in its second weekend. Paramount’s Orlando Bloom–Kirsten Dunst pic "Elizabethtown" opened in third place with $10.6M on its way to a mild $26.9M. Rounding out the top ten were Hollywood blondes Jodie Foster with $6.5M for "Flightplan" and Cameron Diaz with $6.1M for "In Her Shoes." Bloom’s Caribbean queen Keira Knightley fared even worse with her action flop "Domino" which debuted to just $4.7M. New Line eked its way to just $10.2M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com