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Chronicle and The Woman in Black Duke it Out at the Box Office
New releases Chronicle and The Woman in Black each took in a higher-than-expected haul over Super Bowl weekend, though it was the former film that managed to climb to the top with a weekend gross of $22 million. Still, The Woman in Black wasn't that far behind, pulling in $21 million over the weekend. Last week's surprise box office victor, The Grey, slid to number three, while new release Big Miracle's weekend take of $8.4 million was only enough to land it at spot number four. Rounding out the top five was Underworld: Awakening.
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Don’t Go in There! Cinema’s Scariest Haunted House Movies
Creaky floorboards. Rattling window shutters. Creepy noises in the attic. What could be scarier than a lonely old house on a dark and stormy night? The haunted house subgenre has been around for a long time and has proven to be endlessly fascinating to moviemakers and audiences alike. With the two newest entries in this enduring subgenre—The Woman in Black and The Innkeepers—hitting theaters today, MM is taking a look back at some of the scariest haunted house movies of all time.
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Box Office Goes to the Wolves with The Grey
The box office went to the wolves this weekend, with Joe Carnahan's The Grey beating out last week's reigning champ Underworld: Awakening to land at the number one spot. The man vs. nature actioner did better than expected, earning $20 million in its first weekend; meanwhile, the latter film's weekend haul of $12.5 million brings its total gross to $45.1 million.
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Distribution in the Year 2012
Distribution is the sole source by which film revenue is earned, but between the advent of digital theatrical distribution, the rise of Netflix and VOD and the collapse of the DVD market, recent years have seen some radical changes in how films are distributed. It makes sense that independent moviemakers, always been on the cutting edge themselves, should be the ones to race to exploit emerging distribution methods.
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Underworld: Awakening Takes a Bite Out of the Box Office
Underworld: Awakening took a bite out of the box office last weekend, earning $25.4 in its first three days and beating out second-place finisher, fellow new release Red Tails, by a substantial margin. Last week's number one film, Contraband, fell two spots to number three, while Extremely Loud and Incredibly Close celebrated its first weekend in wide release—it hit select theaters across the country over Christmas weekend—with a weekend gross of $10.5 million. Rounding out the top five was the newest from Steven Soderbergh, Haywire, which earned $9 million over its first weekend.
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Ed Burns Is Forever Indie
Edward Burns is no stranger to the world of indie film. He launched his career with the $25,000 The Brothers McMullen at the Sundance Film Festival back in 1995, during the dark, pre-digital days of 16mm cameras and now-foreign concepts like optical houses and film prints. In 2010, after seven larger-budget features as a writer-director, Burns returned to the low-budget arena with Nice Guy Johnny. He bypassed traditional distribution methods by releasing the film himself, first with a short festival tour and then with a simultaneous day-and-date rollout on VOD, DVD and Pay-Per-View. Now Burns is taking this new model even further with Newlyweds, which he produced for a staggering $9,000 sum.
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Sorry, Disney: Contraband Beats Beauty and the Beast 3-D to Number One
Crime drama Contraband had a better-than-expected opening weekend run at the box office, earning $24 million in three days and outpacing second-place finisher, Beauty and the Beast 3-D, by a substantial amount. The re-released Disney classic earned $18.4 million over the weekend—less than the 3-D release of The Lion King earned on its opening weekend last September, but still pretty good for a movie that's only one year shy of being able to buy itself alcohol.
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The Artist Comes Out on Top at the Golden Globes
At last night's Golden Globes, it was Oscar frontrunner The Artist that came out on top, winning three awards, including Best Picture—Comedy or Musical. Still, it's probably best to keep the film's name written in pencil on your Oscar ballot for now; though it was one of only two films to win multiple awards, the winner in the Best Picture—Drama category (this year, The Descendants) historically has a better chance at victory come Oscar night. Additionally, The Artist missed out in both the Best Screenplay and Best Director categories, in which Midnight in Paris and Hugo, respectively, walked away with the gold.
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The Ins and Outs of How to Sell a Banksy
When Christopher Thompson came across a work of art by Banksy—the infamous, anonymous street artist whose work sells for hundreds of thousands of dollars—he saw his acquisition as a twofold opportunity. First, there was a potentially huge amount of money to be made in selling the piece. Second, the effort it would take to find a buyer—getting it restored, authenticated and evaluated, all of which would require gate crashing the business world that's sprung up around the counterculture icon—would make for an interesting documentary. Four years later, co-directors Thompson and Alper Cagatay's debut film, How to Sell a Banksy, is finally complete.
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January Doldrums Hit the Box Office
Since the early 1990s, as the late season award contenders still linger in most cinemas, awaiting a surge in audiences as their prizes accumulate, a mid-winter onslaught of goofy genre fair begins to appear in cinemas the weekend after New Year's Day. The next couple of months generally become a veritable dumping ground for all sorts of sub-par studio projects, from would-be prestige films that just don't fit in the award season paradigm to other assorted misfits within the corporate conglomerates' tight-fisted slates.
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The Devil Inside Triumphs at the Box Office
New release The Devil Inside beat out the competition—which consisted of a slate of nearly-a-month-old films and a few new limited releases—to come in number one at the box office, earning a rather impressive opening weekend gross of $34.5 million. Last week's number one film, Mission: Impossible - Ghost Protocol, fell to number two, and Sherlock Holmes: A Game of Shadows came in at number three. David Fincher's The Girl with the Dragon Tattoo held steady at number four with a weekend gross of $11.4 million.
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Mission: Impossible - Ghost Protocol Outpaces the Competition
New Year's weekend proved to be quiet one at the box office, with Mission: Impossible - Ghost Protocol holding onto the number one spot for the second week running. Last week's runner-up, Sherlock Holmes: A Game of Shadows, stayed in the number two position, while Alvin and the Chipmunks: Chipwrecked rose one spot to number three.
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