Sad to hear about this as well. Fans have been waiting for the Watchmen forever and now it is not doing well. It does not bode well for future productions of movies like this.
Weekend box office for March 20-22 in millions:
1 KNOWING 24.8
2 I LOVE YOU, MAN 18.0
3 DUPLICITY 14.4
4 RACE TO WITCH MOUNTAIN 13.0
5 WATCHMEN 6.7
6 THE LAST HOUSE ON THE LEFT 5.9
7 TAKEN 4.1
8 SLUMDOG MILLIONAIRE 2.7
9 TYLER PERRY'S MADEA GOES TO... 2.5
10 CORALINE 2.1
I thought I Love You, Man would take the top spot but Nic Cage still gets it done. Knowing does look good though. Looks like I have to see both now. I said it before, it's sad to see Watchmen slipping away.
The biggest weekend of the year so far goes to Fast & the Furious. It paid to have all the original stars back.
Weekend box office for April 3-5 in millions:
1 FAST AND FURIOUS 72.0
2 MONSTERS VS. ALIENS 33.5 (105.7)
3 THE HAUNTING IN CONNECTICUT 9.6 (37.2)
4 KNOWING 8.1 (58.2)
5 I LOVE YOU, MAN 7.9 (49.3)
6 ADVENTURELAND 6.0
7 DUPLICITY 4.3 (32.4)
8 RACE TO WITCH MOUNTAIN 3.4 (58.4)
9 12 ROUNDS 2.3 (9.0)
10 SUNSHINE CLEANING 1.9 (4.8)
Hannah Montana the Movie takes #1 and surprises much of Hollywood, it also surpasses the Hannah Montana the Concert Movie which opened with $31m on the back of inflated 3-D ticket prices
Variety April 12 2009
Disney's "Hannah Montana: The Movie" scored the second-best Easter weekend opening ever, grossing an estimated $34 million from 3,118 theaters.
Strength of the opening far surpassed expectations, and bolsters Miley Cyrus' star status. It's the biggest April bow in Disney history, while it's Friday gross--$17.3 million--is the best opening day showing in history for a G-rated pic.
Peter Chelsom directed the pic, which also stars Billy Ray Cyrus, Jason Earles and Emily Osment.
Nearly all of Hollywood had expected Universal holdover "Fast & Furious" to win the weekend, based on its $71 million debut the week before.
Going into the weekend, Disney had hoped "Hannah Montana" would perform in the same range as 2003's "The Lizzie McGuire Movie," a vehicle for Disney Channel star Hilary Duff. "Lizzie" opened to $17.3 million in 2003, and ended its domestic run with $42.7 million.
On Sunday, the studio denied that it had deliberately set a low target. "It caught us by surprise. No doubt about it," said Chuck Viane, the studio's president of domestic theatrical distribution. "Outside of Wow! what can you say?"
Weekend of April 10-12
1. Hannah Montana The Movie $34m
2. Fast and Furious $28.8m
3. Monsters Vs. Aliens $22.6m
4. Observe and Report $11.1m
5. Knowing $6.6m
6. I Love You, Man $6.4m
7. The Haunting in Connecticut $5.7m
8. Dragonball Evolution $4.65m
9. Adventureland $3.4m
10. Duplicity $2.99m
I told everyone Hannah would be at the top this weekend. I saw Dragonball this weekend, wasn't bad. Then again, I know nothing about the cartoon.
And I can guarantee that the upcoming Wizards of Waverly Place movie will not do near the business the Hannah Montana movie is.
When we went to see the HM Movie today there were people of all ages, we saw some teenage guys by themselves, as well as people our age (25-30) without kids.
I am glad Hollywood got kicked in the nuts
"What she pulled off here, based on tracking, is amazing," Disney distribution president Chuck Viane said today. "It's a tribute to her and her fan base."
Drilling down into the numbers:
• A regular, old 2D comedy, Hannah Montana: The Movie took in more in its Friday-Sunday debut than last year's Hannah Montana concert movie—or February's Jonas Brothers concert movie—did at 3D prices.
• Expected to hit the upper $20 millions—tops, Hannah Montana ended up as the second-biggest Easter weekend opener of all-time, behind 2006's Scary Movie 4 ($40.2 million).
• Though the consensus pick to finish No. 1, second-place Fast & Furious didn't so much underperform as Hannah Montana overperformed. The car movie held okay, collecting another $28.8 million and bringing its two-weekend haul to a hefty $118 million.
I'm surprised that people are surprised that she opened big. HM is so incredibly successful, and that IMAX concert thing (or whatever it was) was ridiculously big last year.
I still wouldn't mind seeing Dragonball. I know what it's about. And the series is not one of my favorites. One of the few thinks I hate about Animes like it that it takes about 10 episodes to finish a fight sequence. I'm still curious about the Live Action Cowboy Bebop movie starring Keanu Reeves. Also I'm surprised they have thought about making Inuyasha into a live movie too!
