'Wolverine' has modest victory with $55 million opening

With so many big-budget tentpoles face-planting at the box office, all eyes were on the domestic performance of The Wolverine. But as it turned out, the Hugh Jackman-led superhero movie opened to $55 million. Sure, that's $30 million less than the 2009 opening of X-Men Origins: Wolverine, but great overeas performance, where the film has already earned $86 million, is helping to make up for this gap.

Fruitvale Station entered the top ten in its third week. After expanding into over 1,000 theatres, the fact-based story of a black man who was fatally shot in tragic circumstances totaled $4.6 million. That was enough for it to beat another expanding indie, The Way, Way Back. The lighter, coming-of-age dramedy totaled $3.3 million, another good number, especially since its release was about 20% smaller.

The rest of the top ten was returning releases. Most had drops in the 30-50% range, but one exception was the buddy cop comedy The Heat. The female-driven picture dipped just 26%, its smallest decrease to date. Positive word-of-mouth is often cited as critical for movies that appeal to women, and that appears to be the case here. Its fifth-weekend total of $6.8 million brings its cumulative to $141 million.

The To Do List had great reviews, but a lackluster opening of $1.5 million. The weak interest in the movie is disappointing, but perhaps it will do better in aftermarkets like VOD. Even if it earns several times its opening weekend, it may not break $10 million.

Woody Allen's Blue Jasmine had a much stronger opening, earning an out-of-the-park $102,000 per screen for a total of $613,000. That's a few thousand over the per-screen average of Midnight in Paris, Allen's biggest recent hit. However, right now Allen is playing to his core audience in New York and L.A., so it's a bit early to know if this film will approach the $56 million earned by his vintage Paris-channeling 2011 success.

On Wednesday, The Smurfs 2 will enter a field already crowded with animated features. On Friday, Mark Wahlberg and Denzel Washington will team up for action flick 2 Guns.

'Black Swan' director moves to 'Wolverine 2'

By Sarah Sluis

Director Darren Aronofsky has a thing for characters who physically self-destruct. The drug addicts in Requiem for a Dream, the aging competitive fighter in The Wrestler, the self-mutilating perfectionist ballerina in Black Swan. So where does a comic book action hero fit in that picture?

The director is in negotiations to helm his first big franchise film, the sequel to Wolverine. This is a property that's been around the block a few times, and word is Aronofsky actually was more interested in Spider-Man until Zack Snyder was selected for the re-boot. Sure, Wolverine was a blockbuster that earned over $300 million worldwide, enough to greenlight a sequel, but its buzz was nowhere near that of a Spider-Man or Dark Knight. Will Aronofsky be able to turn the franchise around, or will this just be a paycheck project before he jumps back into the indie world again?

Thinking more about Wolverine as a hero, however, Aronofsky could bring a dark sensibility to the franchise. As a refresher, the Wolverine character is a human who is given a metallic skeleton and Edward Scissorhands-like talons. Is that so different than the ballerina in Black Swan sprouting black feathers, or Mickey Rourke in The Wrestler prepping his body to bleed so his performance onstage becomes more captivating? On the other hand, Wolverine is blessed with a "healing factor" that protects him from germs and quick-cures his wounds--not the kind of extended suffering that Aronofsky is into.

The Vulture blog that reported the story also points out that Aronofsky may direct a Los Angeles-set 1940s organized crime film, Tales from the Gangster Squad. Ben Affleck has been named a frontrunner for that film as well. The movie centers on a group of mercenary police officers tasked with chasing mobster Micky Cohen out of town. This project seems like a better match with Aronofsky's knack at showing brutality, violence, and flawed characters.

Here's hoping that Aronofsky can move from tiny budgets to big budgets like Chris Nolan moved from Memento to Dark Knight and Inception.

'Wolverine,' meet 'Star Trek'

By Sarah Sluis

Everyone seems to like Star Trek. Many people will see it this weekend. But how will it all add up at the box office? Currently running a 96% on Rotten Tomatoes, the time-traveling origin story juxtaposes car chases in vintage roadsters in Iowa with galactic attempts to wrench ships out of black holes ("More warp!" There is no more warp! More warp!!!"). It's great fun, and includes J.J. Abrams' signature time-bending, a space vocabulary that heavily references Star Wars (When will they put up safety rails next to deep abysses in spaceships?), and a plotline accessible to those who have never even heard of the Enterprise fan club. In other words, Trek has all the makings of a summer popcorn movie.

Currently, the film's tracking way up, as the marketing blitz continues to raise awareness of the film. There are conflicting reports about whether Star Trek or Wolverine has better female support, which surprised me, given that for me it was pretty clear-cut. My interest in Wolverine hovered around zero, while I was enticed from day one by the Star Trek trailer that included the aforementioned Iowa car chase scene and promised me there wouldn't be hard-to-decipher techno-conversations on the flight deck.

Last week, headlines for Wolverine gave the film a range of $60-$100 million, and it came in at $75 million. This week, estimates for Trek seem to be in the $65-$100 million range, but the studio's low-balling, saying they would be happy with $50 million. In Trek's favor are 7pm screenings tonight which should jump-start its grosses, as well as data from Movietickets.com that shows that sellouts have already exceeded those of Wolverine. The space actioner will also be showing up on bigger IMAX screens, which carry a ticket premium and could push grosses higher.

Internationally, the film will open everywhere but Japan and Mexico, where the swine flu has made public gatherings impossible. Based on previous performances in the franchises, X-Men's Wolverine claws are supposed to read better than the Spock/Kirk interactions of Star Trek, but since the reboot is all about drawing in new, younger viewers, there's a chance the film can create new audiences. The fact that Trek avoids using its plot as a Cold War parable will undoubtedly make the film more universally appealing.

Among, say, your typical young male fan who missed Wolverine last week because of a soccer game, there will definitely be competition for the box-office dollar, and last week's $75 million open still leaves many viewers choosing between the two films, or opting to take a week off from moviegoing. From my standpoint, that hard-to-quantify buzz has always been higher for Star Trek, but, then again, I'm not hanging out in middle and high school hallways.