‘Hobbit’ leads holiday charge, contributes to record b.o.

Five new films may have opened on Christmas day, but it seems audiences preferred to seek out known successes, rather than take a chance on novel fare. The Hobbit: The Desolation of Smaug won the weekend for the third week in a row with its $29.9 million haul, while Disney’s hit Frozen, now in its fifth week, skated past last weekend’s tough competitor American Hustle as well as Anchorman 2 to earn the second highest gross ($28.8 million). Though Smaug continues to track behind last year’s Hobbit prequel, it nonetheless joins Gravity as the only two films this year to have retained their No. 1 standing for three consecutive weekends. As for Frozen, which has surpassed even the most optimistic expectations, it boasted the third highest  fifth-weekend gross ever, just behind the $30 million Titanic earned its fifth weekend in theatres, and Avatar’s $42.8 million.

Anchorman 2: The Legend Continues chuckled its way to the No. 3 slot with $20.2 million. So far, the comedy has earned $83.7 million domestically. Will Ferrell’s long-gestating sequel should easily surpass the first Anchorman’s $85.7 million cume within the next few days.

In fourth place, David O. Russell’s American Hustle made like stars Amy Adams and Bradley Cooper and danced its way to a cool $19.6 million. The film has so far enjoyed (almost) universal critical acclaim and positive word-of-mouth. More awards nominations seem imminent, which should significantly boost its already impressive $60 million cume. Pundits believe an overall take of $100 million is likely.

The only new release to have landed within the weekend’s Top 5 – and then just barely – was Martin Scorsese’s much hyped The Wolf of Wall Street. The Leonardo DiCaprio-starrer earned $18.5 million, or $34.3 million for the five-day holiday spread. There are those who believe the film’s low Cinemascore rating of a “C” bodes poorly for its continued box office success, predicting a quick flameout within the next week or two. Others, however, think Street’s controversial depiction of stunted adolescence/hubristic debauchery will continue to draw viewers, especially if the rumors prove true and the film earns an Oscar nod or several.

Saving Mr. Banks, which has struggled to find its audience these past few weeks, finally clicked with holiday moviegoers. The true story of how Walt Disney successfully won the film rights to Mary Poppins from persnickety author P.L. Travers earned $14 million, a great uptick of 50%.

Unfortunately, with the exception of The Wolf of Wall Street, the full story of the holiday’s new releases isn’t as uplifting. The Secret Life of Walter Mitty did OK business with its $13 million weekend gross and $25.6 million five-day haul. Those figures are respectable, though they pale in comparison with past Ben Stiller hits Night at the Museum and the Meet the Parents movies. Still, at least Stiller and his collaborators weren’t part of the very, very expensive 47 Ronin, directed by and starring Keanu Reeves, which tanked with $9.9 million ($20.6 million over the five days).  They also had nothing to do with Grudge Match, a flop with $7.3 million ($13.4 million five-day), nor, thankfully, with Justin Bieber’s docu-bomb, Believe ($2 million/$4.3 million). As Mitty himself is well aware, it’s all about perspective.

Even given the aforementioned string of less-than-boffo bows, though, the day’s big news is all about 2013’s box-office success. Final numbers have yet to be tallied, but as of yesterday the domestic box office was just $1.6 million shy of the $10.837 billion record set in 2012. With today and tomorrow still to go, it’s safe to assume 2013 will be another one for the books.

'Hobbit' leads, with 'Django' and 'Les Mis' not far behind

As the holidays start wrapping up, there's plenty of good cheer to share at the box office. The top seventeen films all earned over $1 million this weekend.  Viewers have many great options to choose from and theatres are busy with people on vacation in search of entertainment. Most releases also went up from last week, a rare occasion in the modern, opening-weekend-driven box office.

After dropping by half its second weekend, The Hobbit: An Unexpected Journey had a second wind, descending just 10% to $32 million. That gives the fantasy a $222 million domestic total to
date, along with nearly half a billion abroad. With many multi-million weekends to come, it looks like J.R.R. Tolkien's novel about Bilbo Baggins will be able to sustain a trilogy.

Debuting in second place, Django Unchained earned $34 million over the weekend and $64 million since its Christmas Day opening. The violent comic Western about a slave's revenge has been an even bigger hit with audiences (93% positive) than critics (89%) positive), and it also earned an "A-" CinemaScore. For many, this movie is a must-see.

Les Misérables had a weekend tally of $28 million, just under Django. However, its $18 million opening on Christmas Day helped propel it to a $67.4 million total, just above director
Quentin Tarantino's violent antebellum picture. Les Misérables received an "A" grade from viewers. I predict Les Misérables will last slightly longer than Django at the box office, since it will likely attract more selective and older viewers who may wait to see a feature until weeks after it opens.

Parental Guidance, a comedy about the clashing parenting styles of different generations, proved a hit with the holiday crowds, earning $14.8 million over the weekend and $29.6 million since Christmas Day. Although This is 40 started out slow, its  $13.1 million total was up 13% from its debut weekend. The $37 million cumulative means the Universal picture has at least made back its reported $35 million budget. The Guilt Trip may be the big loser in the family-oriented comedy race, totaling just $6.7 million for a total of $21 million, with a reported budget that soared even higher, to $40 million.

