BOX OFFICE 2008

I'm not sure if you noticed but 2008 came to a close a few days ago. This means the box office is officially closed and we can tally up what were the biggest hits of the year. Overall, the 2008 North American box office pulled in a staggering $9.6 billion dollars, moving 1.4 billion tickets. Believe it or not, this is actually down from 2007. It is only down by 0.4% mind you. Apparently, no matter what the economic climate, we've always got money for the movies.


Let's see ... what was the biggest box office story of the year? Geez, that's a hard one. Alright, I'll knock it off. The biggest box office story of the year was easily the success of Eddie Murphy's MEET DAVE. OK, now I will seriously knock it off. So, again, the biggest box office story of 2008 was easily the colossal success of Christopher Nolan's THE DARK KNIGHT. For the first time since its release, a film came within reach of sinking TITANIC to become the number one box office hit of all time. This did not come to pass but I'm sure no one really cares. THE DARK KNIGHT, be it because of the Heath Ledger fascination factor or just because it was so darn great, crossed over every single demographic it could to score the biggest opening weekend in history. I knew it was going to be big; I couldn't even get tickets for opening night. However, I didn't think it was going to be that big. You could feel it though. There was a very strong sense of urgency to see this film and it carried over for weeks. THE DARK KNIGHT also played well on IMAX theatres as well as internationally, where it almost topped $1 billion. It is sure to do so in a couple of weeks though when it is rereleased in theatres to push its Oscar chances. The best thing about THE DARK KNIGHT is that it brought people together. It isn't often that a film connects with so many people so congratulations to the whole cast and crew for all their success.


The second and third place films finished very tightly with less than $1 million difference between them. IRON MAN ultimately won out over INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL though. Well, at least domestically. Internationally, INDIANA JONES was the second biggest hit of the year, while IRON MAN finished fifth. These two films are funny to compare as they are both huge money makers but one could describe their domestic takes as both a huge success and a disappointment. IRON MAN opened to nearly $100 million to kick off the summer season. No one expected this one. I also don't think anyone expected to enjoy it as much as they probably did. Meanwhile, INDIANA JONES opened slightly higher but I think the industry was expecting bigger things. I certainly don't think they thought the bat would best them; that's for sure.


Not surprisingly, the Top 10 contains no less than four animated features. While, MADAGASCAR: ESCAPE 2 AFRICA is still tracking, I doubt it will move much higher on the chart and surpass the two biggest kid flicks. When WALL-E opened, it too surpassed expectations. The response was extremely positive as well so prognosticators expected WALL-E to go on to become one of Pixar's biggest triumphs. The public did not follow up though and WALL-E merely went on to just pass last year's RATATOUILLE. And while WALL-E is the animated king domestically, KUNG FU PANDA whooped WALL-E's metal butt internationally, earning over $120 million more to become the third biggest international hit of the year. This may just be because KUNG FU PANDA came first and got the jump on WALL-E. Personally, I did my part as I saw WALL-E in the theatre three times. Yup, I'm that geeky.


Hollywood learned a valuable lesson this year, the value of the female dollar. For so many years, it was assumed that the box office was primarily male driven but three films in particular this year made it very clear that women should never be ignored. The most successful female driven pic was TWILIGHT but that also has a huge book following so it may not be fair to discount that. The other two films have huge built-in followings as well but SEX AND THE CITY and MAMMA MIA! made people take notice. SEX AND THE CITY opened to just under $60 million and went on to pull in $152 million, just missing the Top 10. MAMMA MIA! (which opened opposite THE DARK KNIGHT) pulled in half of the SEX AND THE CITY gals in its opening weekend but showed some very strong legs throughout the summer. Both films are also huge international hits. In fact, MAMMA MIA! did in the UK what THE DARK KNIGHT was not able to do domestically; it surpassed TITANIC as the biggest box office in UK history. I would never have expected that ... ever. Now, all they have to do is start making these female skewed pics better as I didn't care for any of these movies. And yes, I know I'm not a girl.


Speaking of movies I didn't like all that much, two other Top 10 hits need singling out as they were also both huge hits internationally as well. HANCOCK is the fourth biggest international hit of the year, proving that Will Smith is still one of the biggest stars on the planet. He followed that one up with his weakest performer in years, mind you, SEVEN POUNDS. James Bond also returned this year with QUANTUM OF SOLACE. The sequel to CASINO ROYALE just squeaked past its predecessor domestically but still has a ways to go to beat CASINO ROYALE's $594 million international total.


