WEEKEND BOX OFFICE 3/14: Robots Rule!

I guess SFU is like pretty much everything else - liked by some, and not by others. Good thing. I like the multiple channel universe - where there are choices for everyone.

So, why does it seem that Vanity Fair is tanking? Is it in limited distribution, or just not appealing to enough people?

I don't believe MIRAMAX gets behind any film they believe will be big box office ("F-9/11" may be one of the surprises). They go for the arthouse crowd and sometimes they are critically successful and make enough from box office, cable and DVD to make it worthwhile. At least they try to put out a quality product even if they sometimes are less than impressive. Word-of-mouth might lead this into the $80M to $100M range in the states and that much or more internationally. With DVD sales not representing 54% of profits on a film, I don't think they are yet worried about "VF."

As to opinions about SFU, my point wasn't that there were no people who don't like it. It's that it is pointless to judge on seeing one or two episodes. I have caught more than one person, like with "F 9-11" who wish to pass judgement without even seeing the film.

Lightwizard

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many,many. I don't recall exact whichever .



It is not the case death. That's actually in every movie.
Rather (again of course in my opinion) the surrounding, the story etc. Just in general bad.



I know.

As I said I watched many episodes of SFU.



exactly

Sorry, I missed where you said you watched "many episodes of SFU." You said many, many. Seems you were a glutton for punishment or were snowed in? But now that you have divulged that:

I'm reticent to give any criticism credit with one-liners like "general bad." If I found a series that I watched perhaps three of the episodes and it didn't hook me, I likely would not go back. This was the case with "Dead Like Me," recommended by several A2Kers. I first watched four or five episodes and just wasn't drawn in. Then it was on On Deman and I gave it another chance. It turned out it was very good and I was just not tuned into the format of the story.

ehBeth, BTW, may be right but this is a discussion forum -- give an opinion and be prepared to give a basis for it. It's not a place for chatting.

Oops -- I didn't realize I didn't interpret the acronym CGI -- that's Computer Generated Images.

I'm also curious as to how all movies are about death and morturaries.

neither




I watched 5-6 episodes of SFU. That's for me "many", if I didn't like the series. Nevertheless in one episode there is no chance, to find out how the series looks like.

So we are down to less that half a season. I've seen many TV series that were bad enough that watching half an episode was enough to turn me away. I might if I had the time and it was convenient watch maybe a second or third of a series that looked better than average and could have possibilities. I would guess it was the first season and if it wasn't the first five or six, I couldn't see how someone wouldn't be entirely lost. I guess the advantage is being able to go back after discovering a series and watching it On Demand.

Anyway, that's TV and this is the film forum (there's an SFU topic going in the TV forums).

Anxiously awaiting your review of "Sky Captain."

Actually, I know what myself bothered exact by a serie. But that's not the case on SFU still I didn't like the series.



I know. With respect, I mean that you started this discussion with a question.

But you are right.

Why anxiously? If I watched a film, then it would be a good review.

As I said, SFU is a exception, otherwise I can make a review well.

It started with the comparison that what was new at the cineplex was not as good as TV fare such as SFU. Still, although I know you have some trouble with English, I'm not getting the message that all movies are about death and morturaries and now I'm puzzled that, "If I watched a film, then it would be a good review." In that case, I hope you don't go see "Resident Evil." It's getting pounded as badly as the "new" "Exorcist." Both seem to draw in the teenybopper crowd who flock to see the new scary movie and then the film wavers and dies at the box office, obviously due to bad word-of-mouth.

TOP STORY
O'seas B.O. listless
'Evil,' 'Village,' 'Water' decent in weak week

from VARIETY

By Don Groves

Beefy bows by "Resident Evil: Apocalypse" in Japan, "The Village" in Germany, "Open Water" in the U.K. and "The Bourne Supremacy" in France were among the few highlights in a sluggish frame overseas last weekend. Biz continued to be fragmented, with a handful of pics earning decent money but no single title dominating.
The top-grosser for the third consecutive weekend, "The Village" drummed up $15.3 million from nearly 3,500 screens in 31 markets, spurring its cume to $63.2 million.

Suspenser grabbed $5.4 million on 754 in Germany and $757,000 on 81 in Austria, career bests for helmer M. Night Shyamalan.

Spooky tale fetched an unexceptional $3.1 million on 313 in Japan, playing better in cities than in the provinces. It was overshadowed by "Resident Evil: Apocalypse," which pulled in $5.9 million on 276, 59% bigger than the bow of the first edition of the zombie pic, which went on to earn a strapping $18.3 million.

