Box Office »
Indie Roundup: 'Sweetgrass,' 'Clarkworld,' 'Broken Embraces'
Filed under: Documentary, Independent, Deals, Box Office, Distribution, Cinematical Indie, Trailers and Clips
Indie Roundup gathers a selection of indie film news from the past seven days and offers a peek ahead to what's coming.
Deal. Do not despair that the first month of the new year will be filled solely with the expansion of award contenders. Distribution rights in the US for Sweetgrass have been acquired by The Cinema Guild, according to indieWIRE, and the documentary will open at Film Forum in Manhattan on January 6, followed by a rollout across the country.
Directed by Ilisa Barbasch and Lucien Castaing-Taylor, Sweetgrass "follows the last sheepherders to trail their flocks up into Montana's Beartooth mountains for summer pasture," per its official synopsis. After debuting at the Berlin Film Festival last year, the doc played the festival circuit quite successfully, picking up positive critical notices. Check out the splendid trailer in all its quiet, chud-chewing glory after the jump.
Online / On-Demand Viewing. Debuting on demand next Sunday, Clarkworld paints a portrait of filmmaker Bob Clark. Best known for his perennial holiday favorite A Christmas Story, Clark also made the groundbreaking Porky's, which set the tone for all raunchy teen comedies to come, and the significant slasher pic Black Christmas, another flick that was a trendsetter (or at least ripped off at will). Director Deren P. Abram talked with Peter Billingsley (former child star turned filmmaker), Kim Cattrall, Jon Voight, Denise Richards, Mary Steenburgen, John Saxon, Scott Baio, and other people who weren't even in any of his movies! We have the trailer for this one after the jump, too, which makes for an interesting contrast with the one for Sweetgrass. Look for the movie on cable systems via Cinetic FilmBuff.
After the jump: box office talk; trailers for Sweetgrass and Clarkworld.
Weekend Box Office: 'New Moon' Lives Up to the Hype
Filed under: New Releases, Box Office
Sometimes a movie will consume the internet for weeks before its release, and then turn out to be Snakes on a Plane. This is not one of those times. New Moon didn't set the all time opening weekend box office record, but it came uncomfortably close, and -- holy crap -- it now owns the record for the highest single-day gross ever, a $72 million Friday. Twilight opened to almost precisely half of New Moon's $140 million number, and went on to gross $192 million. The sequel should pass that mark by next weekend. New Moon's staying power is a bit difficult to forecast. On one hand, its grosses may be frontloaded, as is typical when rabid fans of the source material rush out to pack midnight and opening-day showings. On the other, this might just be the kind of film that, even more so than its predecessor, generates repeat business. (Along these lines, I wonder if the egregious objectification of men in New Moon's marketing campaign is a victory for feminism. I vote yes.)
Getting somewhat lost in all the New Moon hoopla is the slightly less dramatic victory scored by the earnest, good-natured tearjerker The Blind Side, which took second place with nearly $35 million, which I suspect is another testament to the enduring box office draw of Sandra Bullock. (As a side note, the enduring box office draw of Sandra Bullock must be a testament to the awfulness of All About Steve, which topped out at $33 million despite her prominent presence.) It was also smart of Warner Bros. to deemphasize the sports angle -- a "football movie" would not have done this well.
More, and the top 10, after the jump.
Phew! 'New Moon' Fails to Clinch Opening Weekend Record
Filed under: Box Office, Fandom, Newsstand
According to estimates over at Variety, The Twilight Saga: New Moon failed to top The Dark Knight's three-day opening weekend record of $158 million, bringing what I'm sure will be a huge sigh of relief to all those folks (and there's lots of them) who felt the film was in no way deserving of these historic milestones. Instead, after clinching the Best Midnight Opening record and Best Opening Day record, New Moon will have to settle for third on the Best Opening Weekend list after walking away with a pretty astonishing
If that number holds up (and it should), the film will replace Pirates of the Caribbean: At World's End for third place on the list of all-time best opening weekends (domestic), and will settle in behind only Spider-Man 3 (second) and The Dark Knight (first). Still, with
'New Moon' Smashes 'Dark Knight's' Opening Day Record!
Filed under: Drama, Sci-Fi & Fantasy, Box Office, Fandom, Newsstand
.jpg)
According to ERC, The Twilight Saga: New Moon sold roughly $71 million (Variety is reporting $72.7 million) worth of tickets on its opening day -- a number that, if correct, far surpasses the current opening day box office record of $67 million set by The Dark Knight back in 2008. With its $26 million take in midnight showings, that gives the second installment in the Twilight franchise two pretty giant records: Best Midnight Opening and Best Single Day Opening. Next up for the franchise is the three-day opening weekend record, also held by The Dark Knight with $158 million.
So what does this say about us? Well, while it's not as critically acclaimed as, say, Harry Potter and the Half-Blood Prince (previous midnight opening record holder) or The Dark Knight, these numbers do show just how much of an impact the female audience can have on a box office take. Sure, when The Dark Knight broke records everyone wanted to single out the teenage male audience as having won that film its titles, but polls showed females were responsible for upwards of 50% of that film's opening box office too. And now, with New Moon breaking records attracting a younger female audience, here's hoping studios wake up and realize that, yeah, the female audience is a damn powerful force.
So kudos to all you Twi-hards for showing up to support the property you love. Is the film truly worthy of its new records? Probably not. Will another film break those records within the next year? Yeah, most likely. But dammit if the folks at Summit Entertainment aren't partying their asses off this weekend. They just won the World Series at the box office. Congrats!
Forbes Determines Hollywood's Most Overpaid Actors
Filed under: Celebrities and Controversy, Box Office
Just the other day, I tackled the notion of whether A-List actors were becoming an endangered species. Now Forbes is adding to the celebrities woes with a list of Hollywood's 10 Most Overpaid Stars. Their criteria for the list: Look at the 100 biggest stars who have starred in at least 3 flicks opening in more than 500 theaters in the last 5 years, and calculate a return-on-investment by dividing total operating income on the 3 movies by the actor's total compensation (salaries and sales earnings). So, who could possibly end up on such a list? Hazard a guess? Well, here are some hints. The 10-spot actor, who has the biggest earnings for his pay, earns an average of $8.62 for every $1 paid, while the worst offender skyrocketed to the #1 spot with a pretty big flop this year, earning only $3.29 for every buck paid. Some of the names in the middle are quite expected, especially Tom Cruise and Eddie Murphy, the former still dealing with image issues, and the latter found out that his silly-comedy formula isn't working like it used to. Also, there is one lone woman on the list, but this actress might be a little hard to guess.
Considering the previous post and some of the names on this list, I think we might be seeing a big decrease in star-power pay over the next few years. But for now ... Who's the least-bad investment, the worst, and the woman? Can you figure out the names in-between? Take a stab and then check out the list after the jump
Are the A-List Actors Becoming an Endangered Species?
Filed under: Celebrities and Controversy, Box Office
There was a time, not too long ago, when the dream was to be on the A-list in Hollywood. Being so high up on the ladder meant great roles, great movies, and box office success. It was a world raining money. Now, however, not only are times tough, but Hollywood is learning a valuable lesson: It's not all about the stars. (Something we wondered about three years ago.)Reuters reports that the movie town is rethinking the millions of dollars they spend to grab the big stars because big celebrity doesn't necessarily equal big box office. They cited the money brought in by The Hangover, District 9, Paranormal Activity, and the Twilight Saga, and the fact that none of these productions had big celebs leading the way. Meanwhile, the star extravaganzas like A Christmas Carol, Surrogates, Funny People, Land of the Lost, Imagine That, and Duplicity boasted big-name talent, but still flopped. Now insiders say that the stars used to big paychecks and gross profit deals are having a heck of a time getting their demands met. As Reuters says: "several films have shown that a great concept or story can trump star appeal when it comes to luring fans."
What a concept! A worthy story being more important than the actors who star? Crazy talk! Could we, dare I say, be headed towards a Hollywood where they don't just write a bunch of crap to have big names appear in (say, Sandra Bullock), and actually put some more effort into the story? Or will we just get greeted by the same crappy stories, but now with unknown names?
'New Moon' Becomes Biggest Advanced Ticket Seller Ever!
Filed under: Box Office, Fandom
You gotta wonder how many studio people see the buzz and money pouring in for the Twilight franchise and want to break things -- not for dislike of the plot, but because that sucker was passed up by major studios and fighting turnaround before Summit grabbed it and made it for little money only to watch it earn a killing. But it looks like that will be nothing in comparison to what could happen with New Moon.According to Nikki Finke, the sequel has become the top advanced ticket seller ever on Fandango. Twilight was able to make it to the 5-spot, but was never able to bust through the biggie competition like installment number two (part of its success could be due to the film selling advanced tickets beginning in September). What's the biggie competition? The Dark Knight was 4, Harry Potter and the Half-Blood Prince rested at 3, and Star Wars: Episode III - Revenge of the Sith used to be on top. Yes, folks, Stephenie Meyer's vampires are obliterating some of our classic fandom.
Now the question is whether New Moon can break through to the top 100 grossing movies of all time. Twilight wasn't able to grab a spot on the list, making only $383 million, while the lowest spot is Die Another Day with $432 mil. But the first of the series also wasn't trouncing beloved flicks like The Dark Knight. At the very least, I'd presume it gets on the list.
What do you think will happen when the werewolves and vampires descend upon the theaters this week? Could New Moon transcend its niche and becoming a regular box office success?
Weekend Box Office: '2012' Feeds Appetite for Destruction
Filed under: New Releases, Box Office
Occasionally you'll hear a movie branded as "criticproof," which I take to be a derisive term implying that the masses will flock even though the movie in question is garbage If there's an entire genre that may now get described as "criticproof" it's the disaster movie. No amount of bad reviews could keep people away from watching Roland Emmerich destroy the world anew in 2012, which made $65 million domestically and $225 million worldwide. The domestic numbers are comparable to The Day After Tomorrow which, among other things, ran 40 minutes shorter. The foreign numbers are even stronger. Those who've seen the movie shouldn't be surprised. Think of it what you will (it's probably my favorite Emmerich film, which is not saying a lot), but it's pretty incomparable as special effects spectacle.2012 had the box office pretty well to itself this weekend. Its only new competition in even semi-wide release was Pirate Radio, which largely flopped despite the enthusiastic pimping of the Love Actually connection -- under $3 million on 880 screens. Faring better was Precious, which expanded to just under 200 screens and earned $6 million. With Precious and Paranormal Activity, this is proving to be a good season for slow roll-out platform releases; Precious seems to be doing a nice job of building awards buzz, too.
As expected, A Christmas Carol turned out to be durable, still running way ahead of The Polar Express, and looking to get a bump from the Thanksgiving holiday in a couple weeks. Look for this one to stick around the top 5 for a little while. On the other hand, the reign of 2012 meant big hits for the holdover genre films, including The Fourth Kind, The Box, and Paranormal Activity.
The box office chart after the jump.
The Little Movie That Could: 'Paranormal Activity' Hits $100 Million
Filed under: Horror, Paramount, Box Office
Oren Peli is having the greatest Friday the 13th of his life. We all love the shifting Holiday, but none of us can be as happy to greet today as the director of Paranormal Activity, whose film will be hurtling over the $100 million threshold at some point today, which, like his film, is simultaneously believable and unbelievable. I can clearly see why it has dominated at the box office, but I don't think anyone involved with the film (either before or after it was bought) prophesied how monumentally successful it would become.
But I'm not here to tell you once again that you should go see Paranormal Activity, you've already heard that a thousand times over. I would, however, like to use this time to give Oren Peli a standing ovation by putting things a little further into perspective. Within another week, PA will have grossed more money than the cumulative totals of Halloween II, The Uninvited, The Stepfather, and Saw VI. Their combined budgets? Approximately $60 million. If that doesn't show a little innovation goes a long way, I don't know what does.
More at HorrorSquad!
Dominate the Virtual Multiplex with 'FlickPicks'
Filed under: Box Office, Fandom
As much as some people hate to talk about the box office side of the movie business, every film buff at least thinks about the opening haul at one point or another. There are those who idly glance at who landed in first place or who took third -- and then there are those who make financial predictions that require actual decimal placement. Regardless of which side you find yourself relating to, I at least guarantee that every single film geek has looked up showtimes at their local theater and groaned at the line-up, wondering why aren't they showing the new Indie X or how coming Blockbuster Y is still taking up two screens.
Well now there is a website that combines the fascination of what's popular with the frustration of trying to decide what's popular. It's called FlickPicks and it lets anyone who signs up become a virtual movie theater owner for free. It works a little like this: You have Monday through Thursday to choose what films you're going to show and how many screens each film is going to occupy. On Friday FlickPicks locks down your selections and then once the numbers roll in on over the weekend, invisible computer elves calculate how much money your hypothetical theater made and assign points accordingly.
Jeremy Renner Wants To Be An Avenger
Directors We Love: Jim Jarmusch
Indie Roundup: 'Sweetgrass,' 'Clarkworld,' 'Broken Embraces'
Shelf Life: Fight Club_thumbnail.jpg)
Watch: Famous 'Matrix' Scene Re-Created with LEGOs
_thumbnail.jpg)
