This week in DVD news, Francis Ford Coppola brings you the Godfather trilogy (again), Quentin Tarantino is super excited about the original Inglorious Bastards, and Hancock may soon stream directly into your TV set. Plus, we’ve got Vantage Point, Drillbit Taylor, a new X-Files DVD and more new releases!
Leave the cannoli. Take the DVDs.
On September 23, Paramount Home Entertainment is making you an offer that you can’t refuse: The Godfather Collection: The Coppola Restoration, on both DVD and Blu-Ray. Francis Ford Coppola himself spent a year overseeing the frame-by-frame restoration, a painstaking process which is documented in one of four new featurettes; the complete set includes the entire Godfather trilogy (for those of you who count Godfather III), extras from the previous box set, and more new material. Shell out $72.99 for the DVD set, $119.99 for Blu-Ray.
Tarantino To Geek Out on O.G. Inglorious Bastards DVD
If you’re a Quentin Tarantino nut, then you know he recently completed his script for the long-gestating war movie, Inglorious Bastards. But have you seen the original The Inglorious Bastards upon which QT’s flick is rumored to be based? You’ll get your chance when Enzo G. Castellari‘s 1978 cult film hits; the WWII tale of a band of military criminals on a suicide mission in Nazi territory stars ’70s action icons Bo Svenson and Fred Williamson, and will be released in a 3-disc Special Edition on July 29. Best of all, Tarantino will appear in the DVD extras, hosting a night of Castellari’s films and talking all things Inglorious with the veteran filmmaker.
Watch Hancock At Home Before DVD Hits
Forget Netflix and iTunes; Sony’s jumping into the digital delivery game with the release of Will Smith‘s Hancock, which will be made available for web-equipped owners of Sony’s Bravia TV sets before the film hits DVD. However, it still comes with a hefty price: $300 for the Bravia Internet link and $7.50 — nearly the price of admission these days — to stream, but not download, the movie. Another thing: you can’t Bravia Hancock, out in theaters this week, until November.
Click for this week’s new releases!
Patriot Games meets Rashomon in this trying thriller about an assassination attempt, as seen from more points of view than you can shake a stick at. Okay, so you can’t shake a stick at a point of view, but neither can you inundate critics with the same twenty minutes over and over again for two hours without being accused of silliness and incoherence. Go see Rashomon instead.
There are plenty of extras here to enjoy, assuming you want to relive the making of a story that you’ve just seen play out eight times over (director commentary, cast and crew interviews, featurettes, and outtakes).
The Judd Apatow touch failed to boost Drillbit Taylor to the ranks of Superbad and Knocked Up (and in fact is the producer’s worst-reviewed film to date); even comic wunderkind Seth Rogen, who co-wrote the script, couldn’t keep it afloat. Even worse? The idea about a homeless scam artist (Owen Wilson) hired as bodyguard to a bunch of bullied kids came from none other than John Hughes.
If you must watch Drillbit Taylor, then pick up the unrated Extended Survival Edition — how else could an Apatow film be seen, but with more swear words and tomfoolery? Check out additional features about co-star Danny McBride (The Foot Fist Way) and the on-set rap battle to enrich your experience.
Tyler Perry is back, which means that you already know if Meet the Browns is for you. (If you know who his Madea character is — and it doesn’t make you groan inwardly — then you’re in his demographic.) This time, Angela Bassett wades her way through soap opera-esque melodrama and borderline stereotypical jokes in a heartwarming tale about family.
A two-disc DVD gives you four featurettes and a digital copy; otherwise, check out the single disc release for the movie alone.
Wong Kar-Wai (In the Mood for Love, 2046) makes his Hollywood debut in this tale of a woman (songstress Norah Jones) nursing heartbreak on a cross-country road trip, a vibrant ode to iconic modern Americana made with the reverent eye of an outsider. Laden with metaphors and partly shot in his gorgeous, Wong Kar-Wai style, My Blueberry Nights was nevertheless deemed a mixed bag of tricks.
If film-as-art and the creative process interest you, then check out the handful of extras here: a making-of featurette and lengthy Q&A with Wong Kar-Wai, plus on-set and scouting photo galleries.
With the long-awaited (and highly secretive) sequel X-Files: I Want to Believe hitting theaters soon, you may need a refresher on the previous adventures of Mulder and Scully. Creators Frank Spotnitz and Chris Carter handpick and provide commentary for eight of their favorite series episodes, and throw in a few sequel-related extras just to tease you.
