Cinematical

Michael Jackson's This is It was the only new wide release this weekend, and essentially had the box office to itself. This may seem weird, but this is as it should be -- and it has more to do with Halloween falling on a Saturday than with any show of respect for the King of Pop. Predictably, This is It won the weekend, grossing $21.3 million for a total of $32.5 million since its Wednesday opening. That's a good number, and monumental for a documentary, though it is also an instance where the studio's hype machine may have led people astray.

Those who read the breathless press releases about the trumped-up advance ticket sales frenzy surrounding This Is It may be disappointed (or in any case surprised) by these figures. But over $30 million in five days for a concert documentary is nothing to sneeze at -- and I don't think that expecting much more was reasonable. (As a footnote, too, the movie made nearly $70 million outside of North America -- which also makes sense.)

The Boondock Saints II: All Saints Day bowed on 68 screens and grossed just under half a million in 16th place, which isn't bad, really -- confirming the small cult following for Boondock Saints that everyone already knew existed. Among holdovers, Paranormal Activity continued to add screens, and continued to hold up well -- it should break $100 million by this time next week. Saw VI and Where the Wild Things Are both suffered drops over 60%; Wild Things will top out around $70 million (pretty good for an art film), while Saw VI will wind up making around (or just over) half of the next lowest grosser in the franchise. Will the next one go straight to DVD? (Probably not, but it might be time to start asking the question.)

The full top 10 after the jump.

This one is for the increasingly few of you who have steadfastly stuck with the Saw franchise through thick-and-thin in the aughts. The opening weekend numbers for Saw VI are the weakest since the first film, mostly thanks to some stiff competition from breakout hit Paranormal Activity. But box-office returns aren't everything. So: what'd you think?

I wrote this little piece before the release of Saw V last year, in the mode of a frustrated fan hoping for a revitalized franchise. It didn't happen; Saw V was boring and incomprehensible, and I was ready to skip the sixth film altogether. Then it got some decent reviews, and I thought what the hell. I'm glad I did. Saw VI, which sees editor Kevin Greutert take over directing duties, is easily the best Saw movie since the third. That may not be the most enthusiastic bit of praise I've ever issued, but miracle of miracles: the fifth sequel to a half-decent horror flick is legitimately pretty good. Here's how I think Saw got some of its bite back:

• Thriller momentum. For the first time in three years, a Saw movie is exciting, in an old-fashioned what-happens-next sort of way. There are creative traps a-plenty -- some of the most ingenious ones in the series, for those who are into that sort of thing -- but the film doesn't depend on them: it has a semblance of a protagonist, and a story that moves forward, and draws you in, and makes the 90 minutes feel like less. Which is related to my next point, namely:

Is the Saw bubble finally deflating for good? The sixth installment of the mainstay franchise played second fiddle to the still-surging Paranormal Activity this weekend, grossing only $14.8 million dollars -- less than half the bow of the previous four installments, and lower even than the original 2004 film. The competition from the plucky indie horror film likely has something to do with Saw VI's disappointing returns, waning interest is probably involved as well. Paranormal Activity, for its part, claimed the top spot for the first time in its impressive five-week run, hanging on to its momentum in its first weekend of legitimate wide release.

The Paranormal/Saw horror combo left the weekend's other newcomers floundering. Summit's Astro Boy didn't have the marketing muscle it needed, while Amelia was hurt by bad reviews and a lack of studio enthusiasm. But the weekend's real disappointment is Cirque du Freak: The Vampire's Assistant, an obvious attempt by Universal to kick-start a new kiddie fantasy franchise, and a far, far bigger (albeit cheaper) fizzle than The Golden Compass. The Weitz brothers should no longer be permitted to work in this genre.

Where the Wild Things Are took a honking 55% hit in its second weekend, a victim of being an art film in mainstream guise. Law Abiding Citizen fared a little better -- it's now Overture's highest-grossing film.

The full top 11 after the jump.

All the hand-wringing over whether or not Where the Wild Things Are is "for children," or "kid-tested, mother-approved," or whatever, turned out to be mostly academic: the kids didn't go. And the movie cleaned up anyway. According to figures cited by this David Germain piece in the AP, parents with kids made up only 27% of the $32.5 million Wild Things earned this weekend. The prevalence of adults (who I gather grew up on the book, unlike the current generation of tykes) probably bodes well, or at least better, for the box office staying power of the divisive, challenging film.

Gerard Butler's Law Abiding Citizen opened to $21.3 million in second place -- the highest ever opening gross for young distributor Overture. That may have been at the expense of Screen Gems' The Stepfather, the unscreened, bloodless PG-13 horror remake that debuted in fifth place with $12.3 million. That's still not bad given the total lack of expensive name-brand talent involved.