In total, 24 films passed the century mark to gross over $100 million. That total will likely go up to 26 if MARLEY & ME and YES MAN stay on track. And while I hate to end on a negative note, I can't get away with not pointing out what seem to me like the three biggest box office disappointments of 2008. I believe you may know them better as flops. When you take international gross into account though, none of them seem that bad. I mean I wouldn't want to lose that kind of money but I just pay to see movies, not to make them. The first high profile flop of 2008 was the Wachowski's SPEED RACER. Audiences scoffed at this colorful explosion and this lead to an $18 million opening weekend. Given the reported $120 million price tag, the future looked grim. SPEED RACER crossed the finish line with $93 million internationally, losing just under $30 million. I never understood why rival studios decided to open THE LOVE GURU and GET SMART on the same weekend. The Steve Carrell pic easily killed Mike Myers' disaster. THE LOVE GURU opened to a mere $13 million and finished its international run at $40 million. That's $22 million less that what it reportedly cost to make. And finally, I mentioned it first so I guess it is fitting to wrap things up with it. MEET DAVE, a movie about I believe Eddie Murphy's multiple personality disorder, I can't be sure, opened to a horrific $5 million. Luckily for Murphy, his international fans were more forgiving and the film ended up pulling in $50 million total, only $10 million less than its budget.

So that is it for 2008, folks. My prediction for biggest film of 2009 ... BRIDE WARS. That's right. You read that right.

Alright, I'm kidding ... again.

What to rent, what to rent ...

The last piece of turkey has finally been devoured by the dog; the dishes have been crammed into the dishwasher; and the last house guests have taken their gifts and gone home. You can finally change into the jammies your mom bought you and plop yourself down in front of the TV for some much needed and well deserved down time. Luckily for you, there are plenty of great releases available to rent just in time for precisely this moment in time. You’re even luckier still because Black Sheep is make sure that moment isn’t followed by a bad movie.


If you're in the mood for entirely off the cuff, whacked out comedy, plenty of A-list celebs and hearty laughs on top of it all, then the Coen Brothers' BURN AFTER READING is perfect for you. The premise itself is certainly amusing, if not a little scattered, but it is the top-notch ensemble that solidifies this work as quintessentially Coen-esque. Regulars like George Clooney and Frances McDormand return as two particularly kooky people who find each other online while pretending to be different versions of themselves. Tilda Swinton and John Malkovich are a married couple on the way to divorce. Both are, to a fault, cold and crazed respectively, as well as formidable performers. Richard Jenkins turns in another self-effacing, understated performance (after this year’s THE VISITOR) that should nab him more work with high profile directors. And while all of these performances are top notch and so delightfully exaggerated, it is Brad Pitt that shines brightest for the simple reason that he is entirely ridiculous. Pitt plays Chad Feldheimer, a fitness trainer who has perhaps been running on endorphins for one too many laps, and the only character in this film who isn’t pretending to be anything he isn’t. This could have a lot to do with his character not being smart enough to pull off disguise but Pitt himself is more than capable. We never quite forget that we’re watching Pitt but that’s what makes his unbridled exuberance as he bounces around to the music in his headphones so darn funny.


Now I know that when it comes to famliy film, I can clearly not say enough aout WALL-E, but I actually have an alternative for you that you may have forgotten about considering it took from March until now for this film to finally get its home release. HORTON HEARS A WHO! is by far the funniest big screen Dr. Seuss adaptation I've ever seen and plenty of great lessons for the kids to learn while you leave them to watch for hours on end in front of the TV. When the book was originally published in 1954, Dr. Seuss gave his young readers an important lesson about how any voice, no matter how small it may appear to be, can change the world. Screenwriters, Ken Dario and Cinco Paul, have developed the confidence-boosting tale into a much grander take on societal hierarchies, the power of the imagination and the possibility that we are not alone in this universe. The very big elephant, Horton (voiced in a lovably whimsical fashion of fancy by Jim Carrey), randomly finds the tiniest world in the most unexpected of places, a spec of dust that has flown past him to eventually rest comfortably on a clover. It turns out that this world is known as Whoville. It plays home to hundreds if not thousands of Who’s and is run by a Who known only as The Mayor. You can only imagine The Mayor’s surprise when Horton finally makes contact with him. Now imagine that surprise voiced by the self-deprecating, neurotic genius of Steve Carrell. Together, Carell and Carey play perfectly off each other as their performances are based in the knowledge that Horton and The Mayor are not nearly as different as they initially appear. Though one is huge and one is small, they both know the meaning of responsibility and importance of helping all who need.


