October 23, 2016
        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                "The Birth of a Nation" looks to survive controversy and contend for awards                "The Girl on the Train" hopes to transport Emily Blunt to the Oscar race        

‘Green Hornet,’ ‘The Dilemma’ face off over MLK holiday

By Scott Mendelson

Hollywoodnews.com: As I wrote yesterday, expectations are a funny thing. For months, if not a year, The Green Hornet (review) was pegged as a costly sure-fire flop. Plagued by alleged reshoots, a date change from December 2010 to January 2011, and a seemingly desperate quick-conversion to 3D. But the film started screening for the geek crowd to mostly positive responses, and the buzz started building. The tracking estimated around $40 million for the four-day opening weekend. Yet when the film opened on Friday to $11.1 million, the pundits shouted ‘disappointment!’, ‘failure!’, and/or ‘under-performer!’ for daring to actually meet but not exceed expectations. So yes, the Michael Gondry superhero action-comedy The Green Hornet debuted at number one over the long Martin Luther King day holiday, with $34 million over three days and a projected $40 million for the four-day weekend. In my book, meeting positive expectations puts you in the ‘win’ column.

The film scored a B+ from Cinemscore, played about 61% male and about 50/50 between genders. Whatever comes from here on out, the film is a winner for at least its first four days. The film cost way too much (anywhere from $110 million to $150 million, depending on who you ask), so merely scoring on opening weekend won’t be enough to make the film profitable without strong overseas dollars. But the market is pretty bare for around a month, with no hardcore geek projects until Drive Angry on February 25th, and no general audience action-adventure pictures until I Am Number Four on February 18th. The film took the third-biggest three-day opening weekend in January history, behind Star Wars: Special Edition ($36 million) and Cloverfield ($40 million).

Granted, getting to $100 million in January is mighty tough if you’re not Oscar bait, this opening is a result is lots of money and work at Sony, working overtime to stem the impression of failure with word-of-mouth screenings and rock-solid marketing materials. For all the hub-bub about the power of Twitter, Facebook, and the like, sometimes all it takes is a terrific trailer. While the release date was actually forced upon them by Warner Bros (Sony wanted to open in March, but Warner didn’t want it opening so close to the June 17th opening of Green Lantern), it may have worked in their favor. Green Hornet is now the only real big game in town, a large fish in a very small pond. Legs are an open question, as 3D films sometimes benefit from keeping larger venues for longer periods of time (the film played 69% 3D over the weekend), and it was a much better movie than pretty much anyone was expecting. Again, expectations are a funny thing. An allegedly bad film that turns out to be good is much more potent than an allegedly great film that turns out to be merely good.

The other main opener of the weekend was The Dilemma, which was a genuine underperformer at $17.4 million for three days and $20 million for four days. This opened pales in comparison to the $30 million+ openings posted by Vince Vaughn (The Wedding Crashers, The Break Up, Four Christmases) and Kevin James (Hitch, Paul Blart: Mall Cop, I Love You Chuck and Larry). But, this is not a case of fading star power so much as a case of popular stars appearing in a genuinely unappealing film. I’ve often said that pure star power is about how much you can open with when the film itself doesn’t look all that worth seeing, and this is certainly an example. The film scored early controversy last year over Vaughn’s casual use of the word ‘gay’ as a non-sexual negative slur, and the film itself seemed almost programmed to turn off would-be viewers. Kevin James has scored his biggest success as a family film star, but the PG-13 film felt R-rated and was about that oh-so-young skewing subject that is marital infidelity.

Of course, wives cheating on their husbands isn’t exactly the prime subject for romantic comedies for casual movie-going adults either. Point being, it was an unappealing film about an unappealing subject. The film basically advertised that Jenifer Connelly and Winona Ryder were basically token window dressing, standing around looking pretty while their male counterparts got all the laughs. The film also had to sell the unlikely notion that Kevin James would be married to Winona Ryder and a not-in-his-best shape Vince Vaughn would be dating Jennifer Connelly. So there were many strikes against this one, the biggest being that this romantic comedy cost $70 million, which means that it need more than $20 million over the first four days to guarantee profitability. Next weekend sees direct competition with the heavily-gossiped No Strings Attached, which stars Ashton Kutcher and likely Oscar winner Natalie Portman. For the record, this isn’t some kind of judgment on adult-skewing romantic comedies. It was a bad looking film that had poor marketing and was apparently not well-liked by those who did bother to check it out. As I say quite often, it’s the movie, stupid.

