Movies - Box Office postsMonday January 12, 2009
A Universal Lack of Focus
After potential Oscar-nominee “Gran Torino” did so well at the box office, I checked out how the other Oscar contenders are faring:
|Film ||Studio||Thtr High ||Dom. B.O. |
|The Dark Knight ||WB ||4366||$531M|
|The Curious Case of Benjamin Button||Par.||2988||$94M |
|Slumdog Millionaire ||FoxS ||614||$34M |
|Milk||Focus ||356 ||$19M|
The box office for “Dark Knight” is obviously no surprise. It’s a good film but it’s in the running because of its box office. If it had made, say, $19 million, like “Milk,” you’d be hearing crickets.
Kudos to Paramount. They put “Benjamin Button” out there and people are responding. Kudos to people.
The box office for “Slumdog Millionaire,” meanwhile, is a nice surprise but shouldn’t be. Fox Searchlight is the same studio that smartly promoted “Sideways” in 2004, “Little Miss Sunshine” in 2006, and “Juno” in 2007. Apparently they know what they’re doing. Apparently they can sell a good film with universal themes even though it’s set in a foreign country. How about that?
But WTF with Universal and its specialty division Focus Features? Two of the most talked-about films of the fall, “Milk” and “Frost/Nixon,” and moviegoers have barely had the chance to see them. Is the studio waiting for the Oscar noms before they push? What if the noms are disappointing? What if the attention goes elsewhere? What then?
Perhaps I should cut Focus Features some slack — they slipped “Brokeback Mountain” into a homophobic America in 2005 and made $83 million — and one assumes the strategy for “Milk” is similar. But then there’s this worrisome report from Patrick Goldstein.
More, Focus’ strategy with “Milk” isn’t looking at all like their strategy for “Brokeback.” Check out the theater totals for the first seven weekends of both “Brokeback” and “Milk”:
Meanwhile, I have no idea what Universal is doing with “Frost/Nixon.” Ron Howard has had a long-time relationship with the studio. He’s made 10 films for them, including five that made more than $100 million, including, from those five, two Oscar contenders (“Apollo 13”; “A Beautiful Mind”), and every one of those 10 films played on more than a thousand screens. One assumes they know what they’re doing with “F/N,” too. On the other hand, the studio’s last movie with Howard was “Cinderella Man,” which the studio opened wide and disastrously in June 2005. Maybe they’re gun shy. Or maybe, to stay with the Nixonian theme, it’s as Deep Throat says in “All the President’s Men”: “The truth is, these aren’t very smart guys, and things got out of hand."
You might’ve seen this: a schadenfreude-y article about the horrendous opening weekend for the animated film “Delgo,” which, since it’s “celebrity-voiced,” is apparently deserving of scorn.
But the numbers are indeed horrible. “Delgo” opened in 2,160 theaters and barely made $500,000. How bad is that? The worst opener last year, for any film in 2,000+ theaters, was “P2,” which opened in 2,131 theaters and still made $2 million. So “Delgo” is four times worse than the worst movie that opened last year.
In fact, as the article indicates, “Delgo” has the lowest per-theater average ($237) for any “very wide” release (2,000+ theaters), and the third-lowest average for any “wide” release (600+ theaters) ever.
The only “wide” films that have opened worse are, at No. 2, “The Passion Recut,” which averaged $233 in 937 theaters, and “Proud American,” a series of vignettes highlighting the pride and determination of Americans, which opened in 750 theaters this September and made $128 per. Remember those numbers the next time someone at FOX-News reads too much into the dismal box office of Iraq War movies.
The big problem with “Delgo" is hardly those celebrity voices. Its distributor is Freestyle Releasing, and, of the 15 worst “wide” openings, Freestyle is responsible for three: “Delgo” at no. 3, “Nobel Son,” also released this month, at no. 6 ($374), and “Sarah Landon and the Paranormal Hour,” at no. 13 ($523). No other distributor has more than one film in the bottom 15. Not sure what they’re doing over there. Overbooking? Underadvertising? P.T. Barnum must be rolling over in his grave. Or guffawing. Anyone who can't sell schlock to the American public should probably get out of the business.
The top 100 opening weekends
Much talk lately about Sex and the City’s $55 million opening weekend. Most ever for a movie starring a woman! So where does it rank on the opening-weekend list? Fifty-first. Meaning the top 50 opening weekends all starred men. Or ogres or mutants or robots or lost fish. So the very thing women are bragging about shows how tangential they’ve become in Hollywood. But Sex and the City gives hope that maybe someday they’ll be as important as ogres.
What else does the top 100 opening-weekend chart show us? Nearly half of the movies (46) are sequels. In fact, nine of the top 10 openers are sequels. (Only Spider-Man, at no. 4, still holds its spot.) And all but 11 of the top 100 were released this decade.
