Joel Shumacher's The Number 23 falls into the category of unremarkable with a $15 million opening from 2,700 theaters for a similarly unremarkable $5.4k average. Like the film's star, Jim Carrey, Shumacher is as divisive a director as there is working, with some arguing that he has just enough good films (The Lost Boys, Falling Down, Tigerland) to balance out the bad (the Batman films, 8mm, Flawless), while others argue that nothing can make up for Batman and Robin. I fall into the former category, but there's no denying that the guy needs a hit, and The Number 23 ain't it, especially if Carrey collected his usual $20 million fee.

The Bridge to Terabithia held up fairly well, slipping 39% to third place with $13.5 million and a $46 million total. It's not catching up to Ghost Rider as quickly as I expected, but word of mouth is positive and it's sure to have better legs in the long run. Reno 911!: Miami opened far better than I would have expected with $10.4 million from 2700 theatres for a shockingly reasonable $3.8k average. Obviously, this doesn't approach Borat numbers, but it's quickly lending box office credence to the mockumentary format. Look for more of those in the coming year.

Norbit continues to hang on better than I expected, falling 42% to $9.7 million and raising its total to $74.6 million. Maybe that'll be some consolation to Eddie Murphy, whose loss of the supporting actor Oscar last night has to be attributed in part to the disastrous critical reaction to Norbit. Something tells me it'll be a long time before we see him at the Kodak Theatre again, with his next two announced projects being a family comedy called Starship Dave (tiny aliens visit earth disguised as a man played by Murphy) and Beverly Hills Cop IV, for which one would assume helmer Martin Brest is available, and you know Bruckheimer's down.

Music and Lyrics also held up well, falling 41% to sixth place with $8 million and a $32 million total. This one should finish closer to About a Boy's $41 million than Two Weeks Notice's $93 million. Maybe Grant should reconsider retirement, and Drew Barrymore should stick to producing (her role in getting Donnie Darko made keeps her in my good graces, but she's pushing it...). Breach was seventh, also slipping 41% and bringing in $6 million for a $20 million total. The marketing push has been okay, but this is a well-reviewed film with enough talent (Chris Cooper, Laura Linney... Ryan Phillippe doesn't count) to do better than this. If it had been released later in the year, and emphasized the Oscar pedigree of the cast, it could have done at least $50 million.

Tyler Perry's Daddy's Little Girls fell a predictably steep 53%, making $5 million over the weekend and raising its total to $25 million. Like most horror films, oddly enough, Perry's films appeal to a niche market that tends to turn out opening weekend. Like I said, his movies are very profitable for Lionsgate, but until he turns out something that crosses over from his fans to general audiences, they'll continue to disappear quickly after release.

The Astronaut Farmer opened poorly in ninth place with $4.5 million from 2100 theatres for a $2k average. Basically the Hollywood debut for indie writer/directors Mark and Michael Polish, Farmer doesn't make them likely to be the next breakout tandem from the Sundance world. And Billy Bob Thorton may find fewer scripts coming his way after this and School for Scoundrels, but hopefully that will drive him back to the Coen brothers, for whom he seems to save his best work. Amazing Grace opened in tenth place with $4.3 million from just 791 screens and a surprisingly decent $5k average. The IDP release, directed by Michael Apted and starring Iaon Gruffud, Albert Finney and Michael Gambon must not have had much of a marketing push, because I saw a total of one trailer for it. Still, it must have been targeted at somebody, because it's per screen average is third for the weekend.

Posted in Industry , Moviegasm , Newsgasm by Sutter Cane at 11:49 AM | Permalink | Comments (2)
Last Comment: sutter kane on Feb 26, 2007 05:46 PM.

Comments (2)

msu11y28 :

Sutter--perhaps you could shed light on why someone as talented/established as Eddie Murphy would commit to such God-awful projects. It can't be all about the money, in fact, it seems that the majority of his ridiculous films (ie The Haunted Mansion, that Pluto Nash movie, now Norbit, etc) don't even do that well. Clearly he's established himself with movies like Beverly Hills Cop, Coming to America, The Nutty Prof, Shrek, and Dreamgirls, which proves he can do more than comedy. It CAN'T be all about the money. I just don't get it.
I find myself asking this WHY question of other actors as well, who I feel could be great would they just stop making such horrid movies, but it's usually with people who are NOT as established/wealthy/rich as Murphy. For instance, one of the people I feel very strongly makes very bad choices in most cases is Ewan McGregor. But with Ewan, who is not a household name, I wonder if it's more an issue of not getting the right scripts, etc.
You'd think Murphy, who probably has more money than God by this point, would have much better options coming his way. And I'm not saying he shouldn't do comedy, I'm just wondering why the majority of the comedies he has made in recent years have tended to be so bad.
Another actor who has made some questionable choices in recent years is Steve Martin...Cheaper by the Dozen....The Pink Panther...really? Sutter please provide some insight!
(sorry for the long post)

1 of 2 | Posted by msu11y28 | Posted on February 26, 2007 1:37 PM

sutter kane :

msu,

Hard as it is to believe, I really think Murphy is just about the money. I've read interviews where he said something to the effect of: if you grew up the way I grew up and someone offers you $20 million, you take it. He even used this to rationalize doing Holy Man instead of Rush Hour. To his credit, I understand he got next to nothing for Dreamgirls, but has apparently since comlained about it. Most likely he took the part as a favor to Jeff Katzenburg at Dreamworks, an old friend of his that convinced to do Shrek.

I agree that Steve Martin has made some poor, if lucrative, choices, but his seem to be balanced by more personal projects like Shopgirl and The Spanish Prisoner, not to mention his work as a novelist and playwrite.

As for Ewan McGregor, I feel like he's made some good choices that just haven't panned out. Stay, for instance, was a very hot script when it sold, and director Marc Forster was coming off an Oscar nom for Monster's Ball, plus Naomi Watts coming off her nom for 21 Grams. The pieces were in place, it just didn't come together, and that happens sometimes. I almost can't believe I'm saying this, but look for him to make a splash, maybe even a nomination of his own, in Woody Allen's next movie, Cassandra's Dream (and opposite Colin Ferrell, no less). I know it's a longshot, but Woody's reenergized after leaving New York, and he knows how to get the most out of his cast... most of the time.

Sorry for the long reply.

2 of 2 | Posted by sutter kane | Posted on February 26, 2007 5:46 PM

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