'Village' takes hold in U.K.

"Village" has racked up an impressive $17 million in the U.K. and $14.1 million in France through its fourth outing, $3.7 million in 11 days in Oz, where mixed word of mouth saw it plunge by 55%, and $2.2 million in Brazil, abating by a mild 35%.

After forgettable runs in France and Spain, "Open Water" redeemed itself in Blighty, trapping $3.6 million on 378.

"The Terminal" posted approximately $9.5 million on around 1,850 screens in 26 markets, elevating the cume to $24.5 million, including South Korea's $6.6 million through its third flight.

Tom Hanks/Catherine Zeta-Jones starrer earned a decent $1.7 million on 302 in Spain, trailing poignant Javier Bardem starrer "The Sea Within," which collected $2.7 million in its second turn, slipping 8%, cuming a terrif $7.3 million.

Steven Spielberg-helmed pic pocketed a middling $912,000 on 191 in Australia, $390,000 in Portugal, $266,000 in Singapore, $218,000 in Poland and $185,000 in the Philippines. Encouragingly for UIP, "Terminal" held well in its soph sessions in the U.K., nabbing $2 million (off 15%) for $6.2 million so far; and in Italy, fetching $1.6 million (down 18%), tallying $4.7 million.

'Bourne' supreme in France

"The Bourne Supremacy" conquered France, making nearly $3 million on 462. It ruled Belgium, where it caught $617,000 on 49, and Holland, with $608,000 on 97. Spy saga minted $7.7 million from 1,638 playdates in 19 territories, hoisting cume to $45 million. That includes a stellar $19.5 million in the U.K., $8.1 million in 18 days in Oz and $1.9 million in 10 days in Mexico, despite a plunge of 47%.

"Fahrenheit 9/11" advanced to an estimated $85 million, helped by Mexico's solid $526,000 on 170. It's on course to surpass $100 million with Russia and a half dozen Asian markets ahead. Progressive scores for Michael Moore's Bush-bashing documentary include France's $16 million, Japan's $12.3 million, the U.K.'s $11.6 million and Italy's $7.4 million through its third stanza.

"DodgeBall: A True Underdog Story" was the champ in Australia, racking up $1.8 million on 255, and second in Spain, collaring $1.7 million on 300. Lowbrow laffer rang up $1.8 million in its third game in the U.K. (off just 14%), cuming $12.1 million.

"Alien vs. Predator" devoured a top-ranked $1.4 million on 378 in Mexico, $860,000 on 53 in Hong Kong, and was No. 1 also in Chile, Peru and Indonesia.

Continuing its successful journey in Asia, "Anacondas: The Hunt for the Blood Orchid" snared $506,000 on 41 in Malaysia.

'Potter' magic

Winding its tour, "Harry Potter and the Prisoner of Azkaban" conjured up $1.8 million on 122 in Greece, including sneaks (rated by Warners as the market's third biggest preem behind "The Lord of the Rings: The Return of the King" and "Troy") and a hearty $1.2 million on 210 in China, excluding Beijing, where it unspools next Monday. The Hogwarts saga levitated to $532.3 million, including Japan's whammo $121.3 million.

"I, Robot" peaked at $150.4 million, beating domestic's $142 million, maybe heading for $200 million with Japan and Italy ahead. Will Smith starrer grabbed $319,000 on 85 in Poland and $231,000 on 35 in Hungary -- No. 1 in both.

After two female Italian aid workers were abducted in Iraq, the kidnapping theme of "Man on Fire" held little appeal for Italians as the Denzel Washington starrer entered with $650,000 on 278. Fox's drama was stronger in Russia (despite the school massacre), taking $463,000 on 113, and in Taiwan with $269,000 on 70.

"Hellboy" was tops in Russia, pulling in $584,000 on 165, boosting its cume to a ho-hum $24.5 million in 27 territories.

"Catwoman" sprang into France with $2.2 million on 418, rubbing off the profile of its Gallic helmer Pitof. That's the best debut to date for the Halle Berry starrer, which has scraped up $25.1 million in 28 territories after OK runs in Spain and Mexico and barely raising a whimper in the U.K. and Germany.

"13 Going on 30" didn't connect well with teens in Germany, taking $1.6 million on 548, unlike the U.K., where it's made $9.3 million, and Oz, where it's wooed $2.7 million in 11 days, easing by 27%. Jennifer Garner starrer has grossed a fair $30 million in 33 territories.