She was a phenom two years ago, since the concert tour (what was considered her peak) she has had one solo album, a top 10 song (The Climb) and a successful voice role in the $100m Bolt animated movie.Quote:
I knew Hannah would do well. After all, she is a phenomenon right now
Also HM has now been on the air for almost 4 years, the typical teen phenom usually only lasts 2-3 if not less before they flame out or dwindle. Nick for example has tried to promote Miranda Cosgrove and Disney had started promoting Selena Gomez and Demi Lavato because they expected Miley would have lost popularity but that turns out to not be true as HM ratings are up for another year over previous.
Miley and her dad were smart because about 2 years ago they started to separate the two identities (just like the show) and so now as the HM specific audience grows up they are fans of Miley herself and do not necessarily need the HM moniker to follow her career, but it helps.
Another person with Disney connections on top this week:
Weekend box office April 17-19 in millions:
1 17 AGAIN 24.1
2 STATE OF PLAY 14.1
3 MONSTERS VS. ALIENS 12.9 (162.7)
4 HANNAH MONTANA THE MOVIE 12.7 (56.1)
5 FAST AND FURIOUS 12.3 (136.7)
6 CRANK HIGH VOLTAGE 6.5
7 OBSERVE AND REPORT 4.1 (18.7)
8 KNOWING 3.5 (73.7)
9 I LOVE YOU, MAN 3.4 (64.7)
10 THE HAUNTING IN CONNECTICUT 3.2 (51.9)
I have to admit, the 17 Again movie did look funny (I didn't see it though).
Hannah Montana has now surpassed Lizzie McGuire by $10m in under 7 days (it took Lizzie McGuire 15 weeks)
It has to earn $9m to top Mileys previous movie (HM 3-D Concert) and the Muppet Movie to become the biggest selling live action kids tv show movie of all time.
I really liked 17 Again even though it's a corny rehash of every teen movie ever AND every adult/kind body switching movie ever. Nothing ground breaking but I really enjoyed it.
I just saw State of Play, VERY VERY good!!! :)
Wolverine has the best opening of the year so far. I don't think it will have quite the legs of Iron Man, though.
Marking a howling start for the summer box office, 20th Century Fox’s “X-Men Origins: Wolverine” grossed $87 million from 4,099 runs at the domestic box office.
That’s the second-best opening of the four “X-Men” movies after “X2: X-Men United,” which had the advantage in opening over Memorial Day in 2003. “X2” grossed $102.1 million for the four-day holiday weekend.
“Wolverine’s” impressive bow came despite a working copy of the movie being pirated a month before the film’s opening. Studio isn’t sure how much the piracy ate into the box office, but some insiders suggest it could be as much as $20 million.
The Fox-Marvel prequel is the widest opening in Fox’s history.
Warner Bros. and New Line’s “Ghosts of Girlfriends Past,” offering an alternative for women, opened to $15.3 million from 3,175 runs to land at No. 2 after “Wolverine.”
"Wolverine" dropped only 15% from Friday to Saturday. Many had thought the pic will drop more, since fanboy-driven movies often see significant declines.
“Ghosts” performed in line with last year’s “Made of Honor,” which opened to $14.8 million on the same weekend a year ago.
That’s also the same weekend that Paramount’s “Iron Man” bowed. “Iron Man” opened to $102 million.
Great opening for Wolverine, even with the leak a month ago:hmeek:
Big weekend for Star Trek, big drop for Wolverine.
May 8-10, weekend box office in millions:
1 STAR TREK 76.5
2 X-MEN ORIGINS: WOLVERINE 27.0 (129.6)
3 GHOSTS OF GIRLFRIENDS PAST 10.5 (30.2)
4 OBSESSED 6.6 (56.2)
5 17 AGAIN 4.4 (54.2)
6 NEXT DAY AIR 4.0
7 THE SOLOIST 3.6 (23.5)
8 MONSTERS VS. ALIENS 3.4 (186.9)
9 EARTH 2.5 (26.1)
10 HANNAH MONTANA THE MOVIE 2.4 (74.1)
I think everyone knew wolverine would drop.
I heard the new Star Trek movie made 20 million more than whoever put it out expected. I dont remember it it was WB or who. I think thats pretty impressive.
Star Trek made in its first weekend what most of the previous trek movies made in their entire RUN... Amazing. By next weekend I'm sure it will have surpassed the two top earning trek movies and then fly past them.
SO here is something I've always wondered. How can we have the numbers already is today isn't even done?! I mean... is this like a time travel thing or? lol
Here is an article from slate.com that explains it pretty good:
How do Hollywood box-office estimates work?