Paranormal Activity continued its slow roll-out charge, adding 600 screens (760 total) and adding $20 million to its gross. (That's around $26,000 per screen.) How much the idiotic "we-won't-open-in-your-city-unless-you-go-online-and-DEMAND-it" shtick had to do with this is debatable. (Would the movie have made even more had Paramount just held the film back and then put it into wide release this weekend?) But the "breakout hit" label is difficult to resist at this point. Good job everybody.

Down at number 21, the omnibus New York, I Love You goes on the probably-should-have-kept-it-in-the-arthouses category. Its predecessor-of-sorts, Paris Je T'aime, expanded to around 200 screens rather than starting there, and did considerably better than New York will, foreign language handicap and all.

The full top 10 after the jump.

What is Devil? It's a new movie directed by the Dowdle Brothers (the skillful Quarantine) with a script by Brian Nelson (30 Days of Night, Hard Candy) from a story by M. Night Shyamalan (uh... well, you know). It is also the coolest high concept I've heard in a long time. The plot of the Shyamalan-produced project was tightly under wraps, but some online sleuthing by Slashfilm this weekend uncovered some hints, including possibly the greatest log line of all time.

The logline: "A group of people are trapped in an elevator, and one of them is the devil."

Right off the bat I should say that I have an almost irrational affection for movies that take Satan seriously as a walking, talking character. (As opposed to a tormenting spirit a la The Exorcist, which is also cool, but a whole different animal.) When The Devil's Advocate came out, I was obsessed with it for months. And I always find myself willing to tolerate a lot of crap from movies like End of Days for the same reason. My biases also include a love for claustrophobic little thrillers with a psychological bent. (This one almost sounds like something dreamed up by David Mamet.) And have I mentioned that getting stuck in an elevator is a long-standing phobia of mine?

I'm also a Shyamalan apologist, and his involvement in this isn't surprising: like all of his films, Devil is conceptually brilliant. It's the execution that's in question. The linked Slashfilm post reveals a few more details, none of them as interesting as that ridiculously beguiling conceit, which might be a bad sign.

Ricky Gervais's The Invention of Lying is taking hits in some places -- and earning praise in some other places -- for sneaking an unabashedly atheistic message inside a fairly conventional rom-com structure. I agree that the movie is astonishingly gutsy in this respect: in a country where a politician cannot publicly avow a lack of belief, a movie that declares religion to be a sham to comfort the gullible got a major distributor and a 2,000+ screen release how? (The obvious counterpoint is Bill Maher's Religulous, but that was a niche documentary that preached to the choir and was honestly marketed as anti-clerical; The Invention of Lying is a mainstream comedy whose ads did not contain a hint of where it was heading.) But is Gervais's movie really as anti-religious as it seems?

Consider that Gervais's portrayal of a world without religion is hardly utopian. His Mark Bellison lives in a shallow, blatantly classist society, obsessed with material wealth and physical appearance. His quest for romantic companionship is consistently undermined by his portliness and his "snub nose" -- obstacles in most civilizations, to be sure, but here the grounds for denying him sex and companionship are downright eerie. It's not just that the beautiful, successful Anna McDoogles (Jennifer Garner) isn't physically attracted to him. It's that, she tells him time and again, the two of them are not an optimal "genetic match." Mark's hunky colleague (Rob Lowe), on the other hand, is a far better "genetic match" -- and thus a better mate despite being, by all accounts, a huge douchebag.

A slow-roll platform release is a high-risk strategy, but Paramount has really hit on something with Paranormal Activity. The movie expanded from 30 to 160 screens this weekend, accompanied by good reviews and hype that Paramount marketers almost killed themselves building on the internet, and was greeted with a $44,000 per-screen average, amounting to a fairly eye-popping $7 million weekend. It wouldn't have worked if the movie weren't pretty good, and the momentum is sure to fade as the movie expands further, but still: kudos all around. It would have been easy to dump this little gem into a few theaters and let it die (see: The Midnight Meat Train.)

The weekend's only new wide release, Couples Retreat, capitalized on its cast and bright-colored marketing to the tune of $35 million -- a strong October bow, and par for the course for Vince Vaughn, who can open a rom-com like nobody's business. Chris Rock's documentary Good Hair opened at 186 screens and lurks down at number 14 with just over a million bucks. I must admit it's hard to come up with a good analogy to a doc about black women's hair directed by a superstar comedian, box-office-wise. Maybe Dave Chappelle's Block Party? ($6.2 million on 1200 screens, with a similar per-screen average.)

