October 25, 2016
        Mel Gibson to be Honored with the Hollywood Director Award at the 20th Annual Hollywood Film Awards                Michael Moore drops a surprise new film with "Michael Moore in TrumpLand"                Hollywood Contenders: New Oscar Predictions for October                Nicole Kidman, Hugh Grant, Naomie Harris, Lily Collins get Honors at 20th Annual Hollywood Film Awards                "Manchester by the Sea" leads the Gotham Award nominations                Tom Ford, Marc Platt and Kenneth Lonergan to be Honored at 20th Annual Hollywood Film Awards                Tom Cruise is in his action hero comfort zone with "Jack Reacher: Never Go Back"                "Moonlight" could be A24's big Oscar horse this year                Ewan McGregor steps behind the camera with "American Pastoral"                Hollywood Contenders: A second crack at Golden Globe predictions for 2016                "The Accountant" seeks to help give Ben Affleck another blockbuster                85 countries will be competing for Best Foreign Language Feature nominations at the Oscars                Tom Hanks to receive Hollywood Actor Award for "Sully" @ Hollywood Film Awards                "Certain Women" showcases Laura Dern, Kristen Stewart, and Michelle Williams                Ben Affleck is perhaps Hollywood's biggest and most diverse superstar        

‘Expendables’ explodes, ‘Eat Pray Love’ is bountiful, while ‘Scott Pilgrim vs. the World’ lacks ‘Game Genie.’

By Scott Mendelson

HollywoodNews.com: Proving once again that films aimed at older audiences have theoretically stronger legs than those aimed at teens, ‘The Expendables’ and ‘Eat Pray Love’ both had strong weekend multipliers and both performed at or above realistic expectations.

With all the hub-bub regarding ‘the guy movie vs. the chick flick’, both films posted exceptional opening weekends and both respective marketing teams should be commended. As for ‘Scott Pilgrim vs. the World,’ its frontloaded and underwhelming debut proves that geek cultures is not mainstream culture, and that hardcore geek interest should not be mistaken for mainstream interest. With films like that, the only real victory should be the fact that it got made and released. Anyway, here we go…’ The Expendables’ ended the weekend with $35 million, giving it a decent 2.64x weekend multiplier. As mentioned yesterday, this is the massive win that Lionsgate needed to prove that they could open something other than ‘Saw’ sequels and Tyler Perry dramas to anything resembling blockbuster numbers. As I’ve written any number of times, if you take away the ‘Saw’ sequels and the Tyler Perry pictures, the studio’s biggest opening weekend was ‘Fahrenheit 9/11’ with $23.9 million and ‘The Haunting In Connecticut’ with $23 million. Be it ‘Rambo’ ($18.2 million), ‘Kick Ass’ ($19.8 million), ‘3:10 to Yuma’ ($14 million), or ‘Killers’ ($15.8 million), Lionsgate has had a problem opening seemingly break-out pictures above their $15-19 million ceiling.

At $35 million, ‘The Expendables’ posted the second biggest opening weekend in Lionsgate history, besting the $33.6 million debut of ‘Saw III’ and falling just short of the $40 million debut of ‘Madea Goes to Jail.’ For comparison, the prior best opening weekend in Lionsgate history for something that was not a Madea picture or a ‘Jigsaw’ epic were the $23 million debuts of Fahrenheit 9/11 (which broke a record for a film opening under 1,000 screens set by ‘Rocky III’ back in 1982) and ‘The Haunting In Connecticut.’ Lionsgate has had several high-profile disappointments of late, not so much flops as heavily-hyped pictures that none-the-less failed to break the $21 million opening weekend ceiling that Lionsgate seems to have. That they could successfully open this mainstream entertainment as large as any other studio is an encouraging sign that Lionsgate can play in the bigger studios’ sandbox. The film cost $82 million, but Lionsgate paid just $20 million for distribution and offered up marketing expenses in exchange for some back end profits. With the exception of the UK, Lionsgate will have no hand in the overseas distribution, making the domestic numbers all the more important.

