August 27, 2017

Why the Weekend Box Office Sank to Historic Lows

Talk about the dog days of summer. This weekend marked the worst box office in this century.

If “The Hitman’s Bodyguard” (Lionsgate) holds on to the top position for a third time next week, it would mark the lowest gross in memory to repeat again. The actioner dropped a ho-hum 53 per cent, boosted by the absence of any real competition. Count stars Ryan Reynolds and Samuel L. Jackson among rare winners at the moment.

Domestic theaters grossed around $65 million in movie ticket sales this weekend. (That doesn’t count the revenue for closed circuit live showings of the Mayweather/McGregor fight which would have placed it in the Top Ten.)

That’s about seven million tickets sold total. The number is easily a record low for this century. And you have to reach back to World War II to match the attendance numbers. More people went the movies the weekend after 9/11. Theaters were even busier the days after November 22, 1963.

This weekend moviegoers stayed home in droves. Yes, the-pay-per-view broadcast (which brought in around a half billion dollars in the U.S., as big as any movie in theaters total all year) had a big impact. Regionally Hurricane Harvey closed theaters in Gulf Coast Texas (about five per cent of the population, but weather often affects local box office weekends). And like late August weekends on other years, the start of high school football season in many communities and getting ready to go back to school also hurt.

But these factors weren’t unique this weekend. They’ve all happened before. But not with this impact. Ever.

It’s the summation of a summer that started positively with the usual Marvel success (“Guardians of the Galaxy Vol. 2”) and a strong June with “Wonder Woman” leading the way. Then the market plummeted in July and collapsed in August. Partly, that was because the studios to a greater than usual extent vacated the final month (these days Disney can vacate the scene for four months between releases).

Even with no particular strength from recent releases, three new openers —  Weinstein’s release of “Leap!” (a redubbed French animated film), the China-financed Bruce Lee biopic “Birth of the Dragon” (BH Tilt), and Sony’s 846-theater release of the faith-based story “All Saints” — could together only draw $9 million!

The vacuum drew in return dates for established successes. “Wonder Woman” added 1,400, “Baby Driver” added 1,000,  and even indies “Ingrid Goes West” (Neon) and “Good Time” (A24) hopefully broadened to multi-hundred numbers,  yielding muted interest at best.

The rare positive note was struck by the rapid expansion (already over 2,000 theaters) for Weinstein’s “Wind River,” which managed $4.4 million. It’s a risky strategy. The similar “Hell or High Water” (“Wind River” is directed and written by “Hell” Oscar-nominated scenarist Taylor Sheridan) in exactly the same weekend last year grossed $3.5 million in fewer than half as many theaters. “Wind” now is way above the total that “Hell” played on any given week in its run. It remains uncertain whether the quicker release pattern here (consistent with past Weinstein successes historically) will see it match the $27 million total and not coincidental later awards traction last year’s film received.

“Leap” led the openers with $5 million, not an impressive number for a wide animated release even without a brand involved. Any new release targeting the kids’ market without a glut of competition normally does better than this.

“Birth of the Dragon” (which premiered at last year’s Toronto) did half as much in 1,618 theaters. At least it made the Top Ten. Sony, often successful in the world of faith-based Christian movies came in lower than usual with “All Saints” at $1,550,000. It played in under 1,000 theaters, but nearly all that normally support similar films at higher numbers.

Steven Soderbergh’s “Logan Lucky” had a decent second weekend hold (off 42 per cent) after its disappointing start. It still will fall short of the director’s hopes in overseeing its distribution and marketing, but still with an ultimate domestic total ahead of what it appeared opening weekend.

The Top Ten

1. The Hitman’s Bodyguard (Lionsgate) Week 2; Last weekend #1

$10,050,000 (-53%) in 3,377 theaters (no change); PTA (per theater average): $2,976; Cumulative: $39,614,000

2. Annabelle: Creation (Warner Bros.) Week 3; Last weekend #2

$7,350,000 (-%) in 3,565 theaters (+23); PTA: $2,062; Cumulative: $77,880,000

3. Leap! (Weinstein) NEW – Cinemascore: A; Metacritic: 49; Est. budget: $30 million

$5,016,000 in 2,575 theaters; PTA: $2,575; Cumulative: $5,016,000

4. Wind River (Weinstein) Week 4; Last weekend #10

$4,411,000 (+48%) in 2,905 theaters (+1,401); PTA: $2,105; Cumulative: $9,841,000

