| October
23, 2005
Weekend Estimates
Top Limited Grosses
Domestic Market Share
It
Tolls for Thee The
appropriately titled Doom led the weekend box office chug with an estimated
$15.5 million in another lackluster frame for movie attendance. The weekend featured
three other national debuts with only the family friendly horse saga Dreamer
posting respectable returns. Conversely there was more encouraging response
to such niche fare as Shopgirl and Kiss Kiss Bang Bang that each
bowed on eight screens and raked up $20,000 plus theater averages. As
the nation's theater operators head for ShowEast in Orlando this week, they can
minimally expect soggy weather. Hopefully, the studio screening schedule can provide
the sort of sunshine that has been absent from multiplex sales for most of 2005.
This weekend's tally of slightly less than $90 million provided a slim 2% box
office boost from seven days earlier but lagged behind last year's gross by 16%.
The year's overall cume edged past $7 billion on Sunday. In 2004, that level was
reached one month earlier and nothing less than a miracle can close the 30-day
gap in the next 10 weeks. Doom,
inspired by a video arcade game, muscled into the marketplace with expectations
that fell short of a $20 million projection. Friday's approximate $5.8 million
tally remained consistent on Saturday but the picture had no potent competition. The
session featured premieres of two films inspired by true stories. The second ranked
Dreamer provided a turf tale of Rockyesque proportions that trotted to
$9.3 million. It was a fair result that nonetheless evinced a lack of breeder
stakes. The considerable more adult North Country - a saga of sexual discrimination
in the workplace - received mixed reviews as it threw its hat into the award derby.
Its $6.2 million return was disappointing and positive word-of-mouth will be crucial
in sustaining both its commercial and contender status. Virtually
flying below the radar was the low budget drama Stay. It grossed a near
moribund $2.1 million with all the ear markings of a movie being quietly buried
by a major during a busy release period. Holdover
titles provided a paucity of trends in shifting audience tastes. Last weekend
freshman The Fog was uncharacteristically buoyant as it dipped 39% rather
than the 50% plus drop typical for horror fare. There were also strong holds for
both Flightplan and A History of Violence and word-of-mouth appears
to be finally benefiting the Wallace & Gromit feature. However, both
Elizabethtown and In Her Shoes are rapidly losing ground along with
a clutch of genre entries. The
slow roll outs of Capote and Good Night, and Good Luck continue
to return effective results with respective 68% and 86% box office hikes this
past weekend. The frame anomaly was the religious-themed The Work and the Glory
that debuted in Utah early in 2005 and stepped out in a handful of markets
with a positive result of $740,000. Less effective was the independent Kids in
America that sputtered to a $600 average from 701 engagements. Dogged
attempts to develop a Hispanic audience continued with the release of El Vacilon,
a low brow comedy starring popular radio personalities. Its $250,000 gross from
30 screens was impressive but one suspects it has limited expansion prospects.
There were fair returns for the documentary The Protocols of Zion of $20,300
from five venues while National Lampoon's Barely Legal was adjectively
challenged with $14,700 from 20 screens. Kiss
Kiss Bang Bang, a droll satire of hard boiled Mickey Spillane pulp
detective fare, came in blazing with about $173,000 from eight chambers and Steve
Martin's Shopgirl, adapted from his short novel, ka-chinged to $230,000;
also in eight venues. - by Leonard
Klady |