Arthouse Audit: 'Dallas Buyers Club' Opens Well; 'About Time' Has OK Showing

Box Office
by Tom Brueggemann
November 3, 2013 4:30 PM
3 Comments
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Rachel McAdams and Domhnall Gleeson in "About Time"

$1,100,000 in 175 theaters; PSA: $6,286

Universal, unconventionally among the major studios, has recently released a handful of non-specialized films in a limited pattern a week ahead of their wide openings, with "Pitch Perfect" last year becoming a real sleeper success, while "Rush" in September never gained traction. "About Time," directed and written by Richard Curtis (who wrote "Four Weddings and a Funeral" and "Bridget Jones Diary," and wrote and directed "Love Actually") in 175 theaters (about halfway between those two others) opened to decent enough business to justify the strategy. The figures themselves aren't anything special considering the quality of the theaters involved ("12 Years a Slave" had triple the PSA in 50 fewer last week; "Love Actually" was almost double in three times as many theaters). But the gross jumped by nearly 50% yesterday from Friday, suggesting positive audience reaction, important considering the mixed reviews.

The film comes from Working Title, the veteran Brit production company that has seen its films released by Universal and Focus consistently since the 1990s. This generically hybrid film (part sci-fi, part rom-com) has both adult and younger appeal, but with only Rachel McAdams well-known among its cast, is less immediately marketable than most of the other films Curtis has been involved in. With mixed reviews, the only way this would seem to have a chance is with some initial sampling before the wider release next week. This pattern worked well for "Pitch Perfect" last year, though with a wider release and a more obvious audience appeal.

This has already grossed $34 million in international release, with multiple territories still to open.

What comes next: It is going to be tougher for "About Time" to score anything like "Pitch Perfect" did based not only on intense competition next week and going forward but also with the lesser performance this had in its theaters. However, as the equivalent of a pre-release sneak program, it probably is a smart move for Universal to have tried for what otherwise would have been an initial wide release.

Also opening:

A large number of other new films, including two fairly wide, also debuted this week. None of the more limited ones had a PSA of over $10,000, normally at the lower end of good at best.

The most anticipated of these, at least before initial showings, was "Diana" (Entertainment One), starring Naomi Watts in the period before her death. Once thought of as a potential best actress contender, the film ended up with mostly negative reviews, and its release in multiple cities in 38 theaters could only rouse a poor $64,900 gross. Playing wider, but also after a month of video on demand play, Radius/Weinstein's "Man of Tai Chi," Keaunu Reeve's directorial debut, also showed little impact, with $112,300 in 110 theaters. The company reports its VOD earnings so far have been $1.5 million. It will be curious to compare how the theatrical release increased interest on what will be its main grossing platform.

The best of the more limited openings was Zeitgeist's "A Pervert's Guide to Ideology," from Sophie Fiennes, which playing at New York's IFC Center did a passable $9,500 to stand above the rest of the openings. Two other documentaries -- the Pakistani "These Bird Walk" (Oscilloscope) and veteran director's Barbara Kopple's "Running from Crazy" (Vitagraph), about troubled actress Mariel Hemingway, did $8,000 and $7,000 respectively in their New York single theater debuts. Well-reviewed "Broken Circle Breakdown" (Tribeca) from Belgium, that country's Oscar Foreign Language submission, grossed $7,100, again at one New York location. It opens in L.A. November 8. Another doc, "Casting By" (Submarine Deluxe), previously shown on cable, managed $7,900 in two New York locations. James Franco's two-year old "Sal," bolstered by appearance from the director/actor, took in $6,800 at one Los Angeles theater while also playing on VOD.

Ongoing/expanding

The second week of most note is the expansion of IFC's "Blue Is the Warmest Color," with the French NC17 female romance expanding more quickly than usual to 37 screens (+33) for a gross of $222,000 for a PSA about $6,000 and a total thus far of $379,000. The last significant NC17 release, "Shame," grossed $283,000 its second weekend in fewer (21) theaters for a PSA of $13,500. "Blue" is limited to some extent by its three-hour length and subtitles, but this is an above average if not extraordinary gross for this level of theaters so far. "Amour" when it reached 36 theaters (its fifth week, but right after its significant Oscar nomination haul) had a PSA of $10,377 by comparison.

The best of the other second week entries was the self-distributed Egyptian doc "The Square," taking in $12,000 in 3 for a $4,000 PSA. (Netflix has just acquired the film.) The Film Arcade's "Spinning Plates" did $10,800 in 6 for a PSA of $1,800. By far the biggest expansion was Costa-Gavras's "Capital" (Cohen Media) which jumped to 32 theaters (+30) for only $41,200.

The third week of Robert Redford's acclaimed solo performance in "All Is Lost" (Roadside Attractions) shows signs of life with $594,000 in 131 (+50), PSA $4,534. With about the same number of theaters, this is about a quarter of what the excellent grossing "12 Years a Slave" grossed last week, and a bit ahead of what "The Sessions" last year grossed in its fourth weekend in 128 theaters on its way to a $6 million gross (during a similar play period). This looks like a niche specialized film that might not benefit, at least right away, from a wider expansion that could burn up heavy marketing dollars, although it could be enough to keep Redford in contention for acting awards recognition. This is up to $1,457,000 through three weekends.

The film continues to outperform Sony Pictures Classics' "Kill Your Darlings," which is moving more slowly, now at 19 theaters (+11) for $72,600 (PSA 3,821, total $224,500). Other films that grossed over $50,000 later in their runs include Fox Searchlight's "Enough Said" which fell out of the top 10 to #13, but only down a third in gross. It added another $1,075,000 in 662 (-173) for a total so far of $14,799,000. The eternal "Blue Jasmine" (also SPC) churned out another $113,000, down to 94 theaters, total now $32,389,000. Their Saudi Arabian "Wadjda" passed the $1 million mark, impressive considering the film's roots, with another $99,200 in 84 theaters (-3) to reach $1,069,000. And Radius/Weinstein's "Inequality for All" managed to add $51,100 to get $1,051,000.


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3 Comments

  • PJ | November 3, 2013 9:58 PMReply

    That All is Lost paragraph is all spin. It grossed about as much as it did last weekend even though it added 50 theaters. That's terrible. In comparison Blue doubled it's total gross on one weekend in it's expansion.

  • This PJ Person | November 6, 2013 12:41 PM

    Has posted stuff about how bad All Is Lost is on every film blog. What's the point?

  • Tom Brueggemann | November 5, 2013 12:14 PM

    I don't do spin, and I doubt the folks at Roadside Attractions would consider it such.
    Your math is off in any event. All Is Lost went up 13% (which is not "about as much as last weekend") while adding 49 screens to get to 130, which is an increase of about 37%. Holdover screens - the majority of their run - normally go down a third in gross. Newer theaters tend to gross a bit less than the initial ones. So the film actually stabilized this weekend, although it's a bit of a problem because it stabilized from a mediocre level, which means many of the original best theaters might not hold much longer.
    Blue's gross did indeed more than double - but it went from 4 to 37 screens, a factor of more than 9 times.
    Math is your friend in these things before analyzing them. That's the main basis of my analysis, not someone else's spin.

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