Numbers

The Last Exorcism (which I may see today, having heard it was worth it) is the weekend honcho, and yet down 22% from Friday and looking at a mere $22 million for the weekend — not much of a win. Second-place Takers went up 2% from Friday, looking at $20.5 million by this evening, or perhaps even $21 million. And the third-place Expendables is looking at a $9.5 weekend tally and an $82 million cume.

Fourth-place Eat Pray Love expects 6.8 to $7 million by tonight, and a cume of $60 million, but will probably hang in there with Machete and Resident Evil 4 being the only new films with any expected heat over the next 2 weeks. And The Other Guyss is fifth with an expected $6.5 million for the weekend and an overall $99.2 million haul.

Avatar: Special Edition only did $1.5 million yesterday (up 28% from Friday) for a likely $3.8 cume. (I decided to shine it after learning of the 16- or 17-minute longer version coming out in November on DVD/Bluray.)

54 thoughts on “Numbers

  1. Eloi Wrath on said:

    It’s interesting how the recent allegations of domestic abuse have pretty much destroyed Mel Gibson’s movie career, yet Chris Brown is somehow establishing his in Takers even after it was proven that he beat the shit out of Rihanna. It’s amazing how this guy has seemingly escaped without any consequence. Even more so considering that his victim is famous herself.

  2. I think what hurt Mel was the number of voicemail messages that came out making him sound like a complete nutter. Also, Mel is a much bigger star than Chris Brown will ever be.

  3. A “mere” $22 million? The movie cost about a buck fifty to make, and Lionsgate didn’t spend much to market it. This is a big win for them.

    That aside, the movie isn’t very good, at least in the last half hour or so. The portions dealing with the skepticism of the preacher are interesting, but the ending is truly laughable.

  4. Eloi, the Chris Brown situation is hardly comparable to Mel Gibson who has been a repeat offender ad nauseum with both his slurs and violence. And Brown has paid pretty badly. His record sales have plummeted, his reputation in the business has tanked and he is never mentioned, anywhere ever, without some discussion of his involvment in the incident. He’s gone to rehab, apologized, done what he can do probably, but in likelihood he’s pretty much screwed. I wouldn’t expect him to become a huge movie star.

  5. The Last Exorcism isn’t bad, but it’s nothing great, either. It’s being badly misrepresented in the trailers, which not only show most of the shock scenes, but manipulate them so that they’re not really as shown in the film.

    The film is a very good character study of the charlatan preacher and Patrick Fabian is very, very good in the role. So is Ashley Bell as the possessed girl. I think we’ll be seeing a lot more of her, even if she does remind you of Michael Cera in the early scenes.

    Without spoiling it, the ending will remind you of any number of horror films though not, ironically, The Exorcist. It’s not as good as you might expect, but it’s probably better than it should be, considering the budget limitations. But Bell and Fabian make it worth a matinee price.

  6. Re:Chris Brown. Apparently it’s OK to almost beat a women to death. But if you verbally go off on her then you’re dog meat. America such wonderful values.

  7. I seemingly liked “Exorcism” a good deal more than you guys — I think the performances are great, and the structure/tone works really well. The first half hour or so basically plays like a comedy, which really subverts expectations in a fun way.

    Anyway, Wells likes talking shit about movies he has no interest in, hence him saying a no-budget horror film with no one you’ve ever heard of opening to the same amount as “Eat Pray Love” is “not much of a win.” Astonishing.

  8. The film isn’t as scary or creepy as either Paranormal Activity or Exorcist (the two biggest influences on the film along with Blair Witch) but it is very entertaining and extremely well acted. I agree with the earlier post that both Fabian and Bell are terrific and should get more notice and work after this film.

    **SPOILER ALERT**

    I have mixed feelings about the ending of the film. I kind of admire the fact that they tried to do something diferent and take the plot in a new direction that the audience wasn’t expecting (I was worried the film might just end with Fabian driving away and the girl being diagnosed with a psychiatric disorder). I also like that they didn’t wrap up the entire plot in a nice, neat bow and left some things unexplained. On the other hand, the ending wasn’t really scary or very creepy (as Owen Glieberman of EW points out) and I felt it was far too derivative of the ending of Blair Witch and nowhere as good as the endings of, say, Rosemary’s Baby or the Exorcist.

  9. Not that I enjoy shooting the shit about box office numbers but I completely agree with gradystiles. $22 mil is a huge number for Exorcism. Eli Roth made his name on the Hostel movies because they opened to $20 mil, now he is able to bring in those numbers with his name attached. Expect to see him everywhere.