By Gabriel Snyder
If you watched CNN or MSNBC last Monday, or visited any number of Web sites that carry box-office data, you probably already know that The Chronicles of Narnia finally managed to edge past King Kong over the New Year's weekend, $32.8 million to $31.6 million.
But as Mickey Kaus recently observed, sites like Variety.com and BoxOfficeMojo.com, as well as wire services like AP and Reuters, seem to be engaged in some crystal-ball-gazing when they announce "estimates" for weekend grosses before the weekend is over. What are these numbers, and how are they obtained?
These box-office "results" released over the weekend are simply a studio's own estimate of its movie's weekend performance. Distribution executives arise at dawn on Sunday mornings to crunch their numbers and report them to the media. Until recently, I was the Daily Variety reporter who collected box-office grosses; at 8 a.m., my phone started ringing with executives handing over the numbers, along with a healthy dose of spin. Making a weekend projection on a Sunday morning is quite similar to how the media call political elections when they have the results of only a handful of precincts: You compare the numbers you have against some past results to make an educated guess.
The numbers the studios have, but don't release to the public, come from one of two box-office tracking firms, Rentrak and Nielsen EDI's Flash service. These services get sales results directly from theaters and place them on a secure Web site; only a select number of studio executives have access to this enormous information database. Here, for instance, they can compare King Kong's matinee grosses at AMC's Times Square theater with what The Lord of the Rings: The Return of the King did there its first afternoon.
Every studio has its own intricate formulas for divining weekend estimates. Here's a simplified, hypothetical example: Let's say you're 20th Century Fox and you're trying to figure out the early estimate for the opening weekend for Star Wars: Episode III—Revenge of the Sith. The last two Star Wars movies were released on the same weekends in previous years—the week before Memorial Day. On the first film, The Phantom Menace, Sunday grosses were down only 10 percent from Saturday. On the second, Attack of the Clones, the Saturday-to-Sunday drop was 22 percent. If you're coming up with a Sith estimate, you would by Sunday morning have a good handle on Saturday grosses, so all you have to do is guess how much Sunday will drop. If you split the difference on the last two films, you end up with 16 percent, which is basically how Sith performed—Fox issued a Sunday estimate of $158.4 million for Sith's first four days.
Once the studios see the box-office grosses from all the Sunday shows, they issue revised, more informed estimates to the media on Monday, which are known as the "actuals." Fox's "actual" box-office report for Revenge of the Sith was not far off-base: $158.5 million.
Since Rentrak and EDI are collecting actual box-office numbers from the theaters, why go through the trouble of making estimates at all? Why not just release the real data? The problem, as the studios see it, is that the private numbers only reflect grosses from approximately 90 percent of the theaters in North America (in Hollywood, North America is only the United States and Canada). The "actual" estimates the studios issue include a guess at how much business they're doing in those other theaters. This "missing factor" affords studios some wiggle room to secure a box-office record, or to say that the sequel beat the opening of the original. Generally such tweaking remains a Hollywood secret, though; executives tempted to complain know too well that one day they may want to do the same thing.
As was the case with Revenge of the Sith, studios' weekend estimates are typically closely aligned with actuals released on Monday. But there have been situations where weekend projections are wildly off course. Maybe a bad storm hurt business on Sunday night. Or the studio underestimated the millions watching a big World Series game or the Oscars. In 2004, for example, Christmas Eve, typically a low-grossing day at theaters, fell on a Friday, which is ordinarily a high-grossing day. This wreaked havoc on the studio estimates. Universal's estimate of $44.7 million for Meet the Fockers was $2.5 million too low, while Fox's $12.7 million estimate for Fat Albert was $2.7 million too high. While Fockers maintained its first place box-office position, the optimistic estimate for Fat Albert meant it slipped into third place behind Lemony Snicket's A Series of Unfortunate Events.
Though rare, sometimes studios jockey for position on the box-office chart. The last great Sunday-morning battle was in the summer of 2002 when 20th Century Fox's Minority Report opened against Walt Disney's Lilo & Stitch. Looking at the same data, both studios were sure they had cinched the top spot. In the end, Fox eventually claimed the day, when their actuals showed that Minority Report's $35.7 million opening had squeezed past Lilo's $35.3 million.
Although there is always room for chicanery, there are two factors keeping studios honest. First, some Hollywood players now have movie contracts that tie payments to how well their film performs at the box office. Frequently, the contract specifies that the benchmark will be the studio estimate printed in Variety, so it's in the studios' best interest to not overreport.
Studios may also be fearful of attracting attention from the SEC in the post-Enron era. While box-office numbers won't make a dent in the bottom lines of the media conglomerates that own the Hollywood studios, they are still an announcement of financial results. And no Hollywood exec wants to find himself cuffed for padding the box-office results of The Chronicles of Narnia.
Cool thanks firefly! :-)
Thanks for the info Firefly.:skgrin: