This weekend, my devotion to The Rock is short lived, as someone else knocks his movie down a peg and takes the top spot, despite ample competition from numerous, more "adult minded" fare. Let's go to the numbers, shall we? (All in millions, remember, and these are the studio estimates, the actuals will be available on Monday. Just to prove me wrong).
1. Tyler Perry's Why Did I Get Married? (LGF) - $21.5, 2011 screens, week 1, $21.5 total
2. The Game Plan (BV) - $11.5, 3128 screens, week 3, $59.4 total
3. Michael Clayton (WB)- $11.01, 2511 screens, week 2, $12.0 total
4. We Own The Night (Sony) - $11.0, 2362 screens, week 1, $11.0 total
5. The Heartbreak Kid (Par/DW) - $7.4, 3233 screens, week 2, $26.0 total
6. Elizabeth: The Golden Age (Uni) - $6.1, 2001 screens, week 1, $6.1 total
7. The Kingdom (Uni) - $4.5, 2836 screens, week 3, $39.9 total
8. Across The Universe (Sony) - $4.0, 954 screens, week 5, $12.9 total
9. Resident Evil: Extinction (SGems) - $2.6, 2249 screens, week 4, $51.4 total
10. The Seeker: The Dark Is Rising (Fox) - $2.1, 3173 screens, week 2, $7.1 total
So those are the numbers, but what do they mean? It means that Tyler Perry has his fans. And they come out to support his movies. Even if these last two didn't feature Perry's signature cross dressing granny Madea. (His last film, Daddy's Little Girls, didn't fare as well, but I think the public was just getting used to no Madea. And they really preferred to see Ghost Rider instead, which is all sorts of unsettling.) Yeah, so Perry's new film made a lot of money, and everybody at Lionsgate is happy to call itself the house that Tyler Perry and Jigsaw built. And Haggis.
(Not for nothing, but has anyone seen the poster for Why Did I Get Married? It looks surprisingly similar to the Men in Black 2 poster. Don't believe me? Use the internet, and just try to prove me wrong. You can't do it. I rule.)
Michael Clayton, expanding to over 2000 screens (versus last week's 15) came in third with $11.01, while the Mark Wahlberg police drama We Own The Night took in $11.00. Expect these numbers to fiddled with. While I can't speak for We Own The Night, I can say that Clayton is one of the best pictures of the year so far. Top notch all around.
The other newcomer of the week, Elizabeth, came in sixth, and does not bode well for it's financial future. Unless, of course, it begins to garner awards, in which case it will stick around for a while and make a lot of money. Or not. It's really in your hands people.
The Rock moved down to second place, Across the Universe made it back to the top ten on an expansion, and it looks like Resident Evil Extinction may wind up taking the most out of all the Resident Evil movies. The success of the three-quels spilled over into October. How groovy is that?
Below the radar, there were some movies that opened up on a limited basis. Lars and The Real Girl, about Ryan Gosling and his love of a sex doll, opened up on 7 screens, and took in $85,000. Sleuth, the remake of a British film starring Michael Caine (who also stars in the remake, albeit in the opposite role) took in $50,100 on 9 screens. And Control, the biopic of Joy Division lead singer Ian Curtis, took in $27,000 on one screen, thus giving it the highest per screen average OF ALL! (Oh, that's not true, once again, the Blade Runner reissue took in $31,500 each on it's 2 screens.)
Why do I tell you lies? Because it's easy. Why don't I just go back and delete the wrong part? Because I'm lazy.
And in the "Because It's There" series: The Bourne Ultimatum took in $648,000 on 611 screens, bringing it's grand total to $225,578,000 in 11 weeks.
There you have my break down. Next week, 30 Days of Night. And that's all anybody can really ask for now, isn't it?
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