The holdovers did respectably, with the possible exception of The Invention of Lying. Ricky Gervais's subversive comedy took a 52% hit, though it will still end up beating Gervais's last stateside star vehicle, Ghost Town. Zombieland, this fall's little horror comedy that could, held up quite well in second place, approaching $50 million after two weeks. And I wonder if Disney will hold true to its promise to pull the 3-D Toy Story double feature out of theaters after this week; the movies are still doing well, dropping less than 40% and pulling in $7.7 million in their second re-release weekend.

The full top 10 after the jump.

I was surprised at the number of people who proved willing to venture out to the limited-run Toy Story 3-D double feature. The attraction raked in $12.5 million on under 2,000 screens, a feat made even more impressive by the double feature aspect, which obviously reduced the number of available showtimes. Whether the success of the rerelease was due to the love for the films or the current obsession with 3-D isn't clear -- though of course the most likely answer is "some combination of the two." (Certainly a plain vanilla double feature rerelease wouldn't have put up these numbers, but would it have flopped?)

The weekend's top spot, though, went to Zombieland, the un-star-studded but well-marketed and well-reviewed horror comedy. If it does not sink in the coming weeks, it could turn into one of the fall's biggest success stories. I wonder, too, what it will do for the cachet of Jesse Eisenberg; unless you count his very minor turn in The Village, Zombieland is by far the biggest box office triumph in which he's taken part. The busy, hyperintelligent actor hasn't seemed too celebrity-minded, but his stock seems to be steadily rising.

More and the full top 10 after the jump.

Weren't we seeking flashy, content-free teaser trailers for Fame, like, a year ago? Or nine months out at least? That's the sort of marketing generally reserved for event blockbusters, not movies that get dumped into theaters in late September en route to a $10 million opening and -- most likely -- a final gross in the vicinity of $25 -30 million. What happened? Given the bad reviews, perhaps MGM/Sony realized with a few months to go that they didn't have an awards contender or likely crowd favorite on their hands.

On the other hand, I don't know what excuse Disney has for Surrogates, a perfectly serviceable, extremely commercial sci-fi actioner starring Bruce Willis and directed by T3's Jonathan Mostow. Willis actionally doesn't have the greatest track record in opening non-franchise releases, but $15 million for a movie like this is awfully weak; here is an instance where hiding a movie from critics arguably hurt. Overture's Pandorum, also hidden from reviewers, was a less surprising flop, with $4.4 million dollars for the weekend.

Taking top honors for the second weekend in a row was Cloudy with a Chance of Meatballs , which held up very well; it probably helped that it was really the only family film in the market for the second weekend in a row. The Informant! which did not make big waves last weekend, also held pretty well; it won't do Ocean's business, but should end up as Soderbergh's highest-grossing non-Ocean's film (the current titleholder is Out of Sight with $37 million).

The full top 10 after the jump.

You couldn't turn a corner in Telluride this year without hearing a festival manager or volunteer gushing thanks to the festival's many sponsors for continuing to support Telluride despite, to quote Charlie Kaufman, today's wintry economic climate. Telluride, a posh film industry mainstay, appeared to weather the storm: the $680 "Festival Passes" -- the most common, middle-of-the-road choice for Telluride pass-holders (passes run from around $300 to over $3000) -- didn't sell out for the first time in recent memory, but the festival was well-attended, the movies plentiful, and apart from the speech-making, the only sign of trouble was that Omaha Steaks provided flatiron instead of sirloin for the event's annual Labor Day picnic.

Some of the less entrenched film events apparently are not so lucky. The increasingly popular CineVegas, for example, recently announced a hiatus for 2010, so that regular attendees -- of whom Cinematical is one (or more) -- had better make other plans for next June. Part of the problem, as The Hollywood Reporter notes, is that unlike Telluride and a great many other film festivals, CineVegas is not a non-profit, which makes sponsorships harder to come by.

Still, though CineVegas may have been minor compared to Toronto, Sundance, etc., it was certainly a major regional player. Several of the lower-profile events with which I'm familiar -- the San Francisco International Film Festival, the Mill Valley Film Festival, the Philadelphia Film Festival -- have gone ahead as planned this year. (The latter was affected by a feud among two major Philly film scene heavyweights, but that's neither here nor there.) The Hollywood Reporter article linked above notes a number of other events that have felt the pinch, though it only cites one other one -- the Jackson Hole Film Festival -- that was canceled entirely for budgetary reasons. How have festivals, repertory venues, and indie art houses fared in your neck of the woods?