That’s right: As if we needed further evidence, this decade is all about opening. The oldest movie on the list is Batman Returns, at no. 92, which was released way back in June 1992 and made $45 million opening weekend. By the end of our current decade (if not by the end of our current year) it should be pushed off the top 100 to make room for its descendant, The Dark Knight, as well as Hancock and who knows what else. By the end of the decade 93-95 will be from the decade.
What’s intriguing about the older films is how much they didn’t rely on their opening weekends. The big movie from 1993, Jurassic Park, took in $47 million, or only 13 percent of its final domestic gross, opening weekend. Compare that with last year’s big film, Spider-Man 3, which took in $151 million, or 45% of its final domestic gross, opening weekend. So even 16 years ago, word-of-mouth still mattered. Now the idea is to make a killing opening weekend, when the studio's take is higher, and don’t fret what follows. Including moviegoers going, “Well, that was a waste of two hours.”
Equally intriguing is what films aren't on the list: Titanic, Star Wars... The biggees.
The following is a list of the top 10 opening weekends: Two Spider-Mans, two Pirates, two Shreks. Plus a Star Wars, an Indy, a Harry and an X-Men. It's a list that could use some women. Or something that doesn't remind me of the cinematic equivalent of a Big Mac.
|Rank||Movie||Studio||Opening||% of Total|
|1|| Spider-Man 3 (2007)||Sony||151,116,516||44.90%|
|2|| Pirates of the Caribbean: Dead Man's Chest (2006)||BV||135,634,554||32.00%|
|3|| Shrek the Third (2007)||Par/DW||121,629,270||37.70%|
|4|| Spider-Man (2002)||Sony||114,844,116||28.40%|
|5|| Pirates of the Caribbean: At World's End (2007)||BV||114,732,820||37,10%|
|6|| Star Wars III: Revenge of the Sith (2005)||Fox||108,435,841||28.50%|
|7|| Shrek 2 (2004)||DW||108,037,878||24.50%|
|8|| X-Men: The Last Stand (2005)||Fox||102,750,665||43.80%|
|9|| Harry Potter and the Goblet of Fire (2005)||WB||102,685,961||35.40%|
|10|| Indiana Jones and the Kingdom of the Crystal Skull (2008)||Par||100,137,835||n/a|
Why movies that open in 2,000 theaters should be avoided
I like crunching box-office numbers because it unwarps my perspective. It gives me a swift reality check.
Example. Last year I must have seen the trailer to Eagle vs. Shark a dozen times. I frequent Landmark Theater chains and they kept showing it, along with those increasingly bothersome Stella Artois ads; and while I was never interested in seeing the film (too many indie clichés), I assumed it would play in the 200-300 theater range, such as The Science of Sleep did in 2006. Nope. Topped out at 20. Twenty. Arrived June 15th, left August 5th. To me it seemed the film would never go away and yet it hardly showed up at all.
Meanwhile, movies that played in 100 times as many theaters, such as The Messengers, The Condemned, The Invisible and The Last Legion, didn’t even make a soft impression on my brain. Niche dynasties are being created without an ounce of awareness on my part. Or yours. And it’s only getting worse.
Overall, by my admittedly suspect calculations, and not including re-releases, 596 films played in U.S. theaters in 2007. They range in availability from Pirates of the Caribbean: At World’s End, which overwhelmed 4,362 domestic theaters last May, to the 77 films, such as Oswald’s Ghost, Primo Levi’s Journey and Looking for Cheyenne, whose widest domestic release was exactly one theater.
In quality, 2007’s films range from IMAX: Sea Monsters, which got a 100% rating from the compiled critics on rottentomatoes.com, to the three films (Constellation, Redline and Sarah Landon and the Paranormal Hour) that couldn’t even manage a marginal thumbs-up from an online critic.
I’ve been crunching box office numbers for a few years now (here are links to articles about 2004, 2005 and 2006 box office) and, despite the occasional swift reality check, generally the numbers bear out what most of us know intuitively: critically acclaimed films rarely get wide or even marginal releases, while universally despised films are spread like manure across the country. You begin to wonder, in fact, why anyone in their right mind would want to be a movie critic. The job is essentially quality control in an industry that not only doesn’t care about quality but seems to punish it. No wonder print publications, which are abandoning their own forms of quality control, are letting movie critics go.
How bad was it last year? Of those 596 films, 406 didn’t manage a marginal release (500+ theaters), and of these, 65 were so marginal they didn’t accrue the five reviews necessary to get a Rotten Tomatoes rating. But of the remaining 341 films, 215 were deemed “fresh” by Rotten Tomatoes (i.e., 60% of movie critics gave the film a positive review). In other words, if you went to a film that didn’t get a marginal release in 2007 — including La Vie En Rose, Once and The Namesake — you had a 63% chance of seeing a film most critics thought watchable.