Silver Linings Playbook, which expanded into over 700 theatres, placed twelfth while posting a per-screen average of $5,500, higher than almost all the movies that earned more than its $4.1 million weekend total. The Weinstein Co.-distributed romantic comedy has earned $27 million to
date as it slowly expands.

The highest per-screen average went to Zero Dark Thirty, which averaged $63,000 per screen while still playing in only five locations. It won't expand wide for two more weeks. A distant (but still decent) second went to Amour, the well-reviewed critics' favorite that averaged $20,000 per screen. The tear-jerker The Impossible, with an $12,300 per-screen average, posted the third-highest total of the week. That movie will expand wide this Friday along with Promised Land. The issue-based drama, which centers on fracking for natural gas and stars Matt Damon and John Krasinski, had a weak ignition, with $7,600 per screen at 25 locations. The documentary West of Memphis also opened soft, averaging $2,700 per screen in five locations.

This Friday,  Texas Chainsaw 3D will splatter horror content into movie theatres, and Promised Land and The Impossible will expand nationwide.

Bond is back: 'Skyfall' makes a rare return to number one after three-week hiatus

Just like in Skyfall, Bond is back. After debuting in first place, Skyfall spent three weeks playing second fiddle to The Twilight Saga: Breaking Dawn--Part 2. Now that steeply declining franchise finale has dropped to third with $9.2 million. Skyfall, declining just 33% from last week, rose to first place with $11 million. That gives the Daniel Craig-led movie a total of $256
million in the U.S., plus another $656 million abroad for a total of $918 million. At this point, I bet Sony's counting its pennies and trying to see if it can top the $1 billion mark. The ten-figure mark aside, the movie is close to being the studio's most successful in five years. For a franchise release that was delayed for so many years thanks to MGM's bankruptcy, this is the best possible outcome. Maybe Hollywood can learn a lesson that spacing apart franchise titles and putting together a quality script can lead to a huge payoff.

After a poor debut and a 43% drop in its second weekend, Rise of the Guardians leveled its fall with a 20% slide to $10.5 million. The DreamWorks Animation title has been something of a disappointment, but the holiday-themed tale may be able to hold onto an audience through
Christmas. In two weeks, it will have the 3D re-release of Monsters Inc. to contend with, but that's about it in the family entertainment department.

Playing for Keeps, the only new wide release of the week, did just about as poorly as expected, debuting with a total of $6 million. Gerard Butler's career is now in critical mode, since he also appeared in the surfing flop Chasing Mavericks. He's already filmed his next role, in 2013's Olympus Has Fallen, so he really needs that movie to be a success to help revive his career.

End of Watch had a moderately successful re-expansion into over 1,000 theatres. The goal was to break $1 million, but the cop procedural finished with $733,000. Still, considering last week the movie earned just $22,000, the increase in theatre count added a nice chunk to the total.

Hyde Park on Hudson debuted to a $20,000 per-screen average in four locations in New
York and Los Angeles. With many awards-leaning pictures opening in the $50,000 to $70,000 per-screen range, that's not good. It looks like the story of a romance between FDR and his cousin will be passed over both by critics and by audiences.

Ed Burns' Fitzgerald Family Christmas put in a $3,400 per-screen average in four locations. Burns' Irish Catholic stories have a following, but it's unclear if they all showed up opening weekend or if the opening is a launching point to nice holiday run.

This Friday, one of the most anticipated movies of the year comes out. The Hobbit: An Unexpected Journey will release in over 4,000 locations, with many theatres showing it in 3D and select locations previewing director Peter Jackson's high-frame-rate version.

Weighing in on the high-frame-rate version of 'The Hobbit'

Reactions to the high-frame-rate version of Peter Jackson's The Hobbit: An Unexpected Journey have been mixed. A demo at CinemaCon fell flat, with many exhibitors finding the format looked liked television. There is, of course, a reason for that. Film speed is 24 frames-per-second, while television is often projected at 30 fps or higher, depending on if you're watching, say, sports versus a prime-time drama. At last night's 3D, high-frame-rate screening at a Times Square multiplex, my reaction went from negative to neutral, and then cautiously positive. I do think the technology will
be part of the future of filmmaking, but it will take adjustment. History has shown that some naturalistic changes to film form were at first perceived as unnatural. Most famously, Technicolor was reserved for big-budget, showy pictures, while dramas and serious movies stayed with the lower-cost black-and-white format. Perhaps in part because of the genres that used color, seeing a film in color was seen as unnatural. Now, watching a black-and-white movie, it's hard to imagine anyone finding that medium more realistic-looking. Early Technicolor was, in fact, often brighter and more saturated than real life, which may have been part of what audiences were reacting to. Now we don't even think about that. We just think color = more real.