5. Logan Lucky (Bleecker Street) Week 2; Last weekend #3

$4,367,000 (-42%) in 3,031 theaters (no change); PTA: $1,441; Cumulative: $15,034,000

6. Dunkirk (Warner Bros.) Week; Last weekend #4

$3,950,000 (-40%) in 2,774 theaters (-497); PTA: $1,424; Cumulative: $172,479,000

7. Spider-Man: Homecoming (Sony) Week 8; Last weekend #7

$2,725,000 (-36%) in 2,122 theaters (-219); PTA: $1,284; Cumulative: $318,843,000

8. Birth of the Dragon (BH Tilt) NEW – Cinemascore: B; Metacritic: 37; Est. budget: (unknown)

$2,501,000 in 1,618 theaters; PTA: $1,546; Cumulative: $2,501,000

9. The Emoji Movie (Sony) Week 5; Last weekend #6

$2,350,000 (-47%) in 2,374 theaters (-417); PTA: $990; Cumulative: $76,432,000

10. Girls Trip (Universal) Week 6; Last weekend #8

$2,267,000 (-42%) in 1,777 theaters (-233); PTA: $1,276; Cumulative: $108,072,000

Source: IndieWire film

August 27, 2017

Candid Photos of 1940s Moviegoers Offer a Striking Glimpse Into the Past

These days, you’re lucky if you can make it through two hours in a movie theater without 20 minutes of previews, your neighbor’s cellphone going off, or some bizarre attempt at immersion forcing you to sit in a vibrating seat. As exhibitors struggle to make the theatrical experience more special and worthy of your hard-earned dollars, take a moment to recall a much simpler time courtesy of some striking images taken by Weegee.

A photographer who captured the moviegoing experience way back in the 1940s by using infrared film and a filtered flashbulb, he took pictures of audience members at a New York theater paying various levels of attention to what was flickering before them on the screen. Some sit up in rapt attention, others fall asleep, and others still get as close as they can to their date.

“Weegee made it his task to look closely at the ways we look, and in so doing forged a deeper understanding of our appetite to see what we aren’t supposed to,” observes the Timeline article that first published the photos. Find them all here and hope your next movie date is as whimsical as those on display here.

Source: IndieWire film

August 27, 2017

‘Rushmore’ Accompanied by Smash Mouth, Blink 182, and Other ’90s Bands Is as Hilariously Awful as You’d Imagine — Watch

Like all Wes Anderson movies, “Rushmore” is made special in part by its carefully curated soundtrack. Mark Mothersbaugh, the Kinks, Donovan, the Creation and other artists provide the musical accompaniment to Max Fischer’s coming of age and remind us of Anderson’s artful meticulousness. Courtesy of Kentucker Audley, we now have a new version of the “Rushmore” soundtrack to ponder — and it’s hilarious in its awfulness.

If you ever wanted to know how Smash Mouth’s “All Star” would pair with Anderson’s second film, now’s your chance. And if you were curious how the opening credits would feel accompanied by Spin Doctors, by all means indulge yourself. Just try not to get too angry when your favorite musical cues from the film are replaced by tracks that, though apropos of the movie’s 1998 release date, are utterly incongruous with everything else about it.

Audley has done this sort of thing before, having recently envisioned a version of “Garden State” in which Dave Matthews Band accounts for the entire soundtrack; unlike this one, that almost seemed like a perverse improvement. Watch this new take on “Rushmore” below.

Source: IndieWire film

August 27, 2017

As Box Office Goes to Hell, Specialty Market Hangs on with ‘Beach Rats’

On a disastrous weekend at the overall box office –with the lowest per capita attendance since the FDR administration — specialty movies did comparatively better. On a smaller scale.

Still, continuing a recent trend, a slew of Sundance premieres expanded to weak results. “Ingrid Goes West” (Neon) and “Good Time” (A24), both with significant support and strong theater placement, are barely treading water in most locations as they broaden.

“Beach Rats” (Neon), another Sundance American indie, leads among new openers with an adequate start in its initial two city dates. But it is below other films that are now struggling to find interest with broader audiences.

Like the mainstream market, the specialized scene has gone from a strong early summer with several notable titles (led by “The Big Sick”) to a wide number of disappointments that have come and gone very quickly. With the fall festival and awards season just around the corner, things could change. But things look bleak at the moment.

Opening

Beach Rats (Neon) – Metacritic: 79; Festivals include: Sundance, New Directors/New Films, San Francisco, Seattle 2017

$45,008 in 3 theaters; PTA (per theater average): $15,003

Strong theater placement in New York and Los Angeles, upbeat reviews and significant ad support led to a positive but still sub-$20,000 per theater average seen by multiple recent limited releases (many of which have failed to show strength much beyond initial dates) for another Sundance premiere with a younger feel. Set among working-class Brooklyn characters, the movie faces the challenge of reaching audiences close to the age of those in the film who increasingly are shunning most specialized films.

What comes next: This expands to major cities for the holiday weekend.

Polina (Oscilloscope) – Metacritic: 70; Festivals include: Venice 2016

$13,250 in 2 theaters; PTA: $6,625

This French film about a budding ballet choreographer opened at two prime Manhattan theaters with positive reviews and a gross good enough to suggest a modest national release ahead.

What comes next: Los Angeles opens this Friday.

Sundance

Week Two

Patti Cake$ (Fox Searchlight)

$105,000 in 59 theaters (+45); PTA: $1,780; Cumulative: $197,394

The second weekend expansion of this, yet another strong Sundance shown title, continues the minor response seen in its opening select theaters last week.

Crown Heights (IFC)

$32,800 in 10 theaters (+7); PTA: $3,200; Cumulative: $69,812

The second weekend expansion of this true story of the quest to prove the innocence of a convicted felon showed some positive results, with a particularly strong increase on Saturday suggesting some strong word of mouth that could lead to further interest ahead.

Courtesy of Sundance Institute, photo by Ante Cheng

Gook (Goldwyn)

$75,734 in 24 theaters (+22); PTA: $3,156; Cumulative: $109,678

Set among Los Angeles’ Korean community during the 1992 riots, this expansion (including its initial New York dates) shows clear interest in targeted areas.

Marjorie Prime (FilmRise)

$23,000 in 10 theaters (+4); PTA: $2,300; Cumulative: $53,890

Veteran actress Lois Smith’s acclaimed performance is a main draw in this story of a widow reunited with her late husband via A.I. technology as it expands to modest reaction so far.

California Typewriter (Gravitas Ventures)

$16,336 in 2 theaters (+1); PTA: $8,168; Cumulative: $21,442

This documentary about old-school writers and their attachment to typewriters is getting above average (these days) grosses in its limited initial dates, with a particularly good gross at New York’s Lincoln Plaza. It opens in Los Angeles this Friday.

Courtesy of Sundance

Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters)

Ingrid Goes West (Neon) Week 3

$781,750 in 647 theaters (+621); Cumulative: $1,322,000

Another Sundance sensation finds much more limited public interest in a wider release. Neon deserves credit as a new distributor in reaching this wide a release, but the results don’t suggest the effort for this social media sensation story was worth making.

Good Time (A24) Week 3

$610,890 in 721 theaters (+701); Cumulative: $1,029,000

Weak expansion for another acclaimed film Sundance film, with the Safdie Brothers’ prison break attempt tale with Robert Pattinson failing to gain much attention (under $1,000 per theater) in a disappointing expansion.

The Big Sick (Lionsgate) Week 10

$745,000 in 706 theaters (+88); Cumulative: $39,266,000

The year’s biggest independent film (and Amazon’s second biggest overall) is still ahead of most of titles late in its run.

Detroit (Annapurna) Week 5

$231,000 in 525 theaters (-903); Cumulative: $16,153,000

Down to token shows at most theaters, Kathryn Bigelow’s mostly acclaimed (though with some dissent) 1967 riot-set drama will end up with little more than it has already amassed despite an aggressive wide release after its initial platform dates.

The Only Living Boy in New York (Roadside Attractions) Week 3

$175,627 in 289 theaters (+223); Cumulative: $385,856

Marc Webb’s most recent film though somewhat similar in style and tone to his debut “(500) Days of Summer” is only going to do a small fraction of that film’s numbers as it quickly fades to oblivion.