From there, the numbers drop. A movie whose widest release was in the 500-1999-theater range? A 39% chance it was watchable. In the 2,000-2,999-theater range? 22%. Basically one in five. You have a better chance of meeting someone who thinks Pres. Bush is doing a good job than seeing a good movie that plays in 2,000 theaters.
Here’s a chart:
|Widest Release||Movies||"Fresh" Movies||%|
| 1-499 theaters||341||215||63%|
| 500-1999 theaters||68||27||39%|
| 2000-2999 theaters||76||17||22%|
| 3000+ theaters||46||20||43%|
That spike in the 3000-theater range is a nice surprise, but it shouldn’t be. One assumes studios and distributors know what they’re doing and save their better popcorn films (a Norbit notwithstanding) for super-wide release. The critics’ numbers simply reflect that.
(And I don’t mean to imply that a Rotten Tomatoes rating is sacrosanct. One of 2007’s big disappointments for me, Spider-Man 3, buoyed, one expects, by fanboy critics and weary newspaper critics, managed a “fresh” RT rating of 62%. RT is simply a general overview — a way of quantifying quality — but there are still a few bugs in the system.)
The overall numbers are starker when you chart for initial release rather than widest release:
|Initial Release||Movies||"Fresh" Movies||%|
| 1-499 theaters||361||232||64%|
| 500-1999 theaters||53||14||26%|
| 2000-2999 theaters||74||16||21%|
| 3000+ theaters||43||17||39%|
Now I know that trying to stop a Spider-Man or a Shrek is like trying to stop an avalanche. But at the least — at the least — these numbers should give moviegoers pause before attending a film that opens in the 2,000-theater range. Think about it logically. For films to open in this many theaters, their concept has to have some kind of widespread appeal. So why don’t they open wider? Most likely, they’re not good enough to be popcorn pictures. Consider them stale popcorn pictures.
Imagine that you only saw films that opened on 2000-2999 screens. Here’s what you would’ve seen in the first 12 weeks of 2008: One Missed Call (0% RT rating), Meet the Spartans (3%), College Road Trip (12%), First Sunday (15%), Untraceable (16%), The Eye (19%), Mad Money (20%), Welcome Home Roscoe Jenkins (25%), Never Back Down (26%), Step Up 2 the Streets (27%), Rambo (31%) and Definitely, Maybe (72%).
One out of 12. And I don’t even know about the one.
Americans have already spent over $420 million on these 12 films. Surely there’s better uses for our money, our time, our lives. This ain’t practice, people.
Where in the world are Iraq War movies popular?
Discussions about box office tend to stop with Monday morning’s numbers and bad puns. So 21 “raked in the chips,” and Superhero Movie was “a superdud,” and Stop-Loss was “shot down at the box office.” Why not push the envelope? How about Stop-Loss was car bombed? Had its legs blown off? Got ambushed in an alleyway in Tikrit?
Admittedly Stop-Loss’s numbers weren’t great: $4.5 million; 8th place. But it played on only 1,291 screens, meaning its per-screen-average, while pretty sucky ($3,505), was still better than all but three films in the top 10. Unfortunately our discussions about box office don't go that far. Instead we make some bad puns and add Stop-Loss to the list of Iraq-war-film casualties: Lions for Lambs ($15 million domestic box office), Rendition ($9.7M), In the Valley of Elah ($6.7M) and poor, poor Redacted ($60K). Underperformers all. Cue taps.
Except: If Stop-Loss follows the example of these films, it will make most of its money abroad. Rendition made $14.9 million, or 61% of its total, abroad (U.K., mostly), while Lambs pulled in $41.9 million, or 74%, from foreign countries (Italy and Spain were the big spenders). Elah also made 74% of its total abroad (France and Spain, mostly), while Redacted, which couldn’t do much worse, didn’t, pulling in $600,000 (France and Spain, again), or 10 times what it earned here.
Is this something else Americans should be embarrassed about? We went into Iraq thinking it would be good entertainment, and for a while it was (Pvt. Jessica, “Mission Accomplished”), but when it turned serious we turned the channel. It was supposed to be a Jerry Bruckheimer flick, Shock and Awe, with clear heroes and villains, and it's become a complicated, hard-to-understand, morally ambiguous film out of the French New Wave. It's become Battle of Algiers.
Hollywood has tried to make it easy for us by making its Iraq War films about us, and setting the action here, in the U.S., but the source material is still that morally ambiguous, hard-to-understand, French New Wave film. So we're letting the foreigners figure it out. They're figuring it out over there so we don’t have to figure it out over here.
Yeah, we should be embarrassed. This is our national story but we can’t be bothered. Elah is a good movie but we can’t be bothered. Stop-Loss is another good movie, and it’s got handsome leads, and it’s about camaraderie, and the few sacrificing over and over again for the many, who are us, but we can’t be bothered.
How awful is that? We can't even be bothered with how little we're being bothered by the war. And how much others are sacrificing.
Thank God for France.