In the opening, brightly lit scenes of The Hobbit, the high frame rate looked wrong. It was either my eyes adjusting, or (if they shot in sequence, which is doubtful), that they were just figuring out the best lighting for the high frame rate. So most likely my eyes just needed a period of time to acclimate, as my mind reconciled watching a frame rate we only see in TV with an epic movie. Because high frame rates show so much detail, they have a tendency to make sets look fake. Again, I think that's something that productions will learn to accommodate. On the flip side, you can see the actor's hair flyaways, the texture of a wool sweater, and other minute details that normally aren't captured by film. Still objects, in particular, look amazingly real. I do feel a bit sorry for the actors who now have every single pore and wrinkle showing. With an almost all-male cast of gruff-looking dwarves, that isn't a problem, but it will definitely be an issue when dealing with romances or anyone supposed to look pretty. Right now, the hazy-light filters Jackson appears to be employing in certain scenes just aren't cutting it.

One problem I often have with movies is when they quickly pan, which can look choppy and feel uncomfortable to the eye under standard frame rates. There have been many times that quick motion and pans have brought me
out of the narrative, and I internally chastised the director for
violating film's laws of motion. With The Hobbit, this isn't an issue.

I admire Peter Jackson for advocating for a new technology by actually doing it himself, and to a series worth billions of dollars, no less. It's not quite as wowing as the 3D in James Cameron's Avatar, but I also think the benefits of high frame rate will be easier to replicate. So many poor 3D movies released in the wake of Avatar, with none worth the extra ticket price. I hope that high frame rate does not command a ticket premium, but makes the theatrical moviegoing experience that much more vivid and distinct from an in-home experience. There are many films that can benefit from high frame rates, so more directors should follow Jackson's path and experiment with providing an even better experience with this technology.

Tentpole watch: 'Pacific Rim' teaser and 'Avatar' update

It's hard to think of tentpoles releasing a year or two years from now when a juicy franchise like The Hobbit: An Unexpected Journey comes out just two Fridays from now. But today brings updates on two highly anticipated tentpoles: Pacific Rim and the Avatar sequels.

Guillermo del Toro, the original director of The Hobbit series before dropping out due to MGM's bankruptcy-related delays, turned his attention to Pacific Rim, an aliens vs. robots sci-fi movie that promises to show off del Toro's skills as a creature creator. Warner Bros. just released a viral teaser that reveals part of the plot in the form of a frantic news broadcast. The poor Golden Gate Bridge is cracked in half by an alien, who is then subdued and placed on a ship in the same manner as the T-Rex in The Lost World. When it comes to the blueprints of the robots, which were also released, I'm not quite as excited. They look like giant Iron Men or Transformers. There's not a lot of originality, at least in their form. How they perform in action may be a different story. The movie comes out next July.

 

 

The blue-hued, naturalistic aliens in Avatar will begin their CG creation late this year, according to an interview conducted with writer/director James Cameron in New Zealand, where he's hanging out and finishing up the script for the sequel. Apparently the script for Avatar wasn't finished at the time of production (normally a big no-no), leading to a lot of work for scenes that were later cut. A completed script for Avatar 2 plus working with creatures that have already been created in CG should mean the time from production to screen is shorter, though I wouldn't bet on that. Especially because Cameron imposed a new challenge for the series by setting it underwater, which should multiply the difficulty for both the CG team and the poor humans who have to spend a lot of time in water tanks. Though between Cameron's experience on The Abyss and Titanic, he's at home with the difficult filming conditions. Even with production starting late next year, it's unlikely the movie will release until 2015. By that time, the three-film series of The Hobbit will be done, and audiences will be more than eager to pick up where the 2009 Avatar left off.

From 'The Hobbit' to 'Haunted Mansion'?

By Sarah Sluis

When Guillermo del Toro left his directing duties on The Hobbit because of production delays, I expected him to move on to something equally grand. But it's hard to one-up the world of Middle Earth, so it looks as though del Toro will be taking things down a notch, and going either more commercial, or more epic and

off the beaten path.

First up is an announcement that del Toro will tackle an adaptation of the theme park ride Haunted Mansion. While I've gone on that ride a number of times (its short wait times make it a good option for time-conscious theme park-goers) and enjoyed its friendly creepiness, I've never been "inspired" by it the way del Toro claims to be. He told THR that he has a room in his home devoted to memorabilia of the ride, and "When I'm depressed or when I have a problem, I ride the Haunted Mansion ride to clear my head." While I was momentarily buoyed by his clear passion for this idea, I was dismayed by the plan to make it a "four-quadrant" movie. I can't think of many scary movies that appeal to both kids and adults. More likely, there will be either bored adults or kids who remember the movie as a scarring experience. Del Toro will co-write and produce the movie, with a "possibility" of directing.

In an exclusive, Entertainment Weekly speculates that del Toro will next direct At the Mountain of Madness, based on his adaptation of a 1930s H.P. Lovecraft novel. The plot centers on a Shackleton-esque group of explorers traversing the Antarctic who encounter a group of tentacled monsters. I love the way open spaces can look creepy, from Christopher Nolan's Alaska-set Insomnia to the famous cornfield scene in North by Northwest, so I'm more on board with this project due to its setting alone. Since it's expected that del Toro will announce his next project when he previews another haunted house film he co-wrote and produced, Don't Be Afraid of the Dark, to Comic-Con audiences this weekend, we'll be kept in blissfully short suspense.