And for all you Christmas matriarchs out there, I have just the thing for you. Sure, you could rent MAMMA MIA! and sing along with your girlfriends one night but when you want a good, deep cry, pick up the underrated period piece, THE DUCHESS. Keira Knightly carries the weight of this film on her shoulders while carrying the weight of the wigs on her head with poise and prominence. Her big brown eyes go from playful to shy to distraught and defeated. When we first meet her, she is free and seemingly unaware of the heavier world outside of her backyard games. Before long though, she is face to face with adulthood. This particular face belongs to Ralph Fiennes as the Duke of Devonshire. It is here that director, Saul Dibb steps in to add another layer to the played out trajectory. With an age difference that is only matched in vastness by the distance between them, the Duke undresses his Duchess and asks why women’s clothing must be so complicated. There is no better occasion for small talk than before two practical strangers go to bed for the first time. Knightly, trying desperately to hide her nervousness, replies to the obviously rhetorical question though, claiming that this is the only way for women to express themselves in the times they live in. It is clear she is not sure that a reply is necessary or even allowed but it is also clear that she speaks to ensure that she is seen, that her person is present. Her clothing falls to the floor and the imprints of her corset can still be seen on the smooth of her back. THE DUCHESS is shocking on many levels but perhaps mostly in how harsh it is underneath its polished finish and how new this old tale feels.

Now, get out there and rent, rent, rent!

WEEKEND BOX OFFICE: The Coens Burn 'Em All

So I didn’t bother with the box office report last weekend. It’s not like anyone bothered going to the movies last weekend either so no big deal. With four major wide releases all pulling in above $10 million to secure the top four spots, the fall box office is back and up and running. There were even a few surprises amongst the fall colours to keep people guessing and I’m not referring to Nicolas Cage’s BANGKOK DANGEROUS plummeting nearly 70% in its second week after barely making anything in first place last week. That wasn’t the least bit surprising.


First of all, the Coen brothers must most definitely be surprised as they find themselves debuting at number one for the first time with BURN AFTER READING. The Coens’s films do not ordinarily open wide. In fact, after THE BIG LEBOWSKI, THE LADYKILLERS and INTOLERABLE CRUELTY, BURN AFTER READING is only the fourth Coen brother film to open wide right away and it is certainly the first to debut on top with such robust numbers. Of all the major releases this week, this was the only picture to garner critical support. That, in combination with the immensely marketable cast and the buzz they earned with their Oscar win for last year’s NO COUNTRY FOR OLD MEN, gave the Coens exactly what they needed to finally convince the masses that they can make movies for them too.


Although it wouldn’t be the first time, Tyler Perry might have been surprised to find his latest, TYLER PERRY’S THE FAMILY THAT PREYS settling for second. Almost all of Perry’s previous offerings have surpassed expectations at the box office to the point where racking up $18 million seems below standard practically. Still, the film generated the highest per screen average of any film in the Top 10 and only came up a couple of million shy of this spring’s MEET THE BROWNS.


The good people at Overture must be surprised. After all, how could a picture that boasts the two greatest actors of our generation for the first time together on screen – apparently the marketing folks have conveniently forgotten HEAT – open below a quirky comedy and a movie with a marginalized audience. RIGHTEOUS KILL, starring Al Pacino and Robert De Niro, opened wider than any other film and only managed an average of $5K. It may be modest but it is by no means an embarrassing gross for an opening weekend – that is unless your film stars Pacino AND De Niro. Yes, I’m sure the folks at Overture are still shaking their heads.


Let’s not forget the ladies even though they conveniently forget the men. Diane English’s remake of the 30’s classic, THE WOMEN features Annette Bening, Meg Ryan, Eva Mendes, Jada Pinkett Smith, Debra Messing and not a single man. That’s right. There are no men to be found in this picture – even if one of the women is walking down a busy New York street. Though the film battled scathing reviews to muster a $10 million dollar debut, I’m sure English was surprised the take was not bigger. After female-skewed hits like SEX AND THE CITY and MAMMA MIA! performed so well, PictureHouse was hoping to capitalize on the trend. Those films were hits because they reached past their core markets and brought in unexpected male audiences though. Maybe it’s because they actually had guys in them.


The final surprise this week is for Alan Ball. The Academy Award winning screenwriter of AMERICAN BEAUTY and creator of HBO’s “Six Feet Under” made his directorial debut this week to mixed reviews and polarized controversy with TOWELHEAD. The film, in which an Arab-American girl struggles with a sexual obsession, scored an impressive average of over $13K on just four screens and secured its expansion.

