Ridley Scott’s “Aliens” sort-of-prequel Prometheus did very well at the box office, with one of the strongest openings of the year, $50 million in the US and $85 million world-wide. But the R-rated space saga could not match another series entry, the family-friendly animated animal story Madagascar 3: Europe’s Most Wanted, which out-performed “Prometheus” with more than $60 million. I’m delighted that both films did well but I am even more delighted at yet another reminder to the executives in Hollywood that there is an audience for family films that matches or exceeds the biggest special effects block-busters directed at teenagers and 20-somethings.
This Weekend at the Box Office: “Think Like a Man” Beats “Hunger Games”
Posted on April 23, 2012 at 1:15 pm
“The Hunger Games” is no longer the #1 movie in America. After four weeks on top, there’s a new champion, the ensemble romantic comedy “Think Like a Man,” inspired by Steve Harvey’s best-selling book, which made a robust $33 million, exceeding expectations. Further examination of the numbers shows just how strong that showing is. According to Box Office Mojo:
The movie’s $16,377 per-theater average is third-highest for a nationwide release so far this year behind The Hunger Games ($36,871) and The Lorax ($18,830) and significantly above huge hits like The Vow, Safe House and 21 Jump Street. Its opening was also better than nearly all comparable titles, including all Tyler Perry movies except Madea Goes to Jail ($41 million). Finally, it topped 2009’s Obsessed ($28.6 million) to become Screen Gems’ highest opener ever targeting African-American audiences (overall, it’s their second-best opening ever behind The Vow).
This should be a message to Hollywood that audiences want to see more of “Think Like a Man’s” outstanding cast in lead roles and not just snappy sidekicks and supporting characters, including Romany Malco, Gabrielle Union, Regina Hall, Meagan Goode, Taraji P. Henson, and Michael Ealy. Those who enjoyed Kevin Hart’s performance should be sure to listen to his thoughtful and very funny interview on Marc Maron’s WTF podcast (note: very strong and explicit language).
“The Lucky One” also did very well at the box office, with $22.8 million, the second-best opening for a Nicolas Sparks film. Both films got very high marks from the people who saw it, so a strong showing over the next few weeks is likely, even with some competition from the first warm-weather blockbuster, “The Avengers,” opening next week. It was good to see “Chimpanzee” become the highest first week nature documentary ever, especially because Disney made contributions for every ticket sold to the Jane Goodall Institute.
This Week at the Box Office: ‘Dolphin Tale’ is #1!
Posted on October 2, 2011 at 2:25 pm
I’m delighted that Dolphin Tale topped the box office this week with a healthy $14.2 million, very impressive for its second week of release. It shows that the movie has strong word of mouth — people who have seen it are encouraging their friends to take their families. And with The Lion King holding on to third place, the message should be clear that ticket-buyers want family films. In between at second place is the excellent Moneyball. But it is unusual that none of this week’s releases made it into the top three. What’s Your Number deservedly tanked. I hope that 50/50 finds its audience. And it was very encouraging to see such a good response to the Christian film “Courageous.” Not only did it outperform the projected sales in limited release, but the audience reaction was very enthusiastic. According to the LA Times,
Audiences who saw the movie loved it, giving it an average grade of A+, according to market research firm CinemaScore. “Courageous” is only the fourth movie this year to earn a perfect grade, joining “The Help” and two other movies that resonated faith-based audiences, “Soul Surfer” and “Dolphin Tale.” It was an older crowd that went to see “Courageous” this weekend, with 77% of the audience over 25.
The movie got off to an even better start than “Fireproof,” the Kendricks’ 2008 film featuring “Growing Pains” star Kirk Cameron as a firefighter struggling to keep his marriage together. That movie, also inexpensive to produce, opened to $6.8 million and ultimately collected $33.5 million worldwide.
The movie was not screened for critics, but I hope to review it very soon.
