Per Screen
Total for all of time
30 Days of Night $16,000,000 $5,604 $16,000,000
Tyler Perry’s Why Did I Get Married $12,100,000 (-43.3%) $5,948 $38,865,000
The Game Plan $8,122,000 (-26.4%) $2,460 $69,150,000
Michael Clayton $7,100,000 (-31.6%) $2,746 $21,986,000
Gone Baby Gone $6,000,000 $3,502 $6,000,000
The Comebacks $5,850,000 $2,080 $5,850,000
We Own the Night $5,500,000 (-49.2%) $2,328 $19,784,000
The Nightmare Before Christmas $5,145,000 $9,122
Rendition $4,175,000 $1,855 $4,175,000
The Heartbreak Kid $3,900,000 (-46.4%) $1,401 $32,111,000

When I said “Move along, nothing to see here” on Friday, I really didn’t think it’d be taken literally, that moviegoers would agree. It’s a weekend of blah; apathy reigned supreme.

30 Days of Night was thought to be a performer, and standard thriller/horror fare gets to around or over $20. At least it used to (White Noise, etc.). This is doing less than that, and should get creamed next week by Saw IV. Gone Baby Gone was the next best newbie, and it did six million. Hopefully the film was cheap. But it’s also nice to see that Ben Affleck has finally gotten people back on his side. The goodwill squandered by dating Jennifer Lopez and doing Gigli seems forgiven by the media. By the public? This is another movie starring Casey Affleck, on some level it’s pretty okay business for what that is. But this begs the question, these underperformers, does it suggest that the country is in a recession, or that audiences simply didn’t give a shit?

America sometimes shows good taste, and though I’m sure the amusing performers received decent wages for the film, The Comebacks tanked. But who would think that The Nightmare Before Christmas (in reissue) would kick Rendition’s ass? Rendition is dead, and New Line won’t be able to squeeze much out of it. The boys and girls at New Line should get down on their fetlocks and pray that The Golden Compass works. Which is sort of like praying for the Toronto Raptors to pull it off this season. Or for Kristen Stewart’s turn in The Messengers to get recognized by the Academy. Or for Exiled to actually make it as a best Foreign film nominee. New Line kids, get praying. You’ve got a heavy load, and I said, "Hey, Carmen, come on, let’s go downtown" She said, "I gotta go, but my friend can stick around."

Tyler Perry’s new joint held fairly well for what it is (Madea opened to thirty and dropped harder). Last night I heard some African American friends grousing about the movie and Perry playing to the chitlin circuit. Which they can say, cause they’re black. I’m not, so I can’t. Michael Clayton and The Game Plan held exceptionally well, and it turns out that The Game Plan has the chance to get to a nine digit-esque figure. This is easily the highest grosser in The Rock’s canon.



I’m getting a drink.

Fuck. Clayton may not actually make money theatrically, but if it can play long, then it might actually make some money when the DVD comes out. And hey, it’s in better steed than Elizabeth: Diamond Dogs, which is already out of the top ten. We Own the Night was a a cheap pickup for Sony, so this one night stand turned out to be disease-free. High five! Things We Lost in the Fire opened at the fifteen spot. My sense is that totally screws the film out of Academy interest, but we shall see. Run for the shadows, run for the shadows.

The Heartbreak Kid is so dead that it’s deadness is merely a formality. Like when Hooper finds that no-boating-accident victim Chrissie Watkins. Also dead: Deborah Kerr. Plato. The stage career of Quentin Tarantino. The political careers of Larry and Daniel Craig. Not Dead: J.D. Salinger. Tommy Lee Jones. My couch (couches can’t die). That girl who played Vicki the Robot on Small Wonder. That baby monkey I saw fall on its head a week back. God (Nietzsche was wrong, who knew?)

I would like to point out that Nightmare was initially a very soft opener, and considered a wierd stepchild of the Disney brand. Now, it’s a perennial classic. I was always a bigger fan of James and the Giant Peach, but that’s just me.