WeekendBoxOffice Tagged Articles at Cinematical

Well, don't we all feel a little silly. Transformers: Revenge of the Fallen, the movie that received the most hysterically negative reviews of 2009 opened to by far the year's biggest numbers -- $201 million since Wednesday, according to estimates. That's just a couple million shy of the first-five-days-of-release record set by The Dark Knight, though that movie opened on a Thursday. (It's tough to truly compare opening weekends of mega-blockbusters these days, since God knows on what day of the week they all hit theaters.) I hope everyone is looking forward to Transformers 3, where Autobots will discover fart jokes.

The only movie to dare take on Revenge of the Fallen in wide release, was the Nick Cassavetes weepie My Sister's Keeper, which opened to a respectable $12 million -- almost as strong as Cassavetes' The Notebook, though unlikely to be carried to an $80 million cume by good word-of-mouth. Year One took a big tumble, falling off 70% its middling opening; I guess Michael Cera and Jack Black aren't quite the automatic draw that battling cyborgs are. And The Hangover continues to ride a wave of audience goodwill; it will likely have reached $200 million by this time next weekend.

As for your weekly Up v. Finding Nemo update -- it's still neck-in-neck, with Nemo ahead by about $3 million after five weeks of release. If this weekend's heftier drop-off for Up is any indication, it may be starting to lose a little steam, which would mean that Nemo would get to hold on to the Pixar crown.

The full top 10 after the jump.

It may have seemed like an "off" week by summer standards in terms of releases, but two debuts and two strong holdovers meant that four films grossed $20 million or more, which is rare for a non-holiday weekend. The top dog, surprisingly, turned out to be The Proposal, which rode a genial marketing campaign and a set of sneak previews to $34 million dollars -- Sandra Bullock's best opening weekend ever, by far. (Related question: did Bullock "open" this movie? I'm inclined to think not, though it's a perfect role for her.)

Year One is a bit tougher to read. Certainly with the Cera/Black/Ramis combination, it was expected to open bigger. Generally poor reviews didn't help; I haven't seen the film, so I'm a bit handicapped in the analysis. If I had to guess, I'd say that people saw it as a bit of a novelty item. Silliness can be hard to sell if it's not low-brow.

But the weekend's real story, I'd say, is once again The Hangover, which stuck around in second place after dropping less than 20% in its third weekend. It's hard to find a precise analogue for it at this point; Box Office Mojo stretches with "R-rated summer comedy breakout," which category it will dominate after it speeds ahead of Wedding Crashers in about two weeks. The movie did add nearly 200 new screens; still, when people talk about word-of-mouth giving a movie legs, this is what they're hoping for.

Meanwhile, Up is now pretty much running neck-in-neck with Finding Nemo for the title of highest-grossing Pixar release. It will be close.

The full top 10 after the jump.

Up's 35% second-weekend drop -- allowing it to barely hang on to first place with $44.2 million, at least according to Sunday estimates -- is remarkable, placing it very nearly in Finding Nemo territory. (It's currently running around $7 million behind Pixar's highest grosser.) I am loving Up's success, not just because it's a terrific film, but because it has the least obviously commercial concept Pixar's ever tackled. (Though, as I mentioned last week, Wall-E -- which Up will now surely top -- is actually the more challenging film.)

The Hangover, meanwhile, rode great buzz and good reviews to $43.3 million, which is the second highest opening weekend ever for an R-rated comedy, behind American Pie 2. (Unless you subscribe to the ludicrous notion that Sex and the City is a comedy, in which case it's third.) If you've seen the movie, you know why it's been rapturously received. If you haven't, you should.

On the other hand, Land of the Lost was punished by reviews and a muddled marketing message, landing in 3rd place with $19.5 million. The folks at Universal tried hard to push this into the summer blockbuster A-list, but I think they would have been better off pushing it as what it is: an above-average Will Ferrell comedy. As it stands, the funny film got its ass kicked by Semi-Pro, which is sort of unacceptable.

Drag Me to Hell had a disappointing second weekend, with hopes that good word-of-mouth would help it overcome its weak opening weekend evaporating. I suppose the movie was likely inexpensive enough that its $40-million-or-so domestic final won't be seen as a total bust.

Nia Vardalos' half-hearted comeback attempt My Life in Ruins grossed $3.2 million in 9th place, which is... exactly how much Connie & Carla made in its first weekend in 2004. Oh well.

The full top 10 after the jump.

A below-expectations turn-out for Angels & Demons and good word-of-mouth for Star Trek helped make it a surprisingly close battle for the weekend's #1 spot. Studio estimates have the Dan Brown sequel at $48 million, beating out Trek by about $5 million. $48 million is nothing to sneeze at, but The Da Vinci Code opened to $77 million in the same weekend two years ago, which indicates that the anticipation for the sequel probably wasn't there to the extent necessary to sustain a blockbuster franchise. I am sure that the third Robert Langdon novel due this fall will see its way to the screen -- but maybe it'll be a little cheaper, and released sometime other than the summer.

Star Trek, on the other hand, is turning out to be the perfect summer film. It dropped off just 43% in its second weekend, which is bloody fantastic for a movie that opened to $75 million. It's already the highest-grossing Trek entry, but that's kind of a no-brainer. If word-of-mouth keeps it afloat, it will end up as one of the biggest movies of the summer.

With no new contenders hitting their demographic, the holdover family offerings -- 17 Again and Monsters vs. Aliens -- saw tiny drops, but that may change next week. Monsters vs. Aliens is also currently the biggest grosser of 2009, but that will change soon too.

The full top 10 after the jump.

It is of course impossible to say whether the much-discussed work print leak damaged Wolverine's box office take, nor whether Fox's cockamamie strategy of tacking on different mid-credits codas to different prints of the film helped matters. All we can conclude is that if piracy hurt, it didn't hurt that much (which really has been the refrain for the movie industry all along), since I don't think too many people will be unhappy with an $87 million first weekend. For those keeping score, that's well ahead of X-Men, marginally ahead of Bryan Singer's X2, and roughly $15 million behind Brett Ratner's X-Men: The Last Stand. Wolverine is not likely to hold up well, but it's hard to imagine a scenario where it doesn't get to $200 million domestic. And after all the angst, that's a victory.

One thing to consider is what this means for the straight action model of the comic book movie. I didn't dislike Wolverine like a lot of people did, but it undoubtedly did away with the nuance, intricacy and character focus that we've gotten used to seeing in major comic book adaptations. I bet it's much easier to make a Wolverine than a Iron Man or an X2 or a Watchmen, and it seems not to be much less financially rewarding.

I very much enjoyed not watching Ghosts of Girlfriends Past this weekend, and it seems so did a bunch of other people. The Matthew McConaughey romantic comedy picked up $15.3 million, which isn't bad, but puts the film way behind the last three identical Matthew McConaughey romantic comedies. And the 3D-animated Battle for Terra, while not a Delgo-level bust, couldn't break the top 10 and ended up with just over $1 million on around 1,200 screens. It's tough out there for animated features not bankrolled and marketed by huge studios.

The weekend's top 10 after the jump.

The presence of Beyoncé Knowles plus appropriately sultry/trashy advertising scored a big hit for Screen Gems this weekend, with Obsessed raking in a cool $28.5 million between black audiences and thriller audiences. Depending on how it holds up, the airport novel of a film could compete with The Exorcism of Emily Rose for the title of highest-grossing Screen Gems release ($75 million). It's a marketing triumph and a minor April surprise.

Three more films debuted in wide release and all posted comparatively strong numbers. That's a somewhat controversial claim for The Soloist, whose $9.7 million, fourth-place finish doesn't seem too robust. It's certainly not overwhelming, but for an arty, detached film that was moved from awards season to April, it's not awful. Rogue's Fighting finished slightly ahead with $11.4 milion, beating last spring's street-brawling movie, Never Back Down. And Earth, the DisneyNature documentary that opened Wednesday, picked up $8.5 million for the weekend -- the second biggest all-time opening for a documentary -- and $14.2 million for the five days. Good for them.

Out of the top ten, the critically panned The Informers -- Senator Entertainment's first attempt at a theatrical release -- floundered with $300,000 in semi-wide release. Senator, you will recall, is the distributor that has kept All the Boys Love Mandy Lane on the shelf for approximately forever. Make of that what you will.

Last weekend's main holdovers, 17 Again and State of Play each fell around 50%. The latter is a bit of a disappointment, as I had hoped that the exceedingly entertaining film would coast at least slightly on good word-of-mouth.

The full top 10 after the jump.

Each time I close my eyes I hear the faraway beating of drums and see the visions -- those visions of phantasms older than time itself that penetrate through my conscious mind and to the very core of my soul. It began three years ago, when the Ancient Ones emerged from the darkest depths of the sea to reclaim dominion over this world, which is older and more terrifying than the mind could theretofore comprehend. One of them called itself "Za'c Efron" -- but that was a crude approximation, for the human tongue cannot hope to speak the dread language of the Ancient Ones.

It was the children who first saw the visions. The dreams' cheerful, musical exterior obscured their sinister, unspeakable true nature, driving thousands to insanity and some to death. Toward the end, the children congregated in Temples -- perversely called "Theaters" by their bedeviled constructors -- to worship Za'c Efron, and 90 million dollars was spent. Even now, millions of children play and replay these awful sights in their very homes, paying further tribute. And still, having slumbered for untold millenia, Za'c Efron hungers for more. Always more.

Even now, restless crowds -- the children who remain, yes, but now adults and the old, too -- clamor through the dark streets to behold Za'c Efron's latest writhing triumph, an alien horror called 17 Again. In a mere three days, $24.1 million of tribute was collected, and all fell before Za'c Efron. Russell Crowe and State of Play were content with $14.1 million, and Crank: High Voltage received only $6.5 million, $4 million less than even the Crank that came three years ago. Such was the terrible power of the Ancient Ones -- the detestable gargoyles from the black sea of the cosmos who grip us and carry us, inexorably, toward madness.

With apologies to H.P. Lovecraft, check out the weekend top 10 after the jump.

The first weekend take for Fast & Furious, a staggering $72 million, beats the entire domestic gross of its series predecessor, The Fast and the Furious: Tokyo Drift by $10 million dollars? It is also far and away the year's best opening, though that will likely change come May.

How did this happen? Bringing back Vin Diesel and Paul Walker as part of the "series reboot" helped. The hip new advertising campaign that focused heavily on the car chase action probably succeeded in making the franchise seem less "cheesy" this time around. (The Tokyo Drift subtitle, which turned out to have great traction (ZING!) as a running joke, didn't help the beleaguered third film.) Having seen the movie, that seems a little silly, since it's probably even more hilarious than its predecessors (and never has the description of Vin Diesel as an "angry potato" been more apt). But here we are, and a fifth entry in the series is all but assured.

A sad casualty of the weekend, apart from our collective intelligence, is the lovely Adventureland, which debuted to a disappointing $6 million. I think Miramax was jamming a square peg into a round hole by attempting to market Greg Mottola's film as another Superbad, which it decidedly is not, but I don't really know. It had a great concept but no stars among its lovely cast, so I guess it wasn't the easiest sell.

Monsters vs. Aliens is headed for a not-great $150-160 million finish. I Love You, Man, on the other hand, looks like it'll beat both Jason Segel's Forgetting Sarah Marshall and Paul Rudd's Role Models. Sunshine Cleaning expanded this weekend and snuck into the top 10, with Overture trying hard to platform its way to a sleeper hit. It may have a minor one.

The full top 10 after the jump.

Tyler Perry is undeniably an enormous cash cow for Lionsgate. His films are inexpensive to produce (though no doubt Perry himself is commanding a steadily bigger paycheck with every film), and the least of them (the non-Madea-related Daddy's Little Girls) grossed $30 million; Madea's Family Reunion made upwards of $60. As a pure brand-name draw, I thought Perry might be fading a bit; his two 2008 offerings, one of which featured the profane, drag-tastic powerhouse Madea, both ended up toward the bottom of his filmography. Nothing doing. Tyler Perry's Madea Goes to Jail made an eye-popping $41 million on a slow weekend, handily toppling the previous Perry opening record held by Family Reunion. Has there ever been another film (or set of films) with such niche popularity (in this case: African-American, Christian) but such minimal crossover appeal?

(By the way: I haven't seen any of Perry's films, but I find the photo that accompanies this post so inexplicably funny I'm almost tempted to go watch this one.)

Screen Gems' Fired Up!, the only other film to go wide this weekend (perhaps as part of a conspiracy to make people watch the Oscars) made $6 million and landed in 9th place, which actually isn't wretched for the cheap, low-expectations release.

The other notable story from the charts is Friday the 13th, which lost an awesome 81% of its opening-weekend gross and dropped from first place to sixth. Horror films with big openings are notoriously susceptible to big second-weekend drops, but 81% is almost unprecedented -- the only wide release this decade to suffer worse is the infamous Gigli. Among horror films, only Captivity (77% in 2007) came close.

Next week, we'll see what kind of "Oscar bump" Slumdog Millionare gets, but it doesn't need much help: with a slight screen count boost, it rose to #5 this weekend and is almost at $100 million.

The full top 10 after the jump.

I am anything but a rom-com fan (there's maybe one good one a year, by my reckoning), but even I was charmed by the lovely, funny trailer for He's Just Not That Into You. A bunch of genuinely funny people -- Ginnifer Goodwin, Jennifer Aniston, Justin Long, Drew Barrymore -- in what appeared to be a breezy, clever rumination on romance (that voicemail Goodwin leaves, starting out as a practiced, casual come-on and deteriorating into a panicked digression about how "more women are admitted to law school now than men," made me laugh every time): I wanted to see it. I haven't yet -- the unversally bad reviews dampened my enthusiasm -- but apparently the rest of the country wanted to see it too. The two-hour-plus film won a busy weekend with $27.5 million dollars, beating out a sci-fi thriller, a broad comedy with Steve Martin, and a 3-D animated wonder.

The latter, Henry Selick's Coraline, settled for third with $16.3 million. That may not seem like much, but consider that the film had no brand (with the possible exception of the "from the makers of A Nightmare Before Christmas label) and that the marketing did little to hide its deep-seated creepiness. On the other hand, Push, the gorgeous-but-incoherent sci-fi thriller only managed $10.2 million, a disappointing opening for what could have been at least a minor event film. Blame a crowded weekend and the fact that Summit Entertainment is still a relative newcomer to this whole wide distribution thing.