Black Sheep @ The Box Office: Summer 2009!

It is Labour Day today - a day in which no one actually labours too hard, likely because they already went too hard doing something else last night. And as we sit here and recover from our evenings, we are really recovering from the summer as a whole. It all starts back tomorrow, school and sweater weather, that is. The summer blockbusters will make way for pensive Academy fare and before we all put on out glasses and thinking caps, let us raise a glass one last time to the summer of 2009.

(Click on any of the highlighted titles to read the Black Sheep review.)


I wouldn't go so far as to say there is a clear winner at the box office for the summer of 2009 but it can be definitely narrowed down to three. To look at the Top 10 worldwide grosses above, the Top 3 easily outrank the rest of the Top 10 and for different reasons. TRANSFORMERS: REVENGE OF THE FALLEN, was the clear North American winner, pulling in just under $400 million during its summer run, from both regular and more expensive IMAX screens. The surprising international winner was the third installment of the ICE AGE series, pulling in over $640 million outside of North America. Despite these individual successes, one film did better combined and that was the sixth film in the HARRY POTTER series, proving that the franchise is nowhere near losing its magical touch and will likely ride it out through the remaining two installments. Fans were desperate for some Potter love as it had been over two years since the last film and the final book were released. Harry was due and he got his dues in return.


ANGELS AND DEMONS, the sequel to the infinitely more successful DA VINCI CODE, managed a surprise fourth place finish overall. This is the perfect example of how one film's disappointing domestic bow can be easily salvaged by international interest. International interest also saved TERMINATOR SALVATION and the second NIGHT AT THE MUSEUM even pulled in about $50 million overseas more than its domestic total. Contrarily, there are some films that perform significantly better domestically than elsewhere. The most notable example is STAR TREK. J.J. Abrams managed to successfully reboot the ancient franchise for North American audiences but did not drum nearly as much interest around the globe. It was still one of my favorite flicks this summer.


Men behaving badly left its usual mark on the summer box office, most notably with, the runaway success, THE HANGOVER, which performed well both domestically and internationally and the sequel is already in development. I'm not sure how many times we can watch these dopes get plastered and recreate their evenings but I wasn't sure anyone would care this time either so what do I know? Testosterone also fueled hits like Michael Mann's PUBLIC ENEMIES ($97 million in N.A.) and the summer kick starter, X-MEN ORIGINS: WOLVERINE. Meanwhile, the women continued to prove that summer time is just as much their time as it is the boys'. The Sandra Bullock/Ryan Reynolds romantic comedy, THE PROPOSAL did exceptionally well, with a grand domestic total of $161 million, making the it the 9th biggest domestic summer title out there. And the ladies also enjoyed THE UGLY TRUTH ($87.6 million) JULIE & JULIA ($80.6 Million) and THE TIME TRAVELER'S WIFE ($55.8 million). Granted those three films combined still come nowhere near what THE HANGOVER made, it is a strong showing nonetheless.


3D added a new dimension to the box office this summer. With a higher ticket price, late summer entry THE FINAL DESTINATION was able to open bigger than any of the previous films in the franchise and G-FORCE was able to cross the $100 million mark for Disney. There was no bigger 3D success this summer though than Pixar's first 3D effort, UP!. UP! pulled in over $290 million domestically, making it the third biggest film of the year so far and the second biggest Pixar film in their history, behind FINDING NEMO, the highest grossing animated film of all time. Pixar will be re-releasing their first hits TOY STORY and TOY STORY 2 in 3D as a double bill for a limited run in October to whet our appetite for their next 3D entry, 2010's TOY STORY 3.


There were no major bombs this summer but there were a number of disappointments. The biggest was certainly BRUNO, which grossed more than $60 million less than Sasha Baron Cohen's breakout, BORAT did and it fell fast, proving that Twitter and texting can kill you dead and it can kill you quick. Other disappointments include Judd Apatow's return to directing, FUNNY PEOPLE ($51 million), the Apatow produced, YEAR ONE ($43 million) and the Sam Raimi directed, DRAG ME TO HELL ($42 million). Incidentally, that last one was actually really good so don't let it slip past you when it is released to rent and own this October.


The summer is also a time for little art movies to rise past the big explosions and make miniature waves of their own. Sam Mendes's AWAY WE GO charmed adult audiences at the beginning of the summer, finishing with a total gross of $9.5 million. Oscar contender, THE HURT LOCKER beat the war movie curse by taking in $11.7 million in limited release. No film crossed over better though that the modern romantic comedy, (500) DAYS OF SUMMER, which allowed the whole world to fall in love with Zooey Deschanel right alongside Joseph Gordon-Levitt, to the tune of $28.4 million.


The final days of summer wound down with the reasonable launch of a new franchise based on a toy, G.I. JOE: THE RISE OF COBRA. The film pulled in about $141 million domestically and just about the same internationally. They aren't TRANSFORMERS size numbers but they will do for at least one sequel. Quentin Tarantino released what will go on to be the most successful film of his career with INGLORIOUS BASTERDS. The domestic total currently stands at $95 million and it will surely surpass the $107 million domestic gross of the Oscar winning, PULP FICTION. And then there was that phenomenal film about alien occupation on earth that many critics and moviegoers considered to be the best release of the summer, DISTRICT 9. The Neill Bloomkamp directed film has already taken in $103 million and Sony has greenlit not one but two sequels.


Overall, the 2009 worldwide summer box office took in over $10 billion, allowing it to surpass the records established two years ago. Apparently, the summer box office dollar is alive, well and in three dimensions.

Black Sheep's regular box office report will return next week.

Sources: Variety
Box Office Mojo

WEEKEND BOX OFFICE: Demons Over Angels

Two years ago, around this same time, director, Ron Howard and novelist, Dan Brown, unleashed THE DA VINCI CODE on the planet. It pulled in about $77 million in North America and blew away everyone’s expectations. The book itself was a phenomenon and that spilled over onto the screen and across the planet. That said, people may have flocked to see it but they didn’t leave happy. Howard and Brown are back again with ANGELS & DEMONS but it seems to me that despite their angelic efforts, the demonic taste their last outing left in people’s mouths has ultimately won out.


ANGELS & DEMONS has brought in an estimated $48 million in returns but that is a far cry from the opening gross of its predecessor. Reviews for both the book and the film were better this time out but there was no urgency this time out. Still, the haul was still solid and no one call ANGELS & DEMONS a disappointment. This is especially true when you factor in the international returns. ANGELS & DEMONS, the continued adventures of Tom Hanks as supreme symbologist, Robert Langdon, pulled in a little over $104 million in 96 countries to easily capture the international crown with a total of $152.3 million. Not to take away from this success but THE DA VINCI CODE did bring is $155 million internationally and a grand total of $232 million. I’ll stop harping; ANGELS & DEMONS is not THE DA VINCI CODE after all and fans can also appreciate that because it is definitely a better film too.


Howard, Hanks and Brown (not a law firm) only narrowly captured the top position in North America as last week’s champ, STAR TREK, came in just behind with $43 million. A 42% drop for a fan heavy summer blockbuster is extremely respectable. This is especially true when you consider the 65%+ drop of WOLVERINE in its second weekend. WOLVERINE tapered off this week with only a 44% drop but in just two weeks, STAR TREK has nearly totaled more than WOLVERINE has in three weeks ($147 million vs. $151).


As there were no other debuts in the Top 10, which did about 4% better than the same weekend last year when PRINCE CASPIAN debuted with $55 million, we can go straight to the excitement happening below it. The oft delayed, THE BROTHERS BLOOM, starring Adrian Brody, Mark Ruffalo and Rachel Weisz, finally came out and actually did well. It didn’t capture the honor of having the highest per screen average around but it did fare better than ANGELS & DEMONS, with an average of over $20K on just 4 screens. The highest per screen average around actually went to French export, SUMMER HOURS, starring Juliette Binoche. The film in which siblings let go of their past during an estate sale pulled in over $24K per screen on just 2 screens. This week’s only other major platform debut was a disappointing finish for the Steve Zahn/Jennifer Aniston indie, MANAGEMENT. The film debuted on 212 screens and brought in less than $2K per screen. Promotion was pretty minimal though so I guess that was what management expected.

NEXT WEEK: ANGELS & DEMONS does not stand a chance against the overcrowded weekend that is coming. First off, on the smaller fare front, THE BROTHERS BLOOM will expand. Steven Soderbergh’s brilliant and beautiful, THE GIRLFRIEND EXPERIENCE hits 30 screens across the country. And Jessica Biel debuts her British farce, EASY VIRTUE. When it comes to bigger movies, I think the biggest casualty will be the Wayans Brothers spoof, DANCE FLICK (2300 screens). It’s going to come down to two intensely different movies battling it out for the top spot. Ben Stiller returns in NIGHT AT THE MUSEUM 2 (4000 screens), hoping to repeat the long-term success of his first family hit. McG and Christian Bale though are back with a reenergized franchise on Thursday as TERMINATOR SALVATION (3500 screens) finally declares war on the multiplexes.

Source: Box Office Mojo

WEEKEND BOX OFFICE: STAR TREK Lives Long and Prospers

They’ve been taunting us for months now and while that sometimes comes across as obnoxious or pompous but in the case of the STAR TREK reboot, it seems that it was just pride all along.


There was no certainty that relaunching a decades old franchise and aiming it at a generation that really had nothing to do with it past having to sit through organized marathons with their potentially costumed fathers. Yet here we are, $72 million later, and there is no question that the decision to come back was a good one. The film is being heralded highly by both critics and audiences alike, which means that STAR TREK may not disappear so quickly into the overcrowded summer night. Outside of North America, STAR TREK performed solidly, pulling in an additional $35 million. Playing on over 5,000 screens, many expected a bigger figure.


STAR TREK may not have launched as monumentally as last weekend’s WOLVERINE but something tells me STAR TREK will be able to parlay its excellent word of mouth into a much thinner decline than the 68% WOLVERINE plummeted this week. WOLVERINE does not have the benefit of being loved by many if any, had to deal with the inevitable fanboy drop-off and went head to head with another highly anticipated feature that was essentially attacking the same demographic. WOLVERINE almost held its international box office crown though, pulling in just under $30 million outside of North America.


The Top 10 saw only one other debut, NEXT DAY AIR, which fizzled out in sixth place. Meanwhile, three intriguing indies performed reasonably well in limited release further down the chart. The highest charting title is also the title with the lowest average between the three. Reuniting Gael Garcia Bernal and Diego Luna from Y TU MAMA TAMBIEN, RUDO Y CURSI, debuted on 70 screens but only managed an average of $3K. Meanwhile, debuting on just 12 screens, LITTLE ASHES, in which TWILIGHT hunk, Robert Pattinson plays gay, brought in the highest average of any limited release, $6.4K. And falling somewhere in between the two, Atom Egoyan’s latest, ADORATION, brought in an average of $4.3K on just 10 screens.

NEXT WEEK: Tom Hanks tries to take down Starfleet and the Roman Catholic church in ANGELS AND DEMONS. And on the indie front, the Jennifer Aniston/Steve Zahn comedy, MANAGEMENT will start small and the oft-delayed THE BROTHERS BLOOM will finally see the light of day.

WEEKEND BOX OFFICE: The Box Office Cries Wolf

You can withdraw the claws, Hugh Jackman; X-MEN ORIGINS: WOLVERINE has done what it was supposed to do despite its widely publicized leak online that has been reportedly downloaded over a million times since last month. You’ll be able to don those muttonchops for years to come.


The first X-Man prequel carved out $87 million. It may not have made IRON MAN numbers ($98 million opening weekend) but it certainly did better than Fox thought it would ($70 million). Of course, Fox was downplaying the numbers so as not to come in below expectations (as if $70 million is some sort of paltry number). They knew the success of WOLVERINE was pivotal. Each previous X-movie had bested the one before and launching into an origins series ensured possibilities for years to come. Not to mention, WOLVERINE is the official launch to the 2009 summer season. No one wants to muck that up. And with the STAR TREK reboot coming next weekend, Fox had to get in big now because there is no room to go any further.


Working the talk show circuit hard this weekend didn’t pay off for Matthew McConaughey and Jennifer Garner. (I swear I saw Garner on Regis & Kelly twice!) The ridiculous romantic comedy treatment of the classic Dickens tale, GHOSTS OF GIRLFRIENDS PAST tried for the same counter-programming angle MADE OF HONOR went with last year with similar results. An average of under $5K per screen and a ravishing by the critics pretty much ensures a disappearance as quick as a ghost in the night next weekend.


Debuting with a per screen average nearly matching that of WOLVERINE, the latest Jim Jarmusch film, THE LIMITS OF CONTROL brought in an average of over $18K on just three screens. Michael Keaton’s cinematic return, THE MERRY GENTLEMAN was not so fortunate. On 24 screens, the film brought in just over $3K per screen for a grand total of $54K. Still, that is nothing compared to the 12th place finish of the two year old North American release of BATTLE FOR TERRA. Having premiered at last year’s Tribeca Film Festival, Lionsgate released the eco-friendly film on over 1000 screens and pulled less than $1000 on average.

NEXT WEEK: As previously mentioned, WOLVERINE takes on Captain Kirk et al in STAR TREK (3,500 screens). NEXT DAY AIR, a movie about a package being wrongly delivered comes out on the wrong weekend (1,000 screens). TWILIGHT vampire hottie, Robert Pattinson gives us LITTLE ASHES - a little gay indie he made when he thought his career was going nowhere (which explains the mustache). And Atom Egoyan releases his Cannes 2008 darling, ADORATION … be sure to look for the Black Sheep interview with Egoyan coming next weekend.

Source: Box Office Mojo

X-MEN ORIGINS: WOLVERINE

Written by David Benioff and Skip Woods
Directed by Gavin Hood
Starring Hugh Jackman, Live Schreiber, Ryan Reynolds, Lynn Collins and Danny Huston


Kayla Silverfox: You’re not an animal, Logan. What you have is a gift?
Logan/Wolverine: A gift? You can return a gift.

I guess I got caught up in wanting it all to get started. I was treated to an unseasonal bout of good weather after a particularly tepid spring at the movies and I wanted to watch things get blown up already. I can’t come up with any other reason why I would have been suddenly excited to see X-MEN ORIGINS: WOLVERINE, the summer’s first major event picture. Well, I’m sure staring at Hugh Jackman’s arms had something to do with it too but I’m not usually that easily coaxed by rugged beauty into seeing potential schlock. Yet, there I was, popcorn in hand, for a big, bad popcorn movie. Pitched as a prequel to the X-Men films, director Gavin Hood, was set to show us how a little boy born in the North West Territories in 1845 turned out to be the Wolverine, arguably Marvel Comic’s most popular X-Man. Instead, what he did was put together a giant showcase for Jackman’s brawn and little else.


I’ve never quite understood why Wolverine is as loved as he is by so many men out there. Is it because he is rugged and brooding? Because he keeps to himself and doesn’t exhbit any emotions no matter what the situation is? Or is it because he is genetically designed to beat the crap out of people? Unfortunately, the story of his origins did little to make it all any clearer to me. If anything, I would think that this film would actually take away from some of the mystery behind the man-beast. To clarify, what the concept of the X-Men Origin series is designed to do is to show who these icons were before they joined the X-Men, not to show how they became to be mutants to begin with. Before he became Wolverine, James Logan was a lumberjack up in the Canadian Rockies. He set himself up there for a peaceful existence after spending decades of his life (he doesn’t age all that fast) fighting other people’s battles in war after war. Aside from chopping down trees and enjoying the scenery half naked in the morning, he also falls in love there, with a beautiful woman by the name of Kayla Silverfox (Lynn Collins). I may be wrong here but why would a man who is revered for living by his animal instincts need to be shown searching for inner peace and sharing his heart with someone?


Of course, the honeymoon doesn’t last and Wolverine must take on an army man named, Stryker (Danny Huston), who is kidnapping mutants so that he can harness their power to make one great super mutant that will then, in turn, be able to kill all of the world’s actual mutants, while engaging in a long time death match with his brother, Victor (Liev Schreiber). Screenwriters, David Benioff and Skip Woods, must be confusing me with someone who gives a shit. No, I’m not being flippant; I am merely quoting some of the banalities they pass off as intense dialogue throughout the film. WOLVERINE’s weakest element is certainly its screenplay. Taking on Hood (TSOTSI, RENDITION) as director, was supposed to bring a darker tone to the film, which would have been brilliantly appropriate considering the inherently dark nature of the character. Unfortunately, the script Hood had to work with never allowed for an exploration of the scary corners of Wolverine’s mind; it was always torn between potentially going there and making certain the tone stays summertime light.


Jackman has a lot at stake with X-MEN ORIGINS: WOLVERINE. Not only is he the face of the film but he is also a producer on the project. Success here, which is essentially inevitable no matter what is said about it, will determine just how many more films in the origin series get made. More importantly, Jackman needs to demonstrate that he can carry a major action film all by himself. Fortunately for him, he has no problems doing that whatsoever. Unfortunately for the film though, focusing on Jackman alone left very little else of note to cut through to the surface.



(ps. I would have graded slightly lower but any film that allows Jackman to run around naked for ten minutes has to get bonus points.)