NEXT WEEK: It is another busy week for Hollywood next week, except with less high profile bows. Still another four wide releases will hit. GHOST TOWN finds Ricky Gervais seeing dead people. John Cusack gets animated in IGOR. Samuel L. Jackson makes trouble for neighbour, Patrick Wilson, in LAKEVIEW TERRACE. And Dane Cook steals Kate Hudson from Jason Biggs in MY BEST FRIEND’S GIRL. This is the widest of the four releases. You’d think we cared or something.

WEEKEND BOX OFFICE: A Laboriously Long Weekend

What a wimpy way for such a powerhouse summer to end. Hollywood unleashed four wide releases and not a single one of them managed to connect with audiences. The most successful of the bunch is the Vin Diesel starring futuristic action flick, BABYLON A.D. but that only managed a second place finish, allowing Ben Stiller’s TROPIC THUNDER to top the charts for three consecutive weeks. How are we supposed to go back to school feeling so uninspired?

TROPIC THUNDER added over 120 screens this week to it’s already 3000+ count and saw its returns slack off only 29%. The film is essentially one week away from making good on its reported $90 million budget and that’s only from domestic returns. Its $11.5 million take was plenty to keep BABYLON A.D. from debuting on top. The latter finished in first on Friday but the narrow gap was not enough to hold on to the ultimate title come weekend’s end. BABYLON A.D. managed a fairly miniscule average and will come nowhere near recouping its $70 million budget. Producers, now would be a good time to sign Vin Diesel up for your next pic. I hear he comes at a crazy discounted rate.


The week’s other debuts were all fairly forgettable. The Don Cheadle Bourne-style thriller, TRAITOR, was the only one of the bunch to muster a respectable per screen average. Having opened on Wednesday ate into its weekend returns somewhat so it might have managed a potential fourth place finish but still, no better than that. DISASTER MOVIE lived up to its title, opening in seventh place. Perhaps the adolescent audiences that usually flock to these farces might finally have had enough. Let’s hope, shall we? And speaking of adolescents, did they all leave the country for the weekend? The teen raunch comedy, COLLEGE, didn’t come anywhere close to making the grade, opening in a pathetic 15th place.

Given the lack of performance of Hollywood’s newest offerings, I think it appropriate to celebrate longevity instead. In its seventh week of release, MAMMA MIA! actually saw its tally increase over last week, even after dropping over 350 screens. Woody Allen’s 40th feature, VICKY CRISTINA BARCELONA inched back into the Top 10 after narrowly missing out last week, coasting on a loss of less than 1%, scoring the highest per screen average in the Top 10. Below the Top 10, WALL-E added 370 screens late in the game and saw a 15% increase, for a grand total of $217 million. And of course, how can I address longevity without mentioning THE DARK KNIGHT? The film fell off a scant 17%, inched back up to third place and officially crossed the $500 million mark.


The art house offerings were pretty quiet this week, no doubt waiting to platform a number of awards contenders in the fall. ELEGY and TELL NO ONE continued to post impressive gains with slight expansions. HAMLET 2 however, failed to connect. Sure it increased over 280% this week after adding 1,494 screens but its per screen was barely over a grand. They should never have made a sequel.

NEXT WEEK: It should be another uneventful weekend. Hollywood only has one major release to unleash, the Nicolas Cage action flick, BANGKOK DANGEROUS. This should pretty much leave plenty of space for everyone to catch their summer favorites one last time.

BLACK SHEEP'S WEEKLY NEWS WRANGLE

THE DARK KNIGHT TRIPS OVER A PINEAPPLE AND A PAIR OF PANTS
Opening early to avoid having to compete with the China Olympics, PINEAPPLE EXPRESS was smoking right out of the (hot) box. Earning the superfluous title of best August Wednesday opening of all time, the new stoner action comedy from the house of Apatow pulled in $12.1 million. THE DARK KNIGHT was forced not only down t second place but all the way down to third for the first time in its entire record breaking run. Yes, opening in second place on Wednesday is THE SISTERHOOD OF THE TRAVELING PANTS 2 with $5.7 million, just ahead of Batman's $5.1 million. It remains to be seen what the weekend will hold but it looks like the stoners might be able to do what the Mummy could not.
Source: Box Office Mojo

