Like a horse race, this weekend had three photo finishers, with a Sunday winner possibly being a bit too premature to call – expect some Monday morning jostling, especially with the holiday. As in many equestrian events, there was a former first place finisher, a starry upstart, and a stoic newcomer with success painted all over its face. And like a few horse races in the past, “Secretariat” was involved.
The Randall Wallace drama, however, was a definite underperformer, and with numbers still in debate, it does look like Disney’s proud thoroughbred is going to bow before last week’s top picture, “The Social Network.” The critically-lauded internet drama has definitely won over a few fair-weather fans with a muscular second weekend hold. Those dubious about a movie garnering success by dealing with a website grown adults should be ashamed of using have reason to reassess their thoughts. Critics don’t really matter anymore unless, in the very rare case of films like “The Social Network” and “Toy Story 3,” the deafening consensus of go-alongs and reverent homers (in this case, a large number of uncritical writers and commentators blindly banging the drum for David Fincher and Pixar as if they were on studios’ payrolls) pushes a film’s Q-rating into Joe PBR declaring, “This movie sounds like something Jesus would pay to see!”
Not to say “The Social Network” isn’t an interesting picture, mind you, but the talk has transformed the film from “great picture” to “event movie” status. A second weekend pull isn’t a major factor against weaker competition like this, but if this picture is still doing double-digit weekends by the late October horror boom, it’s time to upgrade from a Strong Success to a People’s Choice, and the year’s first genuine Oscar lock. At this juncture, nothing can be forecast until the film reaches $100 mil., and after two weekends, it still lies on the other side of $50.
There’s a smaller margin of error for actresses than there is for actors, so while some leading men can survive a number of bombs, it only takes a small failure to sink the brand name of a leading lady. And this is two in a row for Katherine Heigl, as “Life As We Know It” landed at #2. It drew enough business to lead the pack on Friday night, but Saturday wasn’t as date-worthy, and the picture looks to land behind Heigl’s “Killers” in the realm of frail openers. While she was starring alongside human wallpaper Josh Duhamel, and the title and premise suggested a vague bummer aura, Warner Bros. used a serious marketing push to get this out to the public. The core audience for a movie where Christina Hendricks dies so Katherine Heigl gets to raise a baby in her empty house liked the film enough to give a strong Cinemascore rating, but others likely realized that it sounded like a premise from Hell and stayed far away.
Expected winner “Secretariat” was a non-starter, possibly shutting the door on a potential awards push. Nobody thought the movie was genuinely good (Ebert did, but he’s very good friends with the author of the book), but with a strong box office showing, “Secretariat” was poised to take the Movie White People Like slot filled by “The Blind Side” last year. A better comparison, obviously, is “Seabiscuit,” which benefited from having Gary Ross (as opposed to Randall Wallace, Oscar-winning writer but oblivious behind the camera), as well as a strong cast that included “Spider-Man” and The Dude. “Secretariat” could only muster chick flick star Diane Lane (playing old, therefore nixing males) and John Malkovich (playing himself, scaring children).
The smallest audience loss in the top ten belongs to “Legend of the Guardians: The Owls Of Ga’Hoole.” That opening was considered disastrous, but in its third weekend, the film is inching towards final numbers that at least hint at profitability, though this looks like a money-loser in the long run. Again, 3D helps, as it makes an average hold look muscular, but there isn’t exactly a huge kid market to compete with right now. 3D couldn’t save “My Soul To Take,” which debuted in “Piranha 3D” territory. Studios need to consider that the lure of taking a generic thriller and adding the extra visual dimension doesn’t outweigh the audience’s realization that they have to pay a premium price. Ideally, this development should lead to lowering, or maybe getting rid of, the surcharge altogether, as it’s a cynical process that potentially alienates viewers, but when the format is attached to a hit, it artificially raises grosses so a $50 million weekend becomes a $60 million weekend. Studios will never ditch a tool that helps inflate grosses, mostly because of vanity. But they might stop tagging it on tepid-looking Wes Craven thrillers that have sat on the shelf for a couple of years.
The WB’s “The Town” was close behind, itself losing a small audience from last weekend, and after four weekends, it’s threatening to hit $90 million provided weekday grosses remain robust. The possibility of “The Town” entering the Oscar race remains small, but the box office will likely keep Ben Affleck’s heist drama in the race. No such hope for “Wall Street: Money Never Sleeps” which is quickly making its way out of the top ten. Even during its first weekend, it was looking less like a bonafide hit/event, and more like a smash-and-grab based on brand name recognition. In other words, a typical Fox picture. But getting this over $50 million isn’t bad at all, and there should be a DVD profit if international receipts remain strong. “Easy A” is staving off small audience losses as well, close to hitting $50 million: another Screen Gems winner. It again outpaced “You Again,” which has hung around in the top ten only to be backslapped weekly by the Emma Stone comedy.
Did anyone know “It’s Kind of a Funny Story” had a semi-wide release this weekend? In a seeming last-minute decision, Focus Features pushed the indie into 742 engagements for a feeble per-screen, and a $2 million total to place outside of the top ten. The premise is a definite turn-off, and the title is more than a little vague, so a hard sell was needed, and Focus’ strategy was more than questionable. Zack Galifianakis has been racking up the credits, but like “Hangover” co-star Bradley Cooper, he hasn’t exactly broken through yet, despite a colorful mix of roles. Galifianakis, to his credit, is at least extending his range and doing some occasional quality work, while Cooper is not exactly working as leading man superhero. Both of them need “The Hangover 2.”
In indie cinemas, “Waiting For Superman” is starting to break through, with a $1.4 million gross after three weeks of aggressive platforming. The per-screen returned to a solid level after spectacular showings in previous sessions, but the film is poised to be one of the year’s biggest docs, if not on a par with Davis Guggenheim’s previous work. “Catfish” is swimming downstream, however, and while screens are still being added, the approach by Rogue Pictures remains tentative, as the film continues to bleed viewers. The highly-buzzed doc might close under $5 million.
There were a couple of larger debuts on the indie stage. “Stone” and “Nowhere Boy” hit on six and four screens, respectively, and both had steady per-screen averages, landing at $73k and $56k. Success could come if the expansion is played right, but Overture and the Weinsteins aren’t exactly in the best shape. The best per-screen average came from Charles Ferguson’s “Inside Job,” which exploded on only two screens with a strong $21k per. The news wasn’t so good for the noxious “I Spit On Your Grave” remake, which sneaked onto twelve screens and stole $33k, while Stephen Frears’ “Tamara Drewe” was lost in the shuffle, with $19k at four engagements. Meanwhile, it might be bad news for “Buried” – the Ryan Reynolds drama did $200k in weekend three, but has registered terrible per-screen numbers in each week, likely threatening the planned expansion Lionsgate was eying. Support your local indie theater, boys and girls.
1. The Social Network (Sony) – $15.5 million ($46 mil.)
2. Life As We Know It, Judging From Terrible TV Shows (WB) – $14.6 million
3. Horsey Movie (Disney) – $12.6 million
4. Legend Of The Owls: The Hooting Of Ga’Hoole (WB) – $7 million ($39 mil.)
5. My Soul To Take (Universal) – $6.9 million
6. The Town (WB) – $6.4 million ($74 mil.)
7. Wall Street: Money Presses Snooze (Fox) – $4.6 million ($44 mil.)
8. Easy A (Sony) – $4.2 million ($48 mil.)
9. Case 39 (Paramount) – $2.6 million ($10 mil.)
10. You Again (Disney) – $2.5 million ($21 mil.)