  10. Chris Brown didn’t just beat the shit out of Rihanna, there’;s been at least a year and a half since that. Takers kept getting pushed back and back, I think to distance itself from him and that situation. (And probably because it’s a piece of shit)

    If Mel was releasing a movie right now, it’d be a tough sell. Wait a year for all of us to forget those voicemails (and the “sugarr tits incident”), and like everything in Hollywood, nobody will remember.

    Real quick, no looking it up, Best Supporting Actress of 2006?

    See? nobody remembers anything in this town.

  11. I don’t think Eli Roth gets credit for The Last Exorcism’s success. It’s part of a really successful horror subgenre of supernatural female-skewing ghost/possession stories that includes other ‘surprisingly’ successful movies like The Exorcism of Emily Rose and The Haunting in Connecticut. The Former opened to $30mil and the latter to $23mil.

    The main secret to the success of these is that they are squarely aimed at the female audience, but not in a way off-putting to males like the Twilight franchise. So they get the date night crowd.

  12. TAKERS POWER. It’s such a beat-by-beat carbon copy of HEAT, down to aping Mann’s SOUND DESIGN, that it should’ve been called WARMTH.

    But it’s got everything I ask for in a movie, and Paul Walker is the GOLD STANDARD LABEL in terms of awesomeness. If the Walker is in it, you know shit’s gonna pop off. Gunfire, hot chicks of every ethnicity, awesome LA skyscapes, heists, fast cars, clubs, parties… You throw that stuff in, and Walker is gonna preside over it like The Man With No Name holding court in a fly-covered, sun-scorched Spanish villa.

    Chris Brown is actually really good in TAKERS, plus I noticed he gave himself the movie’s best action scene… Who knew he was such a PARKOUR MASTER? Plus all shall BOW to Hayden Christensen’s AWESOMELY DUMB PORKPIE FEDORA, which he wears throughout and which gets its very own serious moment… Also loved the bit where Hayden lays out a roomful of construction thugs, because for some bizarre reason it appears to be shot on a VHS video camera from 1984.

    It’s also a Matt Dillon tour de force (and pretty much a Jay Hernandez tour de force, too)… See, a lot of movie blogger guys will give an easy pass to middling horror and sci-fi, but not really to B-level hard action like this, unless it stars a bunch of Chinese guys, then suddenly it’s a work of extreme genius. But TAKERS delivered just about everything I go to the movies for.

  13. “I don’t think Eli Roth gets credit for The Last Exorcism’s success”

    Maybe he doesn’t deserve it, but he’s definitely going to get it. Roth himself explained as much on his appearance on G4′s Attack of the Show – they are selling the movie using his name, even though his involvement is more ‘get the funding. help in the edit room”. His cost to profit ratio is pretty astounding, too.

  14. Lex — the WARMTH comment is hysterical. Sounds like a fun actioner…but how much better would it have been had it been rated R?

  15. Roth’s involvement also includes the promotional appearances, as he is the one doing all the interviews on the talk shows. Not the director or the actors. Roth deserves a lot of the credit, since he’s putting his face on this production.

  16. AM:

    The PG-13 is SO pointless, since it’s nothing but gunfire and chases and Walker hooking up with Asian and black chicks at the same time… then I noticed a hard-boiled cop shouting “SCREW YOU!” and that the gunshots were relatively bloodless; It’s still a pretty hard PG-13 as these things go. Guess with Brown and TI and the usual Screen Gems vibe of everything being test-marketed to every demographic, they didn’t want to risk the R, but it should’ve been that way.

    In fact, now I’m wondering about the climactic TRUE ROMANCE shootout here; They crank up this HORRIBLE melancholy, mournful music that really takes the sting out of the proceeding. Could very well have been an artistic choice, but by muting all the gunfire and shouting/swearing, it makes the scene less “violent” and thus less R-worthy.

    I also have to add that I love how flat-voiced, Glendale-born surfer dude Paul Walker is ALWAYS cast as this cipher-like white dude who ONLY has tons and tons of black and Latino friends in movies. Now I wish retroactively The Walker could be digitally reinserted into movies like JUICE or MENACE II SOCIETY or BOUND BY HONOR, just rolling into the hood in his rice rocket and glowing blonde hair, sidling up to a posse of hardcore dudes with a leaden-voiced, “Hey, bro.”