ANG LEE GRABS THE BOYS AND GOES BACK TO WOODSTOCK
Teaming with producer James Schamus for the 12th time, director Ang Lee is adapting original Woodstock organizer, Eliot Tiber's memoir, "Taking Woodstock: A True Story of a Riot, Concert, and a Life" from a screenplay written by Schamus. The Focus feature is set to start filming later this month after a postponement to make way for an impending actors' strike. Though this still could happen, the threat has decreased and seeing as how the cast is ready, it's best not to waste any time. The cast in question is includes Emile Hirsch, Imelda Staunton, Liev Schreiber and from "The Daily Show with Jon Stewart", Demetri Martin as Tiber himself.
Source: JoBlo

STREEP GETS SAPPY
After two proven summer blockbusters - 2006's THE DEVIL WEARS PRADA and this year's MAMMA MIA! - leading lady, Meryl Streep is in serious negotiations to star in Nancy Meyers' next feature. The project is yet untitled but essentially Streep would be at the center of a romantic triangle with two other men. This would mark Streep's first romantic comedy since, geez, does DEATH BECOMES HER count? It seems like Streep is tired of serious and I'd say she deserves the break.
Source: Variety

QUENTIN TARANTINO THIS ...
Brad Pitt has officially signed on to Quentin Tarantino's remake, INGLORIOUS BASTARDS. The World War II epic drama is a drastic departure for the director on some levels but not on others, given the original film's B-Movie roots. This would be Pitt's first time working with the contemporary genius and Quentin secured his partcipation just shortly after Pitt welcomed his new twins into the world. Also in negotiations to join Pitt on the project are Nastassja Kinski and Simon Pegg. Fellow director, Eli Roth has already commited to acting in the project. Tarantino intends to shoot this October and have the project ready for next years's Cannes film festival.
Source: Variety

QUENTIN TARANTINO THAT
While the last Tarantino story is actually based on fact, there are also plenty of Tarantino rumours circulating. Apparently, the B-movie obsessed director intends to remake another film when he's finished with BASTARDS. He hopes to put his own personal spin on Russ Meyers' FASTER, PUSSYCAT! KILL! KILL! Now, whether he wants it to be any good or not is a whole other issue. The bigger rumour here is that Tarantino is seriously consdiring Britney Spears for the role of Varla, a killer lesbian, stripper. I guess the B-movie tone would be perfect for Spears' particular acting talents. We shall see if this actually happens.
Source: Telegraph

WEEKEND BOX OFFICE: Fraser's Fanaticism

Who cares about opening at the top of the box office when you can have two titles in the Top 5? Right? How cool is that? Ok, fine. I’m sure THE DARK KNIGHT folks are tickled purple that they narrowly held off the competition to secure a rare three consecutive weekends at the top of the heap. But, I’ll tell you who doesn’t care … Brandon Fraser, that’s who. This guy puts out one mind numbing, crowd-pleasing hit after another and consistently delivers the cash. And now, with the number two debut of THE MUMMY: TOMB OF THE DRAGON EMPEROR and the slight 29% drop for JOURNEY TO THE CENTER OF THE EARTH 3D, Fraser finds himself headlining two big hits at the same time.

Meanwhile, THE DARK KNIGHT camp continues to command the attention of every man, woman and child on the planet (not surprisingly, the Batman sequel is doing boffo business overseas as well). It drops off a very respectful 42% in its third week and is will close in on $400 million before Monday is up.


THE MUMMY (above) people should be happy they managed as well as they did. This may not be the kind of movie that people read reviews for but this is by far one of the worst reviewed films of the year. It’s supposed to be worst than THE LOVE GURU people! (I cannot back this up as I have carefully avoided both titles.) The $42 million take is a far cry from the $65+ million take of the last mummy movie from seven years ago. In fact, this debut marks the worst for the series, which falls perfectly in line with the critical consensus.

The only other debut the Top 10 saw this weekend is barely worth mentioning. Opening in sixth place and soon to be forgotten in the Kevin Costner starring, SWING VOTE. There, that’s about as much attention as it deserves.

Moving on, the Top 10 saw very strong holds for a number of its titles. This might mean that summer is slowing down and some might be finally catching up with the titles they missed or perhaps just that these films are that good. Who knows? Still, the numbers don’t lie and five titles in this week’s Top 10 saw drops below 40%. The aforementioned JOURNEY TO THE CENTER OF THE EARTH, WALL-E and MAMMA MIA! saw drops even lower, under 30%. Meanwhile, THE X-FILES: I WANT TO BELIEVE must have found its few scant believers last weekend as the film, which only made $10 million last weekend, fell off over 65% this weekend. Maybe Mulder & Scully could investigate the unsolved case of why no one cared about their movie. They aren't doing anything else anyway.


