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Weekend Estimates
Domestic Market Share
Ring A Ding Ding ...
Fox's Phone
Booth had just enough cel power to call in an estimated $15.1
million and lead the weekend box office. But getting connected
to mass audiences has been elusive for new movies during the past
month and that's been amply reflected in declining audiences caught
between Iraq and a stadium seating place.
The weekend
featured four freshmen entries that all debuted to tepid to poor
business and few holdover movies that could be characterized as
having unusual stamina. Overall business should generate roughly
$98 million a 3% sliver down from one week ago. It's also the
third consecutive weekend of double-digit drops from 2002 (down
11%) when the second weekend of Panic Room led the pack
followed by a $14 million bow for High Crimes.
Phone Booth
- on hold for close to a year - has the sort of tenable thrill
premise one expects will attract an opening weekend crowd and
did, relative to the current depressed movie going state. It's
also likely to experience the steep second weekend declines seen
throughout the season and evidenced by the most recent sophomore
sessions of The Core and Basic.
The second
and third slots also featured unremarkable results for debuting
movies. Warner Bros. female empowerment What a Girl Wants
was slightly more muscular on gross but evinced more cellulite
based on theater average to the Vin Diesel vehicle A
Man Apart. Unlike the weekend leader, the trailing pair attempted
to sell name recognition rather than substance and both came up
with little more than ether.
Considerably
thinner was Miramax's Eddie Griffin comedy Dysfunktional
Family which limped into the marketplace with $1.1 million
and an $1,800 average.
The good news
on the horizon would appear to be the opening of Anger Management
with Adam Sandler and Jack Nicholson which is generating
tracking response that seems likely to render more than a $40
million initial weekend. While it's a much needed shot in the
arm for theater owners, one film cannot carry the burden of reviving
the film going habit.
Niche and
alternative product haven't been as hard hit by audience apathy
but, then again, viewer choices are considerably more variegated
and superior in quality to the mainstream fare. The Oscar ride
has been exceptionally good for both The Pianist and Nowhere
in Africa and the slow expansion of Bend It Like Beckham
has effectively capitalized on positive word-of-mouth as it penetrates
across the country.
The new entries
demonstrate the spectrum of options from IDP's Japanese anime
Cowboy Bebop that generated $230,000 from 19 screens to
Fox Searchlight/Alliance's noirish The Good Thief with
a $130,000 swag at 9 locations and a $22,000 gross for Sony Classics'
droll Finnish Man Without a Past from two theaters.
Still, not
everything is working. Focus' The Guys centering on a fireman
and a reporter in post-9/11 Manhattan barely generated a $1,000
average from 15 engagements and Warner Bros. second test run of
The Blue Collar Comedy Tour was so mirthless the company
chose not to report its box office. Similarly, Sony Classic's
ensemble comedy Levity failed to lift spirits with a $31,000
launch from 10 venues.
Email Leonard
Klady
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