Showing posts with label Aaron Paul. Show all posts
Showing posts with label Aaron Paul. Show all posts

Monday, March 17, 2014

‘Need for Speed’ crashes at box office

Jesse Pinkman deserves better. Hollywood’s latest videogame adaptation undercut what were already modest expectations this weekend when Need for Speed failed to nab first (or second) place at the box office. Instead, the Aaron Paul-starrer earned a disappointing $17.8 million. Its debut haul secured the film third-place standing behind Mr. Peabody and Sherman ($21.2 million) and 300: Rise of an Empire ($19.1 million). The former enjoyed a solid hold from the previous weekend, dropping just 34 percent.  To compare, last year’s The Croods dropped 39 percent its second weekend in theatres, while How to Train Your Dragon also dipped 34 percent. Rise of an Empire took a fairly steep hit – suffering a downturn of 58 percent – but its overall cume remains respectable ($78.3 million to date).


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With an “eh” CinemaScore rating of a B+, it looks as if Need for Speed will only continue to stall. Overall returns should tally out to south of $50 million. As for Tyler Perry’s Single Moms Club, it’s unlikely the film will even reach that benchmark. The prolific Perry suffered his worst opening yet with Club, which grossed $8.3 million. Prior to this weekend, Daddy’s Little Girls was Perry’s least-successful outing, having opened to $11.2 million in 2007.


Perry’s last few features (Tyler Perry Presents Peeples, A Madea Christmas) have also been disappointments. The films’ distributor, Lionsgate, has had a rough time of it recently: The company suffered losses on both The Legend of Hercules and I, Frankenstein as well. Let’s hope this weekend’s Divergent changes its luck for the better.


No such wishes are needed for Wes Anderson’s The Grand Budapest Hotel, which continues to do marvelous business. This past weekend saw the comedy rake in an additional $3.6 million from 66 locations. The film will enjoy its largest expansion yet this coming weekend, when it will screen in 275 theatres.


Despite some streaming troubles for those who opted to pay for a Web version of the film, Veronica Mars can be called a modest success. The movie earned $2 million from 291 locations. With the continued and concurrent availability of VOD, however, it will be interesting to see how the movie holds in the coming weeks.


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Here’s hoping the weeks ahead are kinder to Jason Bateman’s Bad Words. The actor’s feature directorial debut hasn’t gotten off to a boffo start: The movie screened in six locations and grossed just $120,000. It will expand nationwide on Friday.



Friday, March 14, 2014

‘Need for Speed’ to cruise into 1st place

Disney is expecting modest returns in the low-to-mid $20 millions for videogame adaptation Need for Speed this weekend, but those earnings should still be enough to propel the Aaron Paul star vehicle (pun not intended, we promise) to first place. The film has received terrible reviews (23 percent on Rotten Tomatoes), not to mention, movies based on or inspired by videogames do not have a great track record of success (see: Max Payne, Doom). Nonetheless, the fanboy fan-base is a faithful one, and Aaron Paul, fresh off the final season of "Breaking Bad," will no doubt draw many fans in his own right.


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Tyler Perry’s Single Moms Club also opens wide this weekend. However, it will probably not take second place, or even third place. Those slots should go to holdovers Mr. Peabody & Sherman and 300: Rise of an Empire. Both films are expected to gross in the high-teens, while Club is tracking a little softer, in the mid-teens. Incredibly, Single Moms Club will mark director Tyler Perry’s 15th movie since 2006. Nine of those films debuted to $20 million or more, although most featured Perry’s Madea character or opened over Easter weekend. Club fits neither criterion.


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TV cult favorite Veronica Mars finally hits the big screen today. After a successful Kickstarter campaign, in which fans raised over $5 million, Mars will screen in 291 locations and via VOD. If everyone who contributed to the Kickstarter fund opts to see the movie in theatres, Veronica Mars could earn upwards of $2 million.


Ahead of its wide release next weekend, Jason Bateman’s feature directorial debut Bad Words opens in six locations in NY and LA. It will probably not beat or even meet the record-breaking per-screen average Wes Anderson’s Grand Budapest Hotel achieved last weekend, although it may still enjoy a solid opening. As for Hotel, the feature expands to 66 locations and will likely take in $2 million or so.



Monday, December 16, 2013

Black List reveals best of 2013's unproduced

Earlier today The Black List unveiled its top picks for the year’s best unproduced screenplays. Holland, Michigan by Andrew Sodroski earned the most number of votes out of a pack that includes such enticingly titled projects as Randle is Benign, The Shark Is Not Working, Time & Temperature, The Boy and His Tiger, and the we’re-pretty-sure-we-know-what-this-is-about (and-we’re-excited-for-it) A Beautiful Day in the Neighborhood.