Below the Top 10, the art house scene is finally alive and well after being overshadowed by the summer blockbusters. BRIDESHEAD REVISITED (above) continues its successful, aggressive expansion. Adding over 150 screens pushed its business nearly 250% and it might even find itself sitting comfortably in the Top 10 next weekend when it adds another chunk of screens across the country. If you thought an increase of 250% was impressive, how about 280%. This is a feat boasted by Sundance favorite, AMERICAN TEEN. The documentary about today’s teens added 34 screens and will continue to roll out in the weeks to come. Meanwhile, the highest per screen average of any film playing belongs to TRANSSIBERIAN, a Brad Anderson thriller starring Woody Harrelson. In its third week, the film pulled in an average of $15K per screen on just two screens.

NEXT WEEK: Opening early on Wednesday, PINEAPPLE EXPRESS looks to hit the young, both the stoned and the sober but they best be quick because the “highly anticipated” THE SISTERHOOD OF THE TRAVELING PANTS 2 is opening two short days later. All the girls from the original have returned but unfortunately, the jeans have been worn out.

WEEKEND BOX OFFICE: The Dark Knight Holds Court

The truth is out there and it can be found in THE DARK KNIGHT apparently. The geeks have spoken and they have shunned THE X-FILES in favour of their new leader, Batman. It half pains me to see how dismal the returns for THE X-FILES: I WANT TO BELIEVE actually were. On the one hand, I wonder where all the X-philes were but on the other hand, I guess they were just avoiding this incredibly disappointing return. Even the musical and stupid comedy followers were more loyal than the X-philes. The film will go on to recoup its $30 million budget but a $10 million take essentially ensures that this is the last we will see of Mulder & Scully. I for one will miss you.

THE DARK KNIGHT continues to shatter records as it pulls in another $75 million. It is now just shy of IRON MAN’s $315 million to take the title of 2008’s biggest film. No other film came close to matching Batman’s success and there is now even talk that THE DARK KNIGHT could go on to become the greatest domestic blockbuster of all time. It would have to beat TITANIC’s $600 million take to do so but as it only took 10 days to pass the $300 million mark, it is certainly the first film in years to pose a viable threat. At the very least, it should go on to take the runner up spot, ahead of the original STAR WARS.


Opening in second place is the new Will Ferrell pic, STEP BROTHERS. Ferrell has reclaimed his king of comedy crown after it was in jeopardy of being taken from him after this spring’s disappointing SEMI-PRO. The $30 million take doesn’t match the previous opening weekends for summer comedies like GET SMART or YOU DON'T MESS WITH THE ZOHAN but it surpassed negative reviews to take the number two spot, which is the best anyone could have hoped for.

Many titles in the Top 10 held on strongly while a number of art house films opened to promising titles. MAMMA MIA! saw a minimal decline, putting in a position to best last year’s HAIRSPRAY. JOURNEY TO THE CENTER OF THE EARTH 3D continues to benefit from strong word of mouth and should help usher in next week’s other Brandon Fraser movie, THE MUMMY 3. And Pixar’s WALL-E may no longer be on course to be one of the top three Pixar successes but as it rounds the $200 million mark, it should definitely surpass last year’s RATATOUILLE.


On the art house front, the steamy BRIDESHEAD REVISITED debuted on 33 screens to a per screen average of $10K. The film is expanding aggressively in the next couple of weeks. The critically acclaimed documentary, MAN ON WIRE, opened on a mere 2 screens and took in $24K per screen. And French import, TELL NO ONE, continues to expand strongly, taking in almost $6K per screen in its fourth week. Last but not least, this year’s documentary winner at Sundance, AMERICAN TEEN, pulled in $8.5K per screen but it remains to be seen whether the apathetic teens the film portrays will overcome their apathy to make their way to the theatres as it expands.

NEXT WEEK: THE MUMMY 3 is the first reasonable challenge to THE DARK KNIGHT. Mind you, I guess Kevin Costner could swing the vote his way with his election comedy, SWING VOTE.