There isn’t too much else to report this weekend. The main Oscar contenders remained strong as they headed into the Golden Globes weekend. True Grit (-23%) is at $128 million as of Monday, making it the second-biggest grossing western in history behind Dances With Wolves ($184 million). The King’s Speech is expanding quite well, as the film added 785 screens and grossed $9 million for the three-day weekend. It has grossed $44 million with lots to go as the award season rolls on. Black Swan (review) added 744 screens and grossed another $8.1 million over three days (+0.1%), giving it a new total of $73 million (for perspective, all of Darren Aronofsky’s previous films have grossed $43 million combined). And the film passed the $70 million total of V For Vendetta to become Natalie Portman’s second-biggest-grossing non-Star Wars film ever (she has a cameo in Cold Mountain, which grossed $95 million).

The Fighter (review) dropped 26%, but the film went wider earlier and has already started to shed screens. Still, the $16 million boxing drama will get a boost from the Oscar nominations (and likely wins for Christian Bale and/or Melissa Leo). It has already grossed $65 million, making it the seventh-biggest boxing drama ever, and the second-largest gross (behind the $100 million gross for Million Dollar Baby) for a boxing drama that doesn’t involve Rocky Balboa. Amongst sports dramas, it’s in thirteenth place. Amongst non-Oscar holdovers, Season of the Witch dropped an expected 57% for a ten-day total of $18 million, which isn’t bad considering the factors at play (upstart distributor, terrible reviews, mangled marketing, etc). Country Strong dropped 49%, giving the $15 million country music melodrama $13 million in ten days of wide release. It’s no smash hit, but it will make its money back. My mistake, Gwyneth Paltrow is apparently a ‘bitch’ who needs to be taken down a peg, so let’s just call it a ‘flop’ anyway.

Tron: Legacy (review) dropped 43%, which isn’t too bad considering it lost its IMAX screens to The Green Hornet. The film now sits with $156 million domestic and $325 million worldwide on a $170 million+ $100 million or more in marketing. If this were a female-driven franchise (The Golden Compass, Sex and the City, etc) with a similar cost/gross margin, it would be considered a flop. Hell, Chronicles of Narnia: Voyage of the Dawn Treader (trailer) is already at $355 million worldwide on a $145 million production cost, but getting a fourth film in that franchise is considered quite unlikely. But since Tron: Legacy is about boys, cool cars, hot chicks, and lasers, and the toys are selling well, it’s getting a sequel. Speaking of toy sales causing a sequel, Cars 2 comes out on June 24th.

And speaking of female-driven franchises, Tangled crossed the $180 million mark and is nearing $400 million worldwide. We’ll see if Disney makes good on their threat to never make another fairy tale movie ever again. Little Fockers now sits with $133 million, meaning it will likely fall short of the $166 million grossed by Meet the Parents over ten years ago. Finally Blue Valentine is holding strong, as the $1 million drama has already grossed $2.8 million. If Michelle Williams and/or Ryan Gosling get Oscar nominations, then this uber dark and very adult romantic drama could see the $10 million mark by Oscar night.

That’s it for this weekend. Join us next weekend when Natalie Portman and Ashton Kutcher struggle to keep their friendship intact after they start having casual sex (we should all have such problems) in No Strings Attached, and Peter Weir’s The Way Back finally goes into wide-release. In limited release, Weinstein Company finally debuts the critically-acclaimed The Company Men, a recession-era drama starring Ben Affleck, Chris Cooper, Tommy Lee Jones, and Kevin Costner. It’s apparently quite good, but was pushed back to avoid the Oscar stampede.

To read more about this article go to Mendelson Memos

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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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