Since 2005 The Black List, founded by Franklin Leonard and Dino Sijamic, has compiled an annual roster of screenplays that is meant to represent the best of the industry’s exponential pile of unproduced works. The organization tends to be spot on. Of the past five Best Picture winners, three were made from Black-Listed scripts: Argo, Slumdog Millionaire, and The King’s Speech. Juno, The Social Network, The Descendants, and Django Unchained all won the Oscar for Best Screenplay, and were all once listed on The Black List.


The upcoming Fathers and Daughters, starring Russell Crowe, Amanda Seyfried and “Breaking Bad’s” Aaron Paul, was a Black List selection from 2012, as was the Hillary Clinton biopic, Rodham, currently in development at Lionsgate.


See if you can spot 2015’s Best Picture winner out of this year’s group of 72 (listed in no particular order) below:


MISSISSIPPI MUD by Elijah Bynum


PATIENT Z by Michael Le


MAKE A WISH by Zach Frankel


RANDLE IS BENIGN by Damien Ober


A MONSTER CALLS by Patrick Ness


QUEEN OF HEARTS by Stephanie Shannon


HOLLAND, MICHIGAN by Andrew Sodroski


HOT SUMMER NIGHTS by Elijah Bynum


DUDE by Oliva Milch


PAN by Jason Fuchs


SUPERBRAT by Eric Slovin & Leo Allen


SEED by Christina Hodson


CAKE by Patrick Tobin


DIABLO RUN by Shea Mirzai and Evan Mirzai


SEA OF TREES by Chris Sparling


FRISCO by Simon Stephenson


WHERE ANGELS DIE by Alexander Felix


SUGAR IN MY VEINS by Barbara Stepansky


SECTION 6 by Aaron Berg


LAST MINUTE MAIDS by Leo Nicholas


BROKEN COVE by Declan O'Dwyer


TIME & TEMPERATURE by Nick Santora


POX AMERICANA by Frank John Hughes


THE FIXER by Bill Kennedy


HALF HEARD IN STILLNESS by David Weil


THE LINE by Sang Kyu Kim


BEAST by Zach Dean


THE REMAINS by Meaghan Oppenheimer


TCHAIKOVSKY'S REQUIEM by Jonathan Stokes


AMERICAN SNIPER by Jason Dean Hall


THE POLITICIAN by Matthew Bass and Theodore Bressman


BEAUTY QUEEN by Annie Neal


REMINISCENCE by Lisa Joy Nolan


FREE BYRD by Jon Boyer


DIG by Adam Barker


MAN OF SORROW by Neville Kiser


THE GOLDEN RECORD by Aaron Kandell and Jordan Kandell


NICHOLAS by Leo Sardarian


FROM HERE TO ALBION by Rory Haines and Sohrab Noshirivani


1969: A SPACE ODYSSEY OR HOW KUBRICK LEARNED TO STOP WORRYING AND LAND ON THE MOON by Stephany Folsom


CLARITY by Ryan Belenzon and Jeffrey Gelber


ELSEWHERE by Mikki Daughtry and Tobias Iaconis


THE KILLING FLOOR by Bac Delorme and Stephen Clarke


REVELATION by Hernany Perla


THE CROWN by Max Hurwitz


THE CIVILIAN by Rachel Long & Brian Pittman


AUTOPSY OF JANE DOE by Richard Naing and Ian Goldberg


THE SHARK IS NOT WORKING by Richard Cordiner


THE INDEPENDENT by Evan Parter


FAULTS by Riley Stearns


THE SPECIAL PROGRAM by Debora Cahn


I'M PROUD OF YOU by Noah Harpster and Micah Fitzerman-Blue


SOVEREIGN by Geoff Tock and Greg Weidman


DOGFIGHT by Nicole Riegel


INK AND BONE by Zak Olkewicz


A BEAUTIFUL DAY IN THE NEIGHBORHOOD by Alexis C Jolly


GAY KID AND FAT CHICK by Bo Burnham


BURY THE LEAD by Justin Kremer


EXTINCTION by Spenser Cohen


SPOTLIGHT by Josh Singer and Tom McCarthy


THE MAYOR OF SHARK CITY by Nick Creature and Michael Sweeney


THE END OF THE TOUR by Donald Margulies


FULLY WRECKED by Jake Morse & Scott Wolman


PURE O by Kate Trefry


CAPSULE by Ian Shorr


SHOVEL BUDDIES by Jason Mark Hellerman


BURN SITE by Doug Simon


THE COMPANY MAN by Andrew Cypiot


SWEETHEART by Jack Stanley


INQUEST by Josh Simon


THE BOY AND HIS TIGER by Dan Dollar


LINE OF DUTY by Cory Miller