The film also scored the best opening weekend for writer/director/star Sylvester Stallone, topping the $33.4 million debut of ‘Spy Kids 3D: Game Over.’ Of course, as should be noted, Stallone’s 80s ‘Rocky’ and ‘Rambo’ sequels were setting records back in the 1980s when a $10 million was a record for under 1,000 screens (‘Rocky III’) and $20 million (‘Rambo: First Blood part II’) was the kind of weekend number only put up by a ‘Star Wars’ sequel or an ‘Indiana Jones’ picture. Co-star Jason Statham has never had a prior opening weekend over $19 million (‘The Italian Job’ and ‘The One’), so this is a big win for him as well. Jet Li has one $40 million opener (‘The Mummy: Curse of the Dragon Emperor’) and one $34 million opener (‘Lethal Weapon 4’), but his prior record as an action hero was ‘The Forbidden Kingdom’ at $21 million. Ironically, while Bruce Willis and Arnold Schwarzenegger share a brief (and awkward) cameo together, this film would stand as Willis’s third-biggest opening weekend ever (behind the $38 million debut of ‘Over the Hedge’ and the $36.1 million debut of ‘Armageddon’) and Schwarzenegger’s third biggest as well (behind the $42.8 million debut of ‘Batman & Robin’ and the $44 debut of ‘Terminator 3: Rise of the Machines’). This is obviously a personal best for pretty much everyone else involved (Dolph Lundgren, Terry Crews, Steve Austin, Terry Couture) while it’s the second-best debuts for Eric Roberts and Mickey Rourke, coming in quite shy of the $158 million debut of ‘The Dark Knight’ and the $128 million debut of ‘Iron Man 2.’

As for why the film did so well, it’s another case of making something old feel new again right at the tail-end of summer. This opening weekend is right in line with the $36.4 million debut of ‘Freddy Vs. Jason’ and the $38.2 million debut of ‘Alien Vs. Predator.’ 1980s nostalgia is a major business right now, as those of us who were kids in the era of Regan are now adults with kids of our own, and we have fond memories of the kind of action and horror pictures that we grew up on, forgetting that they weren’t that good in the first place. Also of note is the changing landscape of the action picture, as R-rated gorefests starring actual action stars gave way to PG-13 thrillers and comic book adaptations starring thespians trying to grab a fat paycheck, establish international box office credibility, and/or land a franchise to subsidize their artier work. Blame the popularity of Tim Burton’s ‘Batman,’ blame the Columbine school shooting that made it harder than ever to market R-rated films to younger audiences, or just blame the post-9/11 years that viewed its action spectacles in a more world-weary light (nevermind that all four ‘Rambo’ films are darker and more cynical about our national lust for war heroes than most have dared to notice). But The Expendables was a throwback to a time long past, and it was obviously a very missed type of picture. It’s not a particularly good film, but it’s bad in the same way that C’ommando,’ ‘Cobra,’ and ‘Missing In Action’ were lousy. ‘Freddy Vs. Jason’ ended its run with $82 million and ‘Alien Vs. Predator’ ended with $80 million. That seems a decent end place for ‘The Expendables,’ give or take the more frontloaded nature of box office over just the last five years.

Coming in at a more-than-respectable second place was the Julia Roberts vehicle ‘Eat Pray Love.’ With $23.7 million, the film posted a solid 2.78x weekend multiplier. Discounting ensemble pieces like ‘Valentine’s Day’ ($56 million), ‘Ocean’s 11’ ($38 million), and ‘Ocean’s 12’ ($39 million), this is Julia Roberts’s fourth-biggest debut as a lead, behind ‘Runaway Bride’ ($35 million), ‘America’s Sweethearts’ ($30 million), and ‘Erin Brockovich’ ($28 million). As her second major test of box office muscle since she ended her self-imposed sabbatical (IE – she took some time off of her own accord), this was a big win for someone who was once the biggest female star in the world. Like Tom Cruise, she may have to settle for merely being one of the bigger stars for this third act of her career, but that’s not a bad place to be. After the alleged disappointment of ‘Duplicity,’ this was a big win for Roberts. ‘Duplicity’ opened with $14 million and ended with $40 million, which would have been just fine had the awfully good caper/romantic comedy not cost $80 million. ‘Eat Pray Love’ was more in her romantic drama/comedy safe zone, and Sony will end up with a tidy profit on the $60 million drama. Based on a beloved memoir that was heavily touted on the Oprah Winfrey Show, the film pulled in fans of the book, fans of Roberts, and fans of ‘chick flicks’ in general. Comparatively, this opening is larger than Julie and Julia ($20 million), ‘The Time Traveler’s Wife’ ($18 million), but fell short of ‘The Devil Wears Prada’ ($27 million). Next weekend will tell us whether the film was end with $80 million or $100 million, but there isn’t much in the way of direct demo competition until ‘Going the Distance’ on September 3rd (the Jason Bateman/Jennifer Aniston comedy ‘The Switch’ opens on only 1,700 screens next weekend).

