Sony Pictures Classics’ release of Atom Egoyan’s “Chloe” (which was actually an acquisition of Sony Pictures Entertainment Worldwide Acquisitions Group, not SPC) found fair numbers in its quite aggressive 306 screen debut this weekend, according to estimates provided by Rentrak earlier this afternoon. Starring a considerably marketable cast in Julianne Moore, Amanda Seyfried and Liam Neeson, the sexual thriller grossed $713,542 for a $2,332 average.
Considering its generally negative reviews and high screen count, those are by no means disastrous numbers for “Chloe,” and the film has already out-gross Egoyan last film, “Adoration” (also distributed by SPC) by more than double. In fact, when including this weekend’s numbers from Egoyan native Canada (where “Chloe” was released by E1 Entertainment), the numbers top the total grosses of many Egoyan films. In Canada the film grossed $288,450 on 44 screens for a much more potent $6,556 average. Combined, that gives “Chloe” a domestic opening of $1,001,922 – higher than the end totals of “Adoration,” “Where The Truth Lies,” and “Felicia’s Journey.” To be fair, none of those films had this wide of an opening, and none of them had the benefit of stars like Neeson and Moore.
Also debuting this weekend was Disney’s release of a documentary that exposes the rather scandalous inner-workings of Disney itself in the late 1980s and early 1990s, “Waking Sleeping Beauty.” Directed by former Disney exec Don Hahn, the film – which had premiered last fall at the Toronto International Film Festival – debuted on five screens, scoring $33,100. That amounted to a somewhat decent $6,620 average.
There was much news among the many specialty films in their second weekends of release. Noah Baumbach’s “Greenberg,” for example, managed a decent expansion in its second frame. Expanding from 3 to 181 screens, the Focus Features release – which stars Ben Stiller as a forty-something New Yorker who comes to Los Angeles in the midst of a mid-life crisis – grossed $1,058,876 for an average of $5,850. That brings the film’s total to $1,237,869 and makes it quite clear that “Greenberg” should have no issue topping Baumbach last film, 2007 “Margot at the Wedding.” While last weekend’s debut had “Greenberg” essentially tracking identical numbers as “Margot,” this weekend saw the film soar about “Margot”‘s first 100+ screen weekend (where it averaged $1,463) and will likely out-gross that film’s $1,956,291 total by next weekend.
One of last weekend’s other high-profile specialty debuts, Floria Sigismondi’s “The Runaways,” starring Kristen Stewart and Dakota Fanning, did not fare quite as well in its sophomore frame. Grossing $445,810 from a near-static 237 screens (last weekend it was actually on a slightly higher 244), the Apparition release dropped off roughly 45%, averaging only $1,881. The film is still set for a wide expansion on April 9th, though at this point things are not looking too promising in that regard. After 10 days, “The Runaways”‘s total stands at $1,571,262.
Two films that did avoid a sophomore slump were Niels Arden Oplev’s anticipated Swedish import “The Girl With The Dragon Tattoo” and Raymond De Felitta’s family drama “City Island.” “Tattoo” – already coming off over $80 million in overseas box office – went from 34 to 44 screens this weekend, and held on to last weekend’s numbers nicely. The Music Box Films release grossed $352,115 – about 10% higher than last weekend, $8,003. That’s actually the highest per-theater-average of any specialty film that reported estimates, and the third highest overall behind studio leader (and similarly dragon-centric) “How To Train Your Dragon” – Rentrak Theatrical, which collects studio reported data as well as box-office figures from North American theatre locations. To be included in the indieWIRE Box Office Chart, distributors must submit information about their films to Rentrak at firstname.lastname@example.org by the end of the day each Monday..