The Trip to Spain (IFC) Week 3; also available on Video on Demand

$132,048 in 56 theaters (+37); Cumulative: $248,048

A decent response with its parallel VOD component for this third road trip hosted by Steve Coogan.

Menashe (A24) Week 5

$172,510 in 103 theaters (+17); Cumulative: $973,593

This American-made subtitled (in Yiddish) Orthodox community set custody battle story is steadily climbing to $1 million total, uncommon these days for non-English language titles.

Maudie (Sony Pictures Classics) Week 20

$91,051 in 96 theaters (-28); Cumulative: $5,781,000

One of the more slowly percolating mid-level specialized successes of the summer is still adding to its totals, which include nearly $3 million in the U.S. (the rest in Canada, its setting).

An Inconvenient Sequel: Truth to Power (Paramount) Week 5

$80,000 in 127 theaters (-187); Cumulative: $3,325,000

This documentary update on climate change strategies is nearing the end of its relatively brief run with only a fraction of what “An Inconvenient Truth” took in, although it stands near the top of non-fiction film releases this year.

Columbus (Superlative) Week 4

$68,680 in 22 theaters (+10); Cumulative: $242,727

Currently the best reviewed specialized film in release (Metacritic is at 90), this self-released independent film set in a mid-size Indiana city known for its elevated architecture continues to do respectable business as it opens in new cities.

Step (Fox Searchlight) Week 4

$66,000 in 118 theaters (-188); Cumulative: $972,590

Quickly fading despite Searchlight’s considerable backing, this Baltimore-set youth dance competition documentary never caught on.

Also noted:

Brigsby Bear (Sony Pictures Classics) – $30,118 in 94 theaters; Cumulative: $458,773

The Little Hours (Gunpowder & Sky) – $21,408 in theaters; Cumulative: $1,551,000

Lady Macbeth (Roadside Attractions) – $ in 41 theaters; Cumulative:

The Hero (The Orchard) – $15,498 in 37 theaters; Cumulative: $4,024,000

Landline (IFC) – $15,300 in 30 theaters; Cumulative: $896,113

Source: IndieWire film

August 27, 2017

Edgar Wright, James Wan, Sean Baker, and More Pay Tribute to Tobe Hooper, ‘The King of Transgressive Horror’

Given how influential Tobe Hooper’s career was, it comes as little surprise that so many tributes to the “Texas Chainsaw Massacre” director have come pouring in since news of his death spread late last night. The genre master also directed the likes of “Poltergeist,” “Lifeforce,” and a miniseries version of Stephen King’s “Salem’s Lot,” all of which helped shape the current state of horror cinema.

Here are some of the social-media responses to the 74-year-old’s passing:

Very sad to hear of the passing of Tobe Hooper, another master of horror. He conjured some truly shattering, unforgettable moments in film. pic.twitter.com/6Kxw0gURzF

— edgarwright (@edgarwright) August 27, 2017

Tobe Hooper, a kind, warm-hearted man
Who made the most terrifying film ever.
A good friend I will never forget

— William Friedkin (@WilliamFriedkin) August 27, 2017

RIP Tobe Hooper! The Saw is Family! https://t.co/1mATuP2KRI pic.twitter.com/70VEcssiS5

— KevinSmith (@ThatKevinSmith) August 27, 2017

Aww, man. Another legend has passed. So long, Tobe Hooper.

— Elijah Wood (@elijahwood) August 27, 2017

Goodbye Tobe Hooper, the king of transgressive horror. pic.twitter.com/JtkwqntxUs

— Scott Derrickson (@scottderrickson) August 27, 2017

Oh no. R.I.P. Tobe Hooper. Texas Chainsaw Massacre is one of the coolest & most terrifying movies ever made. It crawls inside & stays.

— Kumail Nanjiani (@kumailn) August 27, 2017

Sad to hear the passing of Tobe Hooper. One of the nicest people. A sweet, gentle soul of a man. Your legacy lives on. #RIP

— James Wan (@creepypuppet) August 27, 2017

pic.twitter.com/zPnwvisVUR

— sean baker (@Lilfilm) August 27, 2017

Sorry to hear Tobe Hooper passed. He did a terrific job directing the 'SALEM'S LOT miniseries, back in the day. He will be missed.

— Stephen King (@StephenKing) August 27, 2017

Source: IndieWire film