Coming in not in third place, but in fifth place, was ‘Scott Pilgrim vs. the World.’ The film that was hailed as the second coming by the geek community ended up being seen only by the geek community. With just $10.5 million, the film proved massively frontloaded, with a $2.3x weekend multiplier, which is a number generally reserved for horror remakes, Twilight films, and teen-idol vehicles. While the film may live forever in cult infamy on DVD and showings on USA, the film will be a big loss for Universal, which spent $60 million on the comic book adaptation. The picture has an A- from Cinema Score and an A from the under 25 set. Alas, many video game fans and comic nerds (of both genders) were indulging their 1980s nostalgia by watching Sly and the Family Stallone blow stuff up. Free tip – counter-programming only works when the thing you’re counter-programming against doesn’t serve the same demos. Regardless of my dislike for the film, it was a visually inventive and artistically creative endeavor, and Universal deserves some credit for rolling the dice in a manner only usually seen at Warner Bros. With ‘Despicable Me’ crossing $222 million domestic, making it Universal’s highest grossing film since ‘Meet the Fockers’ back in 2004, Universal shouldn’t be hurt too bad by this genuinely original little film. And the upcoming ‘Little Fockers’ should be a profit machine for the fourth quarter. Now spending $200 million on an adaptation of the board game ‘Battleship,’ that’s just suicide.

In holdover news, two films passed milestones today. The Angelina Jolie spy thriller ‘Salt’ sits at $103 million, having crossed the $100 million mark over the weekend. Needless to say, a sequel is already in development (sing it with me: “Salt II! Salt II! Salt II! Salt II!”). More importantly, ‘Toy Story 3’ crossed the $400 million mark today, becoming the eleventh film in history to cross that thresh-hold (and the seventh in just the last eight years). Internationally, the film is already the highest-grossing cartoon of all time with $918 million and is speeding towards the $1 billion mark. You can talk about 3-D bump and inflation all you want, but it’s going to be awhile before grossing $1 billion worldwide stops being incredibly impressive. ‘The Other Guys’ dropped 49% for an $18 million second weekend and a new domestic total of $70 million, or about $12 million more than Dinner For Schmucks has grossed in seventeen days. The series of improv sketches disguised as a feature film held better than Talladega Nights (-53% in weekend two), Anchorman (-51%), and Semi Pro (-61%), but had a larger second weekend dip than Step Brothers (-46%) and Blades of Glory (-31%). Inception pulled in another $11 million and now sits with $248 million domestic and just under $500 million worldwide. It has two weekends left before it losing its IMAX screens to the re-release of ‘Avatar.’

Image Lionsgate

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About Scott Mendelson

Mendelson's Memos: The basics - 30 years old, married with one child, currently residing in Woodland Hills, CA. I am simply a longtime film critic and pundit of sorts, especially in the realm of box office. The main content will be film reviews, trailer reviews, essays, and box office analysis and comparison. I also syndicate myself at The Huffington Post and Open Salon. I will update as often as my schedule allows. Yes, I'm on Facebook/Twitter/LinkIn, so feel free to find me there. All comments are appreciated, just be civil and try to keep a level discourse, as I will make every effort to do the same. Read more at Mendelson's Memos:

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