Brief introductions to each episode provide some insight into each selection, but much like the big DVD extra — the X-Files 2 panel at WonderCon — you won’t find any new info about the sequel here.
‘Til next week, happy viewing!
In a piece of news almost as heartwarming as the film itself, Son of Rambow came in at second place in the UK box office this week, with the British indie nabbing almost £1million in the first four days.
Set on a long, hot summer in 1982, the film revolves around two 11-year old scamps Will and Carter, who — after seeing First Blood for the first time, decide to film their own sequel with nothing more than a camcorder and, natch, some imagination.
The film has been in distribution limbo for the past year after its triumphant debut at last year’s Sundance Film Festival, due to issues surrounding the rights to the real Rambo films. But now it’s finally here and it seems a strong advertising push and good reviews (83% on the Tomatometer, compared to Rambo‘s 32%), has seen it rocket up the charts. Empire’s Dan Jolin summed up the critical consensus by saying: “If you only see one Rambo movie this year, make sure it’s this one.”
In fact, the film would surely have come in at number one had it played on more screens. Instead 27 Dresses, (which played on over 150 more theatres than Rambow), is still grimly hanging onto top spot, despite taking in almost 50% less cash than last week.
Meanwhile sweaty Karate Kid-meets-Fight Club-alike Never Back Downalso made a healthy opening debut this week, coming in at fourth place. Reviewers generally scorned this lightweight effort, with the movie’s laughable homoerotic undertones and checklist of clichés arousing particular critical ire. Greg Kirschling of Entertainment Weekly fame even branded the film as, “yet another product that makes you feel bad about today’s youth culture.” Sadly however ‘Grandad Greg’ and his ilk couldn’t stop the cool kids pouring into cinemas though, and the film made a healthy £840,000 over four days.
Say what you like about blockbuster supremo Roland Emmerich, he sure knows how to pack ’em in the aisles. The director of Independence Dayand The Day After Tomorrow‘s new “historical” epic 10,000 B.C.. has – almost inevitably – come straight in at number one in the UK charts.
This is despite the film’s dreadful reviews, dearth of recognisable stars and a daft concept that liberally shifts around thousands of years of history. The movie is currently at a meagre 10% on the Tomatometer, and the plot’s reliance on large, woolly elephantine creatures has given grizzled hacks carte blanche to dub the film a ‘mammoth disappointment/turkey/flop’ etc.
Nonetheless, gullible punters flocked to see the film, and consequently the money men at Warner Bros. sat on over £2m worth of box office receipts in the first 4 days. This is on top of the pic’s $61 million take in the US. It all just goes to show that Emmerich is once again bulletproof at the box office and, along with maybe Michael Bay, the premier popcorn hitmaker of our age.
Elsewhere indie British comedy The Cottage made a so-so showing, coming in at 6th place. Directed by Paul Andrew Williams, who made a remarkable debut with critical darling London to Brighton last year, this new effort was also well received, though not to the same extent. 75% on the Tomatometer was a good return for a film described by Elliot Noble from Sky Movies as, “solid Brit-horror nourishment,” though the filmmakers might have expected better than the £350,000 the film has pulled in so far, especially considering the film’s heavy promotion.
Most interesting however is the cross-Atlantic success of the stupidly-monikered Hannah Montana and Miley Cyrus: Best of Both Worlds Concert. The titular 15 year-old is the latest in a long line of manufactured Disney popstrels with her own records, TV shows and movies to make the mouse big bucks. Complete with creepy footage of screaming preteen white-teethed fans, this concert movie has already proved a cash-cow for the corporation in the States and is now making serious money here too. The film came in at nine in the charts, a scarily impressive showing considering it was only playing on 65 screens.
North American film fans heard the call of the elephant and stampeded to the box office to see the animated Dr. Seuss pic Horton Hears a Who, which enjoyed the largest opening weekend of the year so far. The testosterone flick Never Back Down launched to decent numbers; however, the virus thriller Doomsday was dead on arrival in its debut. But ‘toon power was able to revitalize the marketplace, sending the top 10 above the $100M mark and ahead of year-ago levels for the first time in a month.