Source: Box Office Mojo

WEEKEND BOX OFFICE: A Bright Weekend for a Dark Knight

I was telling a friend of mine that THE DARK KNIGHT had beaten SPIDER-MAN 3 this weekend to claim the title of best 3-day opening weekend of all time. His response, big deal. Apparently, he’s heard enough of box office record breakers. It seems that every weekend some new movie has claimed the title of best R-rated, live action July opening for a non-sequel in a language other than English. It’s a shame really because all these box office boys calling wolf makes it hard to spot the real deal when it happens. And the records set by THE DARK KNIGHT this past weekend are definitely the real deal.

THE DARK KNIGHT, directed by Christopher Nolan and starring Christian Bale and the late Heath Ledger, set one record before it even began its Thursday night midnight screenings. Playing on 4,366 screens across North America, THE DARK KNIGHT had the widest release of all time, besting the previous record by PIRATES OF THE CARIBBEAN: AT WORLD’S END, which launched on 4,362 screens. The film then broke another record before its official launch date. Pulling in over $18.5 million from its Thursday midnight screenings, THE DARK KNIGHT bested the $16.9 million taken in from midnight showings by STAR WARS EPISODE III: THE REVENGE OF THE SITH. And that didn’t even include the extra screenings movie houses added at 3:00 AM and 6:00 AM to accommodate for the demand.


Going into its first official day of release with its head held very high, THE DARK KNIGHT then took in an unprecedented first day tally of $66.4 million (including the overnight screenings). These numbers bested the record for one-day take previously held by SPIDER-MAN 3, which took in $59.8 million on its first day in theatres. Prognosticators expected THE DARK KNIGHT to do well before the weekend started (you’d have to be pretty daft not to have figured that out) but it was not expected to shatter record for all-time best opening weekend. SPIDER-MAN 3 claimed that title last summer when it opened to an awesome $151.9 million but the bar has now been bumped up that much higher as THE DARK KNIGHT estimates have come in at $155.4 million.

I can’t say whether the excitement over THE DARK KNIGHT comes from an overwhelming interest in Batman movies, an audience that has grown exponentially since Nolan’s last Batman pic, BATMAN BEGINS (which, comparatively made a scant $47 million on its opening weekend) or whether the Heath Ledger fascination factor made the difference but whatever the reason THE DARK KNIGHT led the way for Hollywood’s most successful non-holiday weekend in history. The overall box office tally this weekend was roughly $250 million, besting the previous 3-day weekend record set on the weekend of July 7-9, 2006, where PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST led the way to a total of $218 million.


Yes, folks, movies other than THE DARK KNIGHT played in theatres this weekend. Musical MAMMA MIA! found its own following, taking in $27.6 million, narrowly besting the opening weekend take of last year’s sleeper hit, HAIRSPRAY. SPACE CHIMPS couldn’t pull any monkey love away from WALL-E, earning a scant $7.4 million.

NEXT WEEKEND: THE DARK KNIGHT faces some reasonable competition but should remain victorious. Well, I guess every X-phile could leave their basement for THE X-FILES: I WANT TO BELIEVE. Or maybe people are truly desperate to see grown men, Will Ferrell and John C. Reilly act like prepubescent punks in STEP BROTHERS … I mean, we’ve NEVER seen that before!
Th

MAMMA MIA!

Written by Catherine Johnson
Music by Stig Anderson, Benny Andersson and Bjorn Ulvaeus
Directed by Phyllida Lloyd
Starring Meryl Streep, Amanda Seyfried, Pierce Brosnan, Colin Firth, Christine Baranski, Julie Walters and Stellan Skarsgard


Donna: Mamma Mia, here I go again. My, my, how can I resist you?

Let me tell you. Just because I’ve been listening to ABBA almost non-stop since I saw MAMMA MIA! two days ago does not mean I enjoyed the film all that much. It’s just the Swedish pop super group’s music is so darn infectious. You would think that energy would translate to a feel-great good time at the movies but sadly this is not the case. First time feature filmmaker, Phyllida Lloyd, spends far too much time dragging her feet when they should be dancing up and down the beach and no matter how many shots of the moonlight shimmering against the waves there are, the film is still a clunker instead of a stunner.


When a musical is paper thin on the stage, it runs the risk of being just plain silly on the screen. On the stage, MAMMA MIA! is a somewhat justified excuse to revive a bunch of ABBA tracks wrapped into a completely implausible, overly romantic farce. Young Sophie (played on screen by Amanda Seyfried) is but 20 and about to marry the very supportive and very handsome, Sky (Dominic Cooper). Something is missing though. Sophie has lived on this tiny Greek island her entire life and helped run a crumbling hotel with her mother, Donna (Meryl Streep) but she has never met her father. As far as she knows, he left before her mother could say anything to him but a chance encounter with her mother’s diary from the summer of her conception narrows the possible men to three. So rather than talk to her mother about her desire to know where she came from, she invites all three men (Pierce Brosnan, Colin Firth and Stellan Skarsgard) to her wedding, pretending to be her mother looking for a reunion. Naturally all three men accept the invite and hijinks ensue. While the campiness of the whole affair is forgiven on stage because the suspension of disbelief doesn’t apply, this screen version is too far removed from the stage to feel the least bit plausible.