  17. The real question: Where has Matt Dillon been lately? He won his Oscar, had some outstanding performance around 2005, and then poof …. obscurity since then. I’m just glad to see him.

  18. Most movie critics want to be George Clooney.

    I want to be Paul Walker.

    Fast and the Furious. Fast and Furious. 2 Fast 2 Furious. RUNNING SCARED. INTO THE BLUE. Joy Ride. TAKERS. Flags of Our Fathers. VARSITY BLUES. She’s All That. THE SKULLS. TIMELINE POWER.

    Other than that terrible BOBBY Z movie he did with Fishburne, he’s an absolute GUARANTEE of Lexian Cinema.

    He must have the best life ever.

  19. What Chris Brown did to Rihanna was grotesque and horrific. But he apologized publicly, went to rehab, has gotten nothing but positive reviews in his subsequent behavioral evaluations, and has had no reported incidents of violence since his arrest. While all of that might not satisfy everybody’s standards of justice, he certainly appears to have done a lot to make amends for his admitted transgressions.

    That’s entirely different from the pathologically unrepentant, repeat offender, endlessly in-denial piece of shit that is Mel Gibson.

  20. Damn you, Lex, now I HAVE to see this movie.

    I thought I could wait for rental, but this sounds too good to pass up.

  21. “Lionsgate didn’t spend much to market it.”

    Really? Cause those billboards and ads have been EVERYWHERE for the past month. I think the two images of the scary girl in contorted positions is what got this film $22 million bucks. And I suspect Lion’s Gate spent somewhere near that for the insane amount of exposure they’ve gotten (you can’t drive a block in LA without seeing one). I haven’t talked to anyone who loved it, but those two images promised freaky/scary/weirdo, which is what most people under 25 want on a Friday night.

  22. Winchester, trust me, you can probably wait for rental, as I don’t want to be responsible for anyone parting with 10 bucks to see TAKERS solely on my easy-mark (for low-rent urban action) word… But how can anyone hate a movie where they essentially remake HEAT word for word, but instead of Tom Noonan you get Jonathan Schaech, and instead of Tom Sizemore you get Hayden Christensen, and instead of Waingro you have T.I. mugging and shouting “Daaaaayum!” like 1991 Mar-aaaaan?

  23. “those two images promised freaky/scary/weirdo, which is what most people under 25 want on a Friday night.”

    Promised but evidently didn’t deliver, judging from the D Cinemascore audience grade. Usually you have to kill puppies in a movie to get a Cinemascore D.

    Nonetheless, people are saying it got that D by usurping audience expectations, and that that’s a good thing, so maybe I too will have to bite the bullet and see what turned off the target audience so.

  24. “Last Exorcism” is shit.

    It’s impressive-mounted-for-an-indie shit, but still shit. It’s a beat-for-beat lift of every exorcism/devil movie, along with every “charlatan meets the real deal” movie, anyone can remember; and they CHEAT the dopey “found footage” conceit so sloppily (i.e. people filming/frame stuff no human being would be in that situation, characters with no earthly reason to take over the camera doing it so they can squeeze in a gore scene) it becomes patently obvious they’re only using it as a budget-buster.

    From a fan standpoint, I’m REALLY worried about “Machete.” The low numbers for Kick-Ass and Scott Pilgrim, coupled with the actual success of mediocre don’t-worry-we-wont-try-too-hard flotsam like Expendables… it really is starting to seem like there’s a kind of subconcious “revolt” going on against genuine-creativity, or even just any semblance of “offbeat” sensibility, in action films. I mean, if I were releasing even something like “Face/Off” today, I’d be TERRIFIED that the central premise will be just “too much” for an audience that’s evidently grown tired of having their minds engaged, to say nothing of “blown.”

  25. Are we completely ignoring the success of Inception, MovieBob? I’d be more “worried” about Machete because it looks like empty nonsense, and absolutely nothing most people would want to spend money on.

  26. @Todd,

    “Apparently it’s OK to almost beat a women to death.” Not to defend Chris Brown’s actions, but he did not “almost beat a woman to death.” That’s a gross misrepresentation of the facts. What he did was reprehensible, but let’s stick with what actually happened and not sensationalize it. And yeah, Brown’s career is a long way from back on track.

    I’m not sure how much weight Eli Roth’s name carries, although his doing that is no different than his pal Quentin presenting Hostel II. How much weight do you think QT’s name carried for that film (I’m asking in all seriousness).

    @K Bowen

    Matt Dillon didn’t win the Oscar.