Jim Carrey and Steve Carell lent their voices to Horton and ticket buyers responded, spending an estimated $45.1M on the Fox hit for a strong number one premiere. The G-rated tale bowed ultrawide in 3,954 locations and averaged a sturdy $11,406 per theater. The Whoville story generated the fourth best March opening ever, behind 300 ($70.9M), Ice Age: The Meltdown ($68M), and the original Ice Age ($46.3M) and also landed the fifth largest opening in history for a G-rated film.
Horton took advantage of star power, the popularity of the Seuss brand, and an open marketplace with few options for families to help it post the year’s best debut. But the film went beyond just parents and kids — the studio reports that 47 percent of the audience was non-family, with teens kicking in a significant contribution. Budgeted at $85M, the animated feature also garnered glowing reviews from most critics. Horton also bowed in 29 international markets this weekend, and captured an estimated $14.2M tally.
Animated films opening in March usually enjoy strong legs thanks to the Easter holiday and school vacations. Ice Age‘s opening weekend represented only 26 percent of its eventual $176.4M domestic final. Fox’s 2005 film Robots witnessed a 28 percent share, Meltdown played like a sequel and saw 35 percent, and last year’s Disney offering Meet the Robinsons grabbed 26 percent. Horton should follow in the same footsteps, as direct competition in the coing weeks is not too fierce, leading to possibly $150-175M from North America alone.
Trailing the animated elephant were the woolly mammoths of 10,000 BC. The not-so-accurate account of prehistoric times fell 54 percent in its second outing to an estimated $16.4M and pushed the total to $61.2M after 10 days. Given the bad reviews, negative word-of-mouth and the genre, the sharp decline was expected. The Warner Bros. title is playing almost exactly like another spring historical actioner, 2002’s The Scorpion King. The Rock starrer generated similar numbers with a $36.1M debut and $61.3M 10-day take before concluding with $90.5M. 10,000 BC should find its way to the same vicinity domestically. Overseas, the prehistoric pic collected a mighty $38M this weekend as it saw top spot debuts in the United Kingdom, Korea, and Russia and second place launches in France and Italy. The international cume has risen to $73M putting the global gross at an impressive $134M.
So far this year, moviegoers have been showing up in the same numbers, but have spread their dollars across a wider selection of movies than in 2007. Overall domestic box office is up 4 percent compared to the same period last year, and when factoring in the annual increase in ticket prices, total admissions are up only a slight amount. But at this point in 2007, six films had crossed the $50M mark, including three that broke the $100M barrier; this year, none have reached nine digits yet, but a whopping 10 have vaulted ahead of $50M (not including Horton, which is just days away from surpassing that mark).
The Mixed Martial Arts drama Never Back Down debuted to mediocre results and landed in third place with an estimated $8.6M from a wide 2,729 theaters. Averaging a mild $3,155, the PG-13 high school tale is the first in-house production from new distributor Summit and played to an audience of young males. Research showed that 59 percent of the audience was male and 60 percent were under 21. Never was budgeted at $20M.
Martin Lawrence’s second comedy of the year, College Road Trip, dropped a moderate 42 percent in its second weekend,, grossing an estimated $7.9M. With $24.3M collected in 10 days, the G-rated family flick should end up in the neighborhood of $45M.
Sony’s action thriller Vantage Point has been enjoying surprisingly strong legs, and slipped only 27 percent this week, to an estimated $5.4M for a solid cume of $59.2M. Rival actioner The Bank Job posted an even greater hold, sliding only 17 percent in its sophomore frame to an estimated $4.9M, giving Lionsgate $13.1M in 10 days. The high-octane pics should reach about $75M and $27M, respectively.
Universal suffered a dismal opening for its futuristic virus thriller Doomsday, which bowed to just $4.7M, according to estimates, from 1,936 theaters. The R-rated pic averaged a miserable $2,450 and should find its real audience on DVD this summer.
Will Ferrell‘s basketball comedy Semi-Pro fell 49 percent to eighth with an estimated $3M, pushing the total for New Line to $29.8M. Look for a final of roughly $35M, making it the comedian’s lowest-grossing lead performance in a wide release since 1998’s Night at the Roxbury.
Sony’s The Other Boleyn Girl dipped only 28 percent to an estimated $2.9M for a cume of $19.2M. The kidpic The Spiderwick Chronicles rounded out the top 10 with an estimated $2.4M, off 49 percent, for a $65.4M sum. Final grosses should reach $26M and $70M, respectively.