It looks like a hard road ahead for "Anchorman: The Legend of Ron Burgundy," which began its travels by picking up in a mediocre $1 million on 290 in the U.K. and a truly terrible $23,000 on 59 in Mexico.

Looks like M. Night Shaymalan can rest easy as "The Village" does reasonably well overseas but "Catwoman" has decorously proven that Halle Barry can be in a flop. Meow but no purrrrr.

Sometimes, I have some troubles with English, I confess it.
But not in this thread. That can only be due to a misunderstanding.

Well, I've asked for clarification on some points but perhaps I could have easily cited "The Sopranos," "Dead Like Me" or "Without a Trace." as viable alternatives to going to the movies and being subjected to the equivalent of junk food for the mind. Those same people who rush out to see "Resident Evil" or "Exorcist: A New Beginning" probably boost the snack bar sales of carbs. That way they can develop a fat stomach as well as a fat head.

wiz-we just rented 2 movies this weekend on a reccomendation from a friend.
They were
THE BUTTERFLY EFFECT
and
21 GRAMS

Both were convoluted movies that required your attention , but We were highly entertained. Any official reviews of these 2 , from the priesthood? (you know E n R, or the Goobers)

As far as Shaymalan is concerned, I believe hes a one trick pony. Ive gotten successively impatient with each follow-on movie that takes a single plot trick and beats it to death. The whole family went to Bangor to see THE VILLAGE and we can truthfully say that, if it werent for the meaqal and a visit to a favorite art supply ceneter and a quick drop in on a buddy aqt Orono, it would , otherwise have been a wasted day

"21 Grams" -- great thriller, "The Butterfly Effect" -- better than average thriller. If you go to the critics thread (where this likely belongs)

http://www.able2know.com/forums/viewtopic.php?t=8486

you'll find links to Ebert, Ebert & Roeper and Rotten Tomatoes which consolidates all reviews and gives a verdict on the rotten to fresh tomato meter.

There's no mistaking the cinematic craftsmanship of M. Night including very good cinematography. But if you read these stories would they hold up as literature? Not as novels -- they're short story material which would have usually been lost on some back pages of Saturday Evening Post. They wouldn't even sell to the best sci-fi or fantasy periodicals. They're pop thrillers dressed up in slick, stylish clothing. Enjoyable (well, sometimes) but ultimately disposable and once one knows the trick ending, not really worth watching again. I tried to watch "The Sixth Sense" again and was astounded at how boring it was.

"I see dead people." Really. "I see dead film footage."

from Variety:

TOP STORY
Can 'Sky' fly very high?
'Captain' takes on 'Wimbledon', 'Mr. 3000'

By Dave McNary

As box office welcomes back higher profile pics the main question is how high can "Sky Captain" fly in the fall?
Paramount's hoping for a payoff this weekend, after having bailed out from June 25 for onetime summer tentpole "Sky Captain and the World of Tomorrow." Instead of going up against "Spider-Man 2," which opened June 29, "Sky" goes up against a pair of sports pics -- U's romantic comedy "Wimbledon" with Kirsten Dunst's first outing since "Spider-Man 2" and Disney's baseball comedy "Mr. 3000" with Bernie Mac.

Of the trio, Paramount's launched the biggest marketing push, starting with a screening of "Sky" at Comic-Con in July to prime the target core audience and show off impressive visuals, including director Kerry Conran's 2,100 CGI f/x shots. It's also corralled a summer-sized 3,170 playdates, compared with 2,736 for "Mr. 3000" and 2,033 for "Wimbledon."

Par's attempted to paint "Sky" as offering a mythologized version of 1939 combined with the feel of classic popcorn icons "Star Wars" and "Raiders of the Lost Ark." "Sky" has shown best traction in the male over-25 demo with 35% rating it as first choice, followed by females over 25.

"Mr. 3000," with Bernie Mac in a lead for the first time, reps the first baseball pic to debut wide since Disney scored surprisingly well with 2002's "The Rookie," which topped $75 million domestically. Studio's campaign for "3000" is focusing on two bases -- baseball fans and partisans of "The Bernie Mac Show" on Fox TV.

Tennis, anyone?

"Wimbledon," also starring Paul Bettany as a Brit who's fading game is reignited by romance, is aiming squarely at the young female demo. It also reps one of Hollywood's only ventures into a tennis-themed pic since Alfred Hitchcock's classic "Strangers on a Train" in 1951.

"Sky," "3000" and "Wimbledon" all face a daunting obstacle -- moviegoers' historic preference of avoiding multiplexes in September due to the twin distractions from the starts of the school year and football season. Additionally, biz in the Southeast is certain to be muted due to the impact of Hurricane Ivan.