Grrrrl Power at the Box Office: ‘Twilight’ Sales Set Records
Posted on November 23, 2008 at 9:54 pm
To the surprise of no one but the Hollywood insiders, none of whom apparently have ever spoken to a teenage girl, “Twilight” set records at the box office this weekend, exceeding all predictions to bring in over $70 million, almost doubling the previous record for a movie directed by a woman. Blockbuster films have always been directed at teen boys. “Twilight” shows that teen girls are just as eager to buy tickets — often more than one — for movies that speak to their lives and interests. E! noted: “This is a game-changer. This is an industry-changing performance,” Exhibitor Relations analyst Jeff Bock said today. “…With the success of Sex and the City, and Mamma Mia!, we’ve awoken a sleeping giant at the box office.” The Associated Press spoke to an expert who saw a trend: “Teen girls rule the earth,” said Paul Dergarabedian, president of Media By Numbers. “If you look back at the `Hannah Montana’ movie, how well that did, and now this movie, the teen girl audience will never be ignored again or underestimated. It was always teen boys who were the coveted ones, but someone finally caught on to the idea that girls love movies, too, and if you create something that they’re into, that they’re passionate about, they will come out in big numbers and drive the box office.”
One of my favorite reviews of the film was from my pals at the Kansas City Star, who run my parental advisory capsules each week and occasionally invite me to write reviews. My email pen pal, “resident fangirl Sharon Hoffman” added her comments to the negative review from the paper’s critic, responding to his complaints about the story and the actors by explaining what she liked about the movie. In every case, I was on her side.
Two thoughtful and provocative articles bookend one of most challenging questions in American culture — the role of race at the collision point of art and commerce. In The Washington Post, Neely Tucker writes about Stars on the Field but Shared Glory on Film — the way that biopics about African-American sports stars always seem to end up being about the relationship of the athletes to their white mentor/competitors. The classic Brian’s Song
was based on the memoir of Gale Sayers. But the movie pushed him to the sidelines — even the title was a reference to his teammate, Brian Piccolo, and the impact his death had on Sayers. The current release, The Express, like many films ostensibly about minority characters, spends as much or more time on a white character (the coach played by Dennis Quaid).
By the 1990s, the prevailing idea on screen about black athletes was mostly downbeat. It was about exploitation of vulnerable young black men to play for rich white colleges or pro teams; it was about white corruption and greed. There was a steady stream of these: “Above the Rim,” “Blue Chips,” “He Got Game” and the superb documentary “Hoop Dreams.”
But the interracial harmony story line began percolating in “The Hurricane,” in 1999, which featured an embittered black athlete and criminal turning toward the light. And in 2000 came Disney’s “Remember the Titans.”
It starred Denzel Washington as Boone at T.C. Williams High, taking over and integrating the team in 1971. In real life, the team played other integrated teams and roared to an undefeated, rarely-scored-upon state title. In the film, they play against all-white teams and Washington’s character withstands racist referees, school boosters and team mutinies to win the championship on a last-second, miracle play.
After “Titans,” which took in $115 million at the U.S. box office, more studios adopted the same formula: Revisit the civil rights era through a feel-good sports epic, based on a true story. Have some clearly identified white racists, some good white folks and a black hero, who is possessed of a greater morality, patience and ability. Show the whites helping in key moments, either with bureaucracy or running interference against racists. In the final reel, have the white and black main characters as close friends.
Ridley Scott’s “Aliens” sort-of-prequel Prometheus did very well at the box office, with one of the strongest openings of the year, $50 million in the US and $85 million world-wide. But the R-rated space saga could not match another series entry, the family-friendly animated animal story Madagascar 3: Europe’s Most Wanted, which out-performed “Prometheus” with more than $60 million. I’m delighted that both films did well but I am even more delighted at yet another reminder to the executives in Hollywood that there is an audience for family films that matches or exceeds the biggest special effects block-busters directed at teenagers and 20-somethings.