Warner Independent had a mixed weekend with its pair of limited release titles. The Naomi Watts thriller Funny Games opened in 289 theaters and grossed an estimated $520,000 for a dull $1,800 average. But its promising platform release Snow Angels added one Los Angeles site and took in an estimated $26,000 from three sites for a potent $8,667 average. The Kate Beckinsale starrer expands to the top 10 on Friday during its third session.
Three solid box office performers fell from the top 10 this weekend. Fox’s sci-fi flick Jumper dropped 42 percent to an estimated $2.1M, lifting the total to $75.8M. The $85M Hayden Christensen–Samuel L. Jackson actioner should conclude with about $80M. It’s already banked $100M overseas and counting.
The $70M adventure comedy Fool’s Gold collected an estimated $1.7M, off 38 percent, for a $65.4M sum. Warner Bros. looks to end with just under $70M. Step Up 2 the Streets, the latest teen dance drama to score with audiences, took in an estimated $1.5M, down 51 percent. With $55.4M taken in thus far, the Buena Vista release will reach close to $60M, putting it within striking distance of the $65.3M gross of 2006’s surprise smash Step Up.
The top 10 films grossed an estimated $101.3M, which was up less than 1 percent from last year — when 300 remained at number one in its second weekend with $32.9M — and up 13 percent from 2006, when V for Vendetta debuted in the top spot with $25.6M.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Three new releases roll into multiplexes across North America – one the size of an elephant, the others like specks of dust. Fox aims to deliver the largest opening weekend of the year so far with its animated family event film Horton Hears A Who which could very well triple the gross of its nearest competitor. Summit counters with its action title Never Back Down while Universal also targets young men with its horror flick Doomsday. Overall, the marketplace looks to bounce back and even stands a chance of beating year-ago figures for the first time in a month.
Almighty pals Jim Carrey and Steve Carell play nice this time in the first-ever animated feature version of a Dr. Seuss tale in Horton Hears A Who which goes into
saturation release on Friday. The G-rated pic tells of a playful elephant that discovers an entire city living on a tiny speck on a flower, but can’t convince others of its
existence. Fox has a mighty big hit on its hands for a number of reasons. The property is from an author that all generations are familiar with so parents and kids
alike can relate. The marketplace has very few viable options for children at the moment. Plus starpower from the two leads makes this a comedy juggernaut that
will allow the film to go beyond its core family audience and tap into business from teens and young adults too.
With one of the sharpest marketing departments around, Fox has the means to mine riches from this surefire spring blockbuster. Who else could propel lame
kidpics like Night at the Museum and Alvin and the Chipmunks to $200M+ megahit status over consecutive holiday seasons? The studio has used March as a
launching pad for its animated offerings from Blue Sky Studios allowing the films to steer clear of summer and holiday hits from Pixar and DreamWorks. In 2002,
Ice Age surprised everyone with its $46.3M debut. Three years later its Robots opened to $36M while the 2006 sequel Ice Age: The Meltdown bowed to a
mammoth $68M. Forgotten are the days of Titan A.E. Horton Hears A Who is destined to join its March brothers on the hit list.
The key to grosses skyrocketing lies in the interest of teens. Will they look at this as a Carrey-Carell dream team laugh-a-thon and line up? Chances are many will,
especially with no other major comedies doing substantial business. Appeal is broad with males and females of all ages opening their wallets. Sure it’s not as funny
as you’d hope given the two big C’s involved, but moviegoers will eat it up nonetheless. Plus with Good Friday and Easter helping the second weekend, long-term
prospects seem rosy too. Debuting ultrawide in over 3,900 theaters, Horton Hears A Who could collect about $50M over the Friday-to-Sunday period.
Disney’s College Road Trip will take a direct hit from Horton this weekend as the family crowd will have a much bigger film to rally behind. A 40% drop would
put the Martin Lawrence–Raven-Symone comedy at $8M for a ten-day cume of $25M.
Audiences have been receptive to the presidential assassination storyline of Vantage Point which could drop another 40% to $4.5M this weekend for a cume of
$58M for Sony. Lionsgate’s The Bank Job probably saw the bulk of Jason Statham fans rush out on opening weekend so a 45% fall would give the heist thriller
$3M and $11M in ten days.
