Only the deeply-embedded money men can tell us whether this year had anything similar to the gargantuan failure of “John Carter” (“Lone Ranger,” they’re calling your name), but it does appear that “Jack The Giant Slayer” will come close. The adventure film cost $195 million, not counting an ad campaign that was saddled with two separate release dates. The end result, a global take of $197 million, reportedly lost the WB somewhere between $125-$140 million, a clear enough explanation of why director Bryan Singer is returning to the “X-Men” series. In a similar vein is the dismal showing of Will Smith’s “After Earth,” though that $130 million film is reportedly on track to gross $200 million internationally, easing the burden on Sony but nonetheless providing a massive chink in Smith’s formerly-unbreakable armor.
Limited results were seen by two films desperate to start the first big post-“Twilight” teen phenomenon. “The Host” wasn’t hugely expensive, but the $48 million global take doesn’t seem particularly strong given a $40 million budget. Worse still was “Beautiful Creatures,” a $60 million fantasy franchise starter that managed only $19 million worldwide despite a plum Valentine’s Day release. Big stars also saw hugely disappointing results, with “The Incredible Burt Wonderstone” collecting a meager $24 million on a $30 million budget, and “Broken City” collecting $30 million on a $35 million budget, both films providing fodder to studios desperate to avoid bankrolling anything that isn’t a massive tentpole or a no-budget genre cheapie. “The Internship” also disappointed in its opening weekend, and should join this group shortly despite a manageable $58 million budget.
It was mid-budgeted macho action films that took it in the chin this year. Dwayne Johnson had two solid performers in this respect with the $20 million “Pain And Gain” ($56 million) and the $14 million “Snitch” ($48 million), but the rest of the industry’s muscle-men fell far behind. “Expendables” legends Sylvester Stallone and Arnold Schwarzenegger were virtually ignored, with the $55 million “Bullet To The Head” ($13 million) and the $45 million “The Last Stand” ($37 million). Jason Statham’s “Parker” collected $45 million worldwide but fizzled out domestically, while only $18 million of ticket sales greeted the $30 million-budgeted “Dead Man Down.” While overseas audiences picked up the slack, the oft-postponed $60 million “Gangster Squad” only collected $105 million worldwide, though that’s a stronger number than most expected after only $46 million during its stateside run.
It was a topsy-turvy year so far at the arthouse, but judging by the numbers, there was one juggernaut, and it was… “Quartet”? Dustin Hoffman’s directorial debut was considered an end-of-’12 Oscar contender by some, and we’re actually still unclear if it actually did see an Oscar qualifying release. What we do know is that the film ripped through American theaters for a surprising $18 million, adding to a fairly robust $57 million global total, satisfying the audiences who drove last year’s “The Best Exotic Marigold Hotel” to a surprising $136 million tally.
Aside from that there was still a collection of hot indie titles that over-performed, led by the meme-worthy “Spring Breakers.” That oddity brought in $31 million worldwide off a budget of $5 million and like similar buzz-worthy indies it will likely perform even stronger on the DVD market. “Mud” also posted a solid $21 million global gross, and should keep going into the summer as it still plays in limited release. And though it seems incredibly hard to believe, Robert Redford’s “The Company You Keep” only cost $2 million, making the $13 million global take fairly impressive. “Before Midnight” looks like it could be the arthouse hit of the summer, and it should cross $2 million this weekend, but this year has been seriously lacking in indie breakouts.
Mainstream Oscar recognition for “The Tree Of Life” and “Argo” didn’t help the Ben Affleck-starring Terrence Malick flick “To The Wonder” gross beyond $566k (though OnDemand numbers were likely stronger), while Oscar winner Colin Firth couldn’t gather interest for “Arthur Newman,” which played to a middling $207k. To be reputable was no use, but it was even worse for non-studio horror; The $10 million “Aftershock” pulled in a pretty painful $58k, while a wide-release for “No One Lives” yielded a middling $74k, and Anchor Bay’s aggressive rollout for “The Lords Of Salem” only brought in $1.2 million. Meanwhile, there’s absolutely no metric to sum up “InAPPropriate Comedy,” which somehow landed on 275 screens in its opening weekend with a mainstream ad presence, finishing with a borderline pathetic $228k.
So what are your thoughts? Any movies that made more they should of, or films that deserved a bigger audience? Let us know below.