  27. So I checked BOM, and it looks like The American and Machete will both have a sizeable theater count next weekend. I haven’t seen a movie Clooney was able to carry on his own, but then the same can be said for Alba, Rodriguez, and Trejo. And the last time anyone remembered Seagal was ‘cus of those Madtv parodies. But the Expendables seems to have brought back Dolph to the spot-light, even though I personally don’t feel he ever left. But given how well things turned out for The Expendables, I kind of feel like the old-school vibe might work better for The American. Though Machete isn’t just an internet in-joke, so it will probably be on top. Even that Predators movie had a good opening in spite of the Andersuck movie killing the franchise. Still, Clooney has a better rep, so that might give him the advantage.

    Eloi: Takers was an ensemble movie with a PG-13 edge, so Brown had nothing to do with its overall gross. He still paid for that incident with his last album bombing, though. And Mel’s career died a long time ago when he started morphing into his own Dennis Miller and/or Jon Voight.

    Todd: Mel’s done a lot more than just bad-mouth a chick.

    Larry: Well, yeah, it made its money back, but with P+A, it’s a minor hit at best. I’m guessing LG needs a lot more dough than that to fend off Icahn. But yeah, if you’re gonna go by LG’s year in general, I guess you could argue Last Exorcism is a box office smash.

    anonymous: I doubt anyone knows who Roth is, or Piranha 3D would be a hit. LE was a PG-13 horror film which targeted the back-to-school crowd. If it was released in January, it’d bomb for sure.

    Winchester: Hell, Mel did release a film this year, and it was a tough sell. And that before he got TMZ’ed. So I don’t think people have forgotten yet.

    Bob: Um, Kick-Ass was hardly creative, as I already saw it when it was called Wolverine, the Dolph Punisher, Spider-Man, and Ichi the Killer. Oh, and Watchmen. I’m just glad people will finally realize Vaughn is a hack with that X-Men reboot, though they’ll find a way to blame Rothman. And as much as I dug Scott Pilgrim, even I’m not going to pretend that it was really paving new ground. Like I said before, it’s Tron with Michael Cera. Who the hell thought that would work? And as for Machete, well, outside of Sin City, Alba(not to mention Seagal) being in a project guarantees its lack of creativity. So I don’t think Machete will offer anything ground-breaking you couldn’t get from a rental or cable broadcast of it.

    Josh: http://voices.washingtonpost.com/comic-riffs/2010/08/anime_director_satoshi_kon_rip.html

  28. I find it inconceivable that an apparently heterosexual male circa age 30 could have as much disdain– nee, RAGE– over *Jessica Alba* as DeeZee.

    Like, you mention it CONSTANTLY. Did you go to some arts camp with her in 1994 where she dissed you in Spin the Bottle?

    How the fuck can any straight guy NOT like Jessica Alba? How could ANYONE not like Jessica Alba? it’s like hating on kittens or something.

  29. @Deezee, er, Kakihara,

    Piranha 3D was never marketed based on Roth’s presence. There was a glimpse of him in the trailer, that’s it. To in some way try to connect Roth to the movie’s box office is ridiculous.

  30. Leo Dicaprio only finally “broke through” with Shutter Island, but Dolph Lundgren has never left the spotlight? Are you fucking high?

    And a movie that cost $1mil to make opens to $22mil and it’s a minor hit at best? Sure, P+A costs money, but you can’t pin P+A costs on every movie that you want to be a failure and claim it barely made money. ANY movie that makes twenty-two-times its production budget on opening weekend is a big hit. Deal with it.

    You and your “everything’s a failure (except anime)” bullshit will never change.

  31. MovieBob: “From a fan standpoint, I’m REALLY worried about “Machete.” The low numbers for Kick-Ass and Scott Pilgrim, coupled with the actual success of mediocre don’t-worry-we-wont-try-too-hard flotsam like Expendables… it really is starting to seem like there’s a kind of subconcious “revolt” going on against genuine-creativity, or even just any semblance of “offbeat” sensibility, in action films.”

    I don’t think it’s a revolt against creativity. It’s a revolt against wink-wink “ironic” violence and action. Face/Off wouldn’t suffer the same fate because, despite Cage and Travolta’s lunacy and the insanity of the plot, it is essentially a straight-up, serious action film in the way it takes itself. Kick-Ass, Pilgrim and Machete have all sought to make fun of the genre in some way (I assume so in Machete’s case, having not seen it of course). I think audiences just want to take their action movies seriously without layer upon layer of winking fanboy irony, hence the success of Inception and the failure of, say, The Losers.

  32. Also, Kick-Ass truly can’t be described as “creative”. Pilgrim, yes, although in my view it was ultimately a failure. But as DeeZee accurately notices (yes, sometimes he’s correct), Kick-Ass was essentially a parody of every other superhero movie ever made, Spider-Man in particular. I’m willing to bet that if Raimi hadn’t made the original Spider-Man movie, Kick-Ass wouldn’t ever have existed, in the same way that Hot Shots wouldn’t have existed without Top Gun.

  33. “I want to be Paul Walker.

    Fast and the Furious. Fast and Furious. 2 Fast 2 Furious. RUNNING SCARED. INTO THE BLUE. Joy Ride. TAKERS. Flags of Our Fathers. VARSITY BLUES. She’s All That. THE SKULLS. TIMELINE POWER.”

    Let’s see: Auto-Suck. 2 Car 2 Suck. Overrated hockey puck Suck. Lame PG-13 Suck. Okay, that’s actually quite an enjoyable little blend of two little unheralded ’70s subgenres: the ’70s automobile thriller and the ’70s scuzzy motel pic. Never heard of it and it’s scored under a 5.0 on IMDb Suck. It’s not Letters From Iowa Jima Suck. Junior Varsity Filmmaking Suck. Roll call of all Teenage Douches in ’99 Suck. Rob Cohen’s thinly veiled “W” biopic (years before Stone got to it!) Suck. Missed that the Week it Played at the Theater Suck. (What, no Meet the Deedles POWER?).

    In conclusion: Paul Walker Sucks, and has all the charisma of Gilbert Gottfried during a bout of Irritable Bowel Syndrome. He’s never starred in a movie that I’ve thought even 3 seconds about purchasing on DVD in the Wal-Mart dustbins (okay, well, maybe Joyride, but I rightfully resisted).

    It’s pretty crazy, though, as bad as he is — and make no doubt about it, he makes Tate Donovan look like Daniel Day-Lewis — his taste in scripts is so incomprehensibly awful that he is rarely the worst thing about almost any movie he has ever starred in.

    So I can almost see where you might think he doesn’t Suck.

  34. The Losers was pretty baffling. Well-cast, fun in parts – but with these weird comic book drawings interspersed and occasional comic book movie tendencies.

    Ok, I assume it’s based on one – fine, whatever – but why kowtow to the four people who know that? It was a little off-putting for what appeared (mostly) to be a straight-forward action movie.

    And the removal of the trailer’s best line – “Mama didn’t raise no fool” – was heresy.

  35. “in the same way that Hot Shots wouldn’t have existed without Top Gun”

    Also, in the same way that Hearts of Hot Shots! Part Deux: A Filmmaker’s Apology wouldn’t have existed without Hot Shots!: Part Deux. ;)

  36. Lex: “I find it inconceivable that an apparently heterosexual male circa age 30 could have as much disdain– nee, RAGE– over *Jessica Alba* as DeeZee.”

    I’d like her, if she was honest with herself about being a shitty actress, and went to where she really belongs: skin flicks. But she acts like, and gets treated way too much like, an A-lister, and I just don’t buy it. She doesn’t have the class or the personality to be anything but this generation’s Phoebe Cates.

    “How the fuck can any straight guy NOT like Jessica Alba? How could ANYONE not like Jessica Alba? it’s like hating on kittens or something.”

    Cats are smart and have self-respect.

    Hooper: True that it wasn’t marketed around him, but he was in it, and someone should’ve noticed.

    Wiggum: “Leo Dicaprio only finally “broke through” with Shutter Island, but Dolph Lundgren has never left the spotlight? Are you fucking high?”

    Twenty-five years later, what do people remember liking more: Rocky IV or Titanic?

    “ANY movie that makes twenty-two-times its production budget on opening weekend is a big hit.”

    Not if it’s a slow weekend and it should make more money, based on its more accessible rating. Yeah, it was up against Takers, but there’s like only two actors in that flick anyone knows, and it’s basically Scarface, Jr. So how the hell can you cede that much dough to it?

    Eloi: Didn’t notice the Face/Off comment earlier. Actually, when I think about it, I’m surprised it did as well as it did, given that Cage wasn’t a draw at the time, and Travolta was still in a hit-and-miss phase. Yeah, PF made money, but who the hell saw Michael, for example? And Kick-Ass wasn’t even a parody. It was just a Uwe Boll-esque rip-off.

    Gordon: Inception’s only intelligent if you’ve never heard of Philip K. Dick or Satoshi Kon.

  37. DiscoNap: Wiki says he has a kid, but she lives with her mother in Hawaii. He’s probably out still living the bachelor lifestyle and sending the occasional alimony payment.

    Varsity Blues is great. It was a rip-off of Friday Night Lights before they adapted the book for real. Van Der Beek gives a sensational performance as “Mox,” the world’s blandest Quarterback.

  38. I didn’t even know who Brown was until after the Rhianna thing broke. I could less than a crap about him.

    So let’s be serious here. Chris Brown got pissed off that his overbearing, demanding, chronically diva-ish galpal called herself telling him off about his womanizing. if Rhianna’s mouthy behind has put it all behind her what are you bitching about?

    Last time I checked you didn’t get hit, she did!

    I’ve noticed that whenever positive box-office numbers come in for a movie headlined by actors of a certain –ahem– complexion, it’s not long before we see the usual suspects spewing their nonsense. And of course using mock urban-patois because that’s just how some people “think.” Fine.

    But to compare Chris Brown to Mel Gibson? That’s just “stoopid.” Gibson hits his wife while she’s holding his child and even threatens to bury her.

    You really want to make woman-beating comparisons, let’s start with Alec Baldwin and Kim Bassinger, Charlie Sheen, Tom Sizemore who’s back in the news for woman beating (astonishingly it wasn’t Heidi Fleiss …this time!) Michael Madsen or Roman Polanski.

    Have any of THEM had to do time? How many of them had their careers stopped for doing things FAR worse than a lovers spat that got way out of hand?

    You want to whine, then don’t stop at Chris Brown.

    I realize that to some of you seeing this movie doing well irritates you. Change your tampons then.

    Because your reaction would be no different regardless of whether Brown was in this movie or not. You’d just be bitching about something else.

  39. @Gordon,

    “Inception” is an encouraging sign, but let’s be real here: “Crazy-complicated scifi concept you’ll be looking for charts about later” didn’t put those initial asses in seats, at least not to the degree “From the director of TDK” and “starring Leonardo DiCaprio” did…

  40. “”Inception” is an encouraging sign, but let’s be real here: “Crazy-complicated scifi concept you’ll be looking for charts about later” didn’t put those initial asses in seats, at least not to the degree “From the director of TDK” and “starring Leonardo DiCaprio” did…”

    I honestly don’t understand your point. What is this mythical time-period to which you refer when movies didn’t need stars to attract audiences?

    I think the really funny thing is that people on-line keep emphasizing that the lesson here is “smart movie failing”. As pointed out, ‘Inception’ belies that. The actual Hollywood lesson of this year is that comic book movies hit their peak with ‘Dark Knight’, and the “Fear and Loathing” type crest is starting to pull back, leaving ‘Jonah Hex’, ‘Kick-Ass’ and ‘Scott Pilgrim’ fighting over a small piece of the pie.

    I’m not even saying that’s actually the case, I’m just saying that’s the lesson they’ll take from it. And the studios, as a whole, will start turning away from comic book movies and claim this is the reason, even though the real reason is that WB owns DC and Disney owns Marvel, so there’s very little left for them to choose from as the rights gradually revert back to Disney. I mean, this could be a good time to buy stock in Image, maybe, because the studios might try digging through their character list looking for properties… but they do so hate the phrase “creator controlled” so I doubt it.

  41. Gordon: Iron Man 2 did alright. The problem with the movies you mentioned is they suffered from the casting of unmarketable actors who were obliged to sell low-budget, and thus low-profile, action films which would only appeal to geek audiences. These flicks don’t necessarily have to be big budget. Look at Sin City’s take. But being “based on a comic book” just doesn’t cut it, either. Hell, even Hanks couldn’t do much for Road to Perdition.

    Though I guess we’ll know where the genre stands based on how Green Lantern, Thor and the X-Men reboot perform. As for Image, McFarlane ok’ed the Spawn movie, so it’s not always beneficial when the creators call the shots. At least when they know as little about what works on film vs. paper as Frank Miller.

    As for Inception, there’s no doubt the casting helped. But I don’t think it would have done as well if the competition was so weak. And if the intelligence of the subject matter made a difference, then Hurt Locker would be a mini-hit.

  42. As usual, DZ is clueless. “Who the hell saw Michael?” It made just shy of $100 million domestic in 1996/early 1997.

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