LAST YEAR: New releases were no match for the top two films in North America which remained on top of the charts. The mammoth Spartan smash 300 tumbled 54% in its second weekend but still posted a hefty $32.9M sophomore tally. The Disney comedy Wild Hogs showed good legs dipping 31% and ranked second with $19.1M in its third lap. Faring best among the freshmen, Sandra Bullock‘s supernatural thriller Premonition opened in third with $17.6M for Sony on its way to a solid $47.9M. Rounding out the top five were fellow newcomers Dead Silence with a moderate $7.8M and Chris Rock‘s I Think I Love My Wife with a disappointing $5.7M. Final grosses reached $16.8M for the Universal pic and $12.6M for the Fox Searchlight laugher.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
For its third chart-topper of the year, Warner Bros. is going back in time with its ancient adventure 10,000 BC which aims to revitalize a box office on the verge of extinction. Adding to the mix are Disney’s family comedy College Road Trip and the Lionsgate actioner The Bank Job. With ticket sales hitting a three-month low last weekend, the marketplace has nowhere to go but up.
Roland Emmerich follows up his past blockbusters Independence Day and The Day After Tomorrow with the action adventure tale 10,000 BC which looks to dominate the box office with ease. Boasting no major stars, the PG-13 film tells the story of a group of prehistoric tribesmen (who happen to speak perfect English) on a treacherous journey to save their kidnapped friends. Warner Bros. has tossed plenty of marketing dollars behind its big-budget offering as it does every spring with an action title not big enough to beat the summer behemoths.
Given the generic story and historical inaccuracies, look for big drops in the weeks ahead. But the opening weekend should be strong for a few reasons. A solid promotional push promises audiences a huge spectacle on the big screen that is worth paying to see. Plus the marketplace has nothing else exciting, especially for teens and young adults, so that key box office demo will show up in large numbers. The studio will be thrilled if the per-theater average can match the film’s title. Attacking 3,410 locations, 10,000 BC may debut with around $32M this weekend.
Vantage Point posted a respectable sophomore session and could stabilize in the third outing. Sony may dip by 40% to around $7.5M for a cume of $51M after 17 days. Paramount’s The Spiderwick Chronicles will finally face off against another offering for families thanks to Disney and Martin. A 35% decline would leave the fantasy pic with $5.5M for the session and lift the total to $62M.
LAST YEAR: Shattering records left and right, the Spartan sensation 300 exploded on the scene to a colossal opening of $70.9M. Warner Bros. hauled in a mammoth $210.6M from North America and a towering $456M worldwide. Far back in second but with a solid hold was the comedy Wild Hogs with $27.6M. The dynamic duo combined for nearly $100M in ticket sales over the weekend making it a summer-like frame. Three holdovers rounded out the top five with nearly identical figures. Disney’s Bridge to Terabithia captured $6.8M, Sony’s Ghost Rider took in $6.7M, and Zodiac grossed $6.6M for Paramount.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Will Ferrell storms the box office this weekend with his latest sports comedy, Semi-Pro. This time the funnyman takes on the world of professional basketball, following in the footsteps of 2007’s figure skating pic Blades of Glory and 2006’s racing flick Talladega Nights: The Ballad of Ricky Bobby. There is no question this kind of film is directly in Ferrell’s wheelhouse so he should slam another one out of the park – sorry, let me try that again… so this weekend should be a slam dunk for him.
Almost exactly a year ago, Blades of Glory opened with $33M on its way to a $118.5M final gross. In August of 2006, Talladega Nights opened with $47M on its way to $148M. The major differences between those two films and Semi-Pro is that the previous two were rated PG-13 while Semi-Pro has landed an R rating, and that people may be tiring of seeing Ferrell doing the same shtick over and over again. The rating will keep some of the young folks who dig Ferrell’s irreverent comedy, away from theaters. The shtick may keep some viewers away, but the fans will come out in droves and it shouldn’t hurt the overall grosses too much, as the film is the only major player in town. Opening on over 3,000 screens, Semi-Pro could gross $35M this weekend.
The Other Boleyn Girl will likely cater to an audience of older women, although the joint star power of Johansson and Portman could bring in a somewhat younger crowd, as will Eric Bana who plays the aforementioned King. However the film opens on only about 1,000 screens and will likely get lost in the shuffle. While the film isn’t a romantic comedy and in fact has a twisted and scandalous storyline, there are no less than three romantic comedies still in the marketplace all of which cater to the same demographic. Look for The Other Boleyn Girl to open with around $5M.
LAST YEAR: Disney jumped all over the box office with the smash Wild Hogs, which grossed $39.7M making it the largest opening in March history for a live-action film (until the following weekend when 300 shattered the mark). The critically acclaimed Zodiac debuted in second place with $13.4M. Two-time champ Ghost Rider grossed $11.6M, while a second Disney film, Bridge to Terabithia made $8.9M. Jim Carrey‘s crossover into horror, The Number 23, crashed 56% and collected $6.5M in its second weekend.
On Oscar weekend, the best seat on the charts belonged to Vantage Point,
which looked down upon the box office with a strong opening, while the other new
releases left relatively small impressions.
Opening on only 114 screens less than the other three new releases combined,
Sony’s ensemble pic
opened with a strong $23.8M, according to estimates. Launching on 3,149 screens
nationwide, the political thriller averaged $7,558 per screen while earning less
than positive reviews from critics. The twisted tale of an attempted
Presidential assassination benefited from good advertising and many recognizable
faces in the cast.
Second and third places were close between two films which opened last
weekend. Former box office champ, Jumper,
dropped 53% from its 3-day tally and fell to second place with an estimated
$12.65M, bringing its cume to $56M. Most effect-laden sci-fi films have drops of
this size, and the unfavorable reviews with poor word-of-mouth didn’t help
matters. Still, look for Hayden Christensen
and company to end their run in the $85M range. Following closely in third place
was the storybook sensation, The Spiderwick Chronicles
which dropped 33% to $12.6M, according to estimates. Its total now stands at
$43.6M which should lead to a grand finale in the $85M range as well. That would
put the Disney film in line with the last two Disney films released over
President’s Day weekend, 2007’s Bridge to Terabithia
which finished with $82M and 2006’s Eight Below
which ended its run with $81.6M
Fourth place went to urban dance flick Step Up 2 The Streets
with an estimated $9.8M, a drop of 48% from last weekend. Adding a new dimension
to cleverly named sequels, the total for the Disney title now stands at $41.4M.
Look for a final gross in the $65M range which would match the original’s $65.2M
from 2006. Anticipation now ramps up for how part three will be named. Fifth
place went to the hard bodies of Matthew McConaughey and Kate Hudson
as their romantic comedy Fool’s Gold
brought in an estimated $6.2M this weekend, bringing their booty to $52.4M.
Sixth place definitely went to another romantic comedy, Definitely, Maybe,
which grossed $5.2M this weekend, according to estimates. This represents a 47%
drop from last weekend, bringing the film’s total gross to $21.8M. Look for a
final total maybe in the $35M range.
In another photo finish, seventh and eighth places were taken by two films on
opposite ends of the box office mountain. Currently in seventh is Best Picture
Oscar nominee and Independent Spirit Award winner Juno
which added another $4.1M to its already robust gross, according to estimates.
Its total now stands at $130M after 12 weeks of release. Following closely in
eighth was the
Jack Black and Mos Def
Be Kind Rewind,
which took in an estimated $4.05M from its opening weekend. Released on only 808
screens, its per screen average was a decent $5,012. Directed by
Gondry, the reviews for the quirky comedy were mostly positive.
Being welcomed into the ninth position was the
Welcome Home Roscoe Jenkins,
which grossed $3.9M this weekend, according to estimates, bringing its total up
to $35.5M. And rounding out the top ten was another Oscar nominee for Best
Picture, There Will Be Blood, which struck oil again with $2.5M,
according to estimates. Its total now stands at $35M after 9 weeks in theaters.
This weekend’s other new releases both debuted outside the top 10.
Cable Guy‘s latest attempt a movie career,
grossed an estimated $2.1M from 1,333 screens for a poor average of $1,643. And
the long delayed
grossed $1.8M, according to estimates, from 1,122 screens for an average of
$1,622. Look for both these films to find more business on DVD.
The top ten films grossed $84.9M which was off 11% from last year when Ghost Rider
remained at number one with $20.1M; and also down 11% from 2006 when Madea’s
Family Reunion debuted in the top spot with $30M.
Author: Sujit Chawla, www.BoxOfficeGuru.com