The frame's magic number is $20 million with insiders skeptical over prospects for the new entries to eclipse that figure. Only eight September titles have ever debuted above $20 million, including the $23 million taken in last weekend by Sony/Screen Gems' zombie sequel "Resident Evil: Apocalypse;" only seven films that opened in September - "Sweet Home Alabama," "Rush Hour," "Seven," "Remember the Titans," "Double Jeopardy," "First Wives Club," "American Beauty" -- topped $100 million domestically.

The year-ago weekend of 2003 saw the best-ever three-day September frame with box office tracker Nielsen EDI calculating total grosses at $105.8 million. Distribs opine the most likely scenario is that the three newcomers plus the soph sesh of "Resident Evil: Apocalypse" can duplicate the perfs of the year-ago frame when four films topped the $10 million mark, led by Sony's opening of "Underworld" with $21.8 million, followed by New Line's debut of "Secondhand Lions," Par's launch of "The Fighting Temptations" and Sony's second weekend of "Once Upon a Time in Mexico."

Looking for 'Gold'

Also opening amid uncertain prospects at 899 engagements is "National Lampoon's Gold Diggers," distribbed by Pand A and starring Will Friedle and Chis Owen as incompetent con men.

On the art-house front, Newmarket's making the biggest splash by opening John Sayles' political drama "Silver City," toplined by Chris Cooper and Richard Dreyfuss, at 113 locations.

Sony Classics opens "Head in the Clouds," starring Charlize Theron as a Paris fashion photographer in the 1940s, with 10 playdates; Fine Line will open John Waters sex comedy "A Dirty Shame" at a single venue in his Baltimore home town.

"Resident Evil" refuses to vacate it's spot while "Hero" is pushing a 150M international box office. "Paparazzi" seems to be turning into a debacle for Mel Gibson and it's such a religious experience, too.

WEEK BOX OFFICE FINAL from Variety
Sep. 10 - 16, 2004
Title (Distributor) Weekly Box Office/Screens/This Week Cumulative

1. Resident Evil: Apocalypse (SONY) $28,374,671 3,284 $28,374,671
2. Cellular (NEW LINE) $12,914,026 2,749 $12,914,026
3. Hero (MIRAMAX) $6,021,848 2,175 $43,253,653
4. Without a Paddle (PAR) $5,688,110 2,754 $46,694,121
5. Paparazzi (FOX) $3,739,038 2,153 $12,973,953
6. Collateral (DREAMWORK) $3,730,974 2,024 $93,704,677
7. The Princess Diaries 2: Royal Engagement (BV) $3,624,549 2,452 $89,950,857
8. Vanity Fair (FOCUS) $3,534,254 1,054 $12,016,579
9. Anacondas: The Hunt For The Blood Orchid (SONY) $3,439,819 2,544 $28,210,824
10. Wicker Park (MGM/UA) $3,362,844 2,598 $11,285,768

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TOP STORY from Variety
'The Forgotten' memorable with $22 mil
'First Daughter' weak; 'Shaun' surprises

By Gabriel Snyder

Despite a weak marketplace, Sony and Revolution's "The Forgotten" posted an opening to remember, while the first frame for 20th Century Fox's "First Daughter's" was forgettable.
"Forgotten," a thriller starring Julianne Moore, bowed with $22 million from 3,104 theaters. The Katie Holmes romantic comedy opened with just $4 million, tying for the No. 4 spot with Sony's "Resident Evil: Apocalypse."

Perhaps the biggest surprise of the weekend was "Shaun of the Dead's" debut in the top 10, with $3.3 million at No. 8, despite playing at just 607 theaters. Brit import is the first picture to be released by Focus Features' genre arm, Rogue Pictures.

Last week's champ, Paramount's "Sky Captain and the World of Tomorrow," took a heavy 57% drop to $6.7 million, but that was good enough for a No. 2 finish.

The other openers held better, but put up modest results. Disney's "Mr. 3000" dropped 43% to $5 million, placing it at No. 3. Universal's "Wimbledon" declined 52% to $3.4 million, putting it at No. 7.

Evidence of just how weak the overall box office was, "Forgotten" accounted for 30% of all ticket sales over the weekend, as Nielsen EDI estimates the total box office at $73 milllion. That's a heavy 22% decline from the same weekend last year.

Nonetheless, year-to-date box office is running 4% ahead of last year, at $6.803 billion.