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Box Office: “Way Back,” “Company Men” Debut As Oscar Hopefuls Keep It Coming (UPDATED)

Box Office: "Way Back," "Company Men" Debut As Oscar Hopefuls Keep It Coming (UPDATED)

Newmarket Films opened Peter Weir’s “The Way Back” this weekend on a considerably wide 678 theaters. According to estimates provided by Rentrak, however, the results were not spectacular. The film, starring Jim Sturgess, Ed Harris and Colin Farrell, grossed $1,465,158, averaging $2,161. Though certainly not disastrous, the numbers don’t suggest a hopeful future for the film, particularly because the film – which had an Oscar qualifying run in December – isn’t gaining much traction this awards season.

Fairing much better was The Weinstein Company’s debut of John Well’s “The Company Men” – which also had a December qualifying run. Debuting on 106 screens, “Men” grossed a respectable $767,000, averaging $7,236. The film has totalled $810,000 if the qualifying run is included.

Also debuting was IFC Films’s release of Sang-soo Im’s “The Housemaid,” which grossed a decent $18,200 from two NYC screens, averaging $9,100. The film will expand to LA next weekend and the top 15 markets throughout the month of February.

Overall, the rest of the weekend’s specialty box office news consisted mostly of Oscar hopefuls.

Darren Aronofsky’s “Black Swan” maintained box office momentum. The film grossed $6,200,000 over the weekend from a slightly expanded 2,407 theaters, averaging $2,576 and taking its total to a stunning $83,580,631 after 8 weeks. “Swan” is essentially assured crossing the $100 million mark, an incredible feat for the $13 million budgeted film, and a testament to Fox Searchlight’s smart release strategy (and obviously also to how well the film has played across demographics).

“The King’s Speech” also had an excellent weekend. Beyond the film surprising at the PGA Awards, the film itself held up very well. Adding 137 theaters to bring its count to 1,680, the Tom Hooper directed feature film grossed a regal $9,164,299 over the weekend, landing in the #4 slot of the overall box office despite playing on half the screens of its competitors. “Speech” found a $5,455 average and a new total of $58,623,270 after 9 weeks. That number should grow substantially as the film continues to expand and is aided by its all-but-assured big batch of Oscar nominations ($100 million is not out of the question for the $15 million budgeted film).

Less assured major Oscar nominations but a considerable success story in its own right is another Weinstein film, Derek Cianfrance’s “Blue Valentine.” The Michelle Williams-Ryan Gosling relationship drama has clearly piqued an interest from audiences, grossing a strong $938,323 from 242 theaters (up 12) over the weekend. That gave the $1 million production a $3,877 average and a new total of $4,520,530. Nearly a year after its Sundance Film Festival debut, and after the controversy related to its successfully appealed NC-17 rating from the MPAA, it seems “Blue Valentine” is en route to having a Hollywood ending.

Also faring well was Richard J. Lewis’s “Barney’s Version,” which expanded from 4 to 16 theaters in its sophomore frame and grossed $160,840 for Sony Pictures Classics. “Version,” which stars Paul Giamatti, Dustin Hoffman, Minnie Driver and Rosamund Pike, averaged $10,053. Including its Oscar qualifying run in December, that takes “Version” to a promising $303,043 total as it heads into further expansion.

Sony Classics also found good news as Mike Leigh’s “Another Year” expanded slightly in its fourth weekend from 13 to 45 screens. Detailing a year in the life of a long married couple (Ruth Sheen and Jim Broadbent) and their rather dysfunctional friends (notably alcoholic Mary, played by Lesley Manville), “Year” grossed $227,864 for a per-theater-average of $5,064. The film has now totalled $733,885 since opening December 29th.

Sofia Coppola’s “Somewhere,” meanwhile, expanded from 53 to 83 theaters in its fourth weekend, and found fair numbers. The Focus Features release, which stars Stephen Dorff and Elle Fanning as a movie star and his daughter struggling to connect, grossed $202,324 over the weekend, averaging $2,438 and taking its total to $1,305,904.

Sylvain Chomet’s “The Illusionist” went from 7 to 15 theaters in its fifth weekend. Based on an unproduced work by Jacques Tati, the well-reviewed animated French import grossed $88,157, averaging $5,877. Since opening Christmas Day, the Sony Pictures Classics-released film has totalled $378,542 from a very limited screen count.

Peter Knegt is indieWIRE Associate Editor. Follow him on Twitter and on his blog.

indieWIRE:BOT tracks independent/specialty releases compiled from 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 by the end of the day each Monday..

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Also, I’d like to note before you correct me that I misread Firth as Farrell. Sorry about the mistake.


A few problems with what you’ve written, Arlene.

First of all, Colin Farrell is an Irish actor. He’s not English as you suggest that he is. Secondly, the book on which the movie is based has come under serious investigation recently, with some pretty incriminating evidence to suggest that writer Slawomir Rawicz’s story is pure fiction. BBC claims Rawicz was realeased from the Gulag in 1942 and evidently based the book on a story that he heard about someone else. In fact, even Director Peter Weir has his doubts about it and told BBC in an interview that “The Way Back” is “essentially a fictional film.”

If you’re going to post angry rants at the bottom of news articles, at least get your facts straight. Also, maybe try seeing the movie first before you essentially call Americans morons for its poor box-office performance.


Am I angry,no just sorry that the films your generation have grown up on have for the most part missed the mark in dramitic quality. Neither have I called the film audience morons. I was pleased The Black Swan found acceptance with the public as ballet is not a subject of wide interest. Also The King’s Speech an historical tale about something that is little known fact today. As far as the veracity of Rawicz book there were several escapes from gulags, see you-tube “The impossipible Escape” and listen to an inverview with a man who was one of 84 escapees, of which only 7 survived. As I mentioned you-tube I have seen many clips and interviews on the film, althought I have not seen it, I believe the performances outstanding. Neither would I reject the film out-of-hand sight unseen as you have. The Way Back isn’t a chick-flick date movie, or a Saw type gore festival, or a f&f gear-head type. As Isaid before I miss the golden age of film.


I’m going to date myself, but I remember when movies were MOVIES. There might have been sequels but the word re-make hadn’t been invented. A black and white Republic picture, the Sands of Iwo Jimo could make your pulse race as Sgt Stricker’s men hit the beach and you could even cry a few tears as John Wayne bravely died. You didn’t have graphic violence just for shock value. You didn’t have to destroy a fleet of vehicles to keep you’re audience from being bored. The Way Back has been nominated in Ireland for best supporting actor [Farrell] best supporting actress [Roanon], and before you say well they are Irish , Colin Firth [who is English] was nominated for best actor. I read the book the movie was based on. This a true story and the hardships were real. Maybe I just hope we just could see how it’s about art not money.

come on arlene

LOL. Yes, by all means, the problem is somehow the US as a whole. What a crock of sh*t.

Peter: a $2k per screen is a bloodbath… Every bit the complete “disaster” you suggest it isn’t, so you’ve been spun… They won’t hold and can’t add screens at that rate.

It’s DOA.


The Us audience isn’t mature enought to recognise the as a great, true, dramatic film. I would have liked to see the film but it’s not being shown near where I live and not even Chicago loop. I think Americians are so used to baseless, violent, junk movies that they fail to see the moral values the film presents.

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