I believe in angels, something good in everything I see. And while there is very little good to focus on in MAMMA MIA!, at least there is always the surprising Streep. She jumps up and down on beds, slides down banisters without the least bit of concern for breaking her hip and she can sing too. Much like her turn in THE DEVIL WEARS PRADA, Streep’s performance as the lonely mother of the bride carries the film forward and, in the show stopping “The Winner Takes It All”, elevates the film to heights it could never have achieved without her participation. Though the two don’t get nearly enough screen time together, Streep and Seyfriend make a great mother/daughter combo. Seyfried’s fresh exuberance seems like it might actually be inherited from her movie mom. The rest of the cast delivers varying results – Julie Walters clearly thinks she is a comic genius but she comes off too brash; Christine Baranski is miscast as an older bombshell making for some particularly awkward moments with younger men; and someone should ensure that Pierce Brosnan never sings on screen again.


Ultimately, MAMMA MIA! never connects all of its components. A melodramatic moment is followed by a peppy ABBA song, which somehow erases everyone’s pain. In that sense, ABBA’s music is the perfect choice to set the tone as it is some of the most depressing pop lyricism set to upbeat melodies in pop history. While the contrast adds weight to the songs themselves, the musical masking casts an air of falseness that never lifts on the film. What your left with is a compilation of poorly choreographed, plainly sung music videos. No offence, Meryl, but you are long past your MTV days.

WEEKEND BOX OFFICE: Hellboy's Fury

This weekend ushered in a rare occurrence at the North American box office. Hollywood decided to unleash three wide releases on the unsuspecting public all at once. Two at a time seems to be Hollywood’s healthy level of comfort. Either one will win or both will find their own audiences. But three? At the same time? Did they really think there was that much money to go around? Turns out, not so much. Two titles succeeded while one was forced to subside – which is a nice way to say that two scored while one flopped hard.

Pulling in over $10 million more in its opening weekend than its predecessor, HELLBOY II: THE GOLDEN ARMY managed to narrowly squeeze out last week’s champ, HANCOCK. Critics across the board have embraced director, Guillermo del Toro’s follow-up to the Oscar winning, PAN'S LABYRINTH, and audiences followed, proving that the critic’s word is final. Meanwhile, proving that the critic’s word is meaningless, critically panned Hancock managed a very reasonable 47% decline in its second week. Had Sony not passed on the Hellboy sequel, it could have held down both of the top spots this week.

Sure on the surface, JOURNEY TO THE CENTER OF THE EARTH looks like a cheap way to wet the public’s appetite for more 3D projects and hardly a film that can sustain an engaging story but audiences ate it up anyway. Actually, critics did too. Mostly positive response led to a larger than expected debut in third place this week. And so the future looks bright for 3D thrills. The best part about all of this … the movie magicians have finally found a way to infuse Brandon Fraser with that last dimension his acting has always been lacking.

Now, on to the loser, Eddie Murphy in MEET DAVE. Posting his lowest numbers since THE ADVENTURES OF PLUTO NASH, Murphy flops in seventh place with a pathetic per screen average under $2K. You will get no sympathy from me, Mr. Murphy. This is what you deserve for signing on to make a project where you are the captain of a teeny tiny alien ship that crashes on earth into the body of a human version of yourself. In fact, I think you should be happy to have made as much as you did. Now, I don’t want to see you again until they revive the BEVERLY HILLS COP series. Are we clear?

All this success and all this over crowding should have meant a strong overall showing at the box office but ultimately ticket sales were down 17% over the same frame last year. In this case, more certainly did not amount to more.

NEXT WEEK: I think it’s fairly obvious to anyone with half a monkey brain that SPACE CHIMPS will take next weekend by storm. I mean, maybe MAMMA MIA! might manage a strong second place finish if the counter-programming angle works in their favour. What other options are there anyway? There’s that bat movie, THE DARK KNIGHT, but who wants to see that? Wait. This just in … EVERYONE wants to see that little bat movie.