Fourth of July holiday weekends aren’t great for opening specialized films. But this year Fox Searchlight’s “The Way, Way Back” saw the best numbers for a new release in recent memory. And business spread among several new breakouts. Leading the way was RADiUS/TWC’s crowd-pleasing documentary “Twenty Feet from Stardom,” which continues to show wide appeal for a variety of audiences. Its early $1 million total is just the beginning of a lengthy run.
What this year lacks is the strength of ongoing hits at the level as last year’s “To Rome With Love,” “Moonrise Kingdom” and “The Best Exotic Marigold Hotel.” On a smaller scale, several films though are finding uneven footing in specialized theaters, led by “Before Midnight.”
“The Way, Way Back” (Fox Searchlight) – Criticwire: B; Metacritic score: 65; Festivals include: Sundance 2013, Newport Beach 2013, Los Angeles 2013
$575,000 in 19 theaters; PSA (per screen average): $30,263
Fox Searchlight enjoyed its best opening in more than a year, which broke wider than just New York/Los Angeles, so it’s slightly ahead of last year’s late spring/summer success “The Best Exotic Marigold Hotel.” “The Way, Way Back,” the directorial debut for “The Descendants”‘ Oscar-winning writers Nat Faxon and Jim Rash, debuted at Sundance, where it did not earn raves. With an ensemble of well-liked familiar faces including Steve Carell, Sam Rockwell, Toni Colette, Allison Janney and Rob Corddrey, and opening at a combination of specialty houses and big-city multiplexes, Searchlight’s considerable advance screening program and other marketing elements paid off to a solid opening that suggests possible cross-over appeal and a potential mid-summer specialized success. As an example of its above average level, the PSA is nearly double that of “Hitchcock” (in two fewer theaters), which went on to a disappointing $6 million domestic gross.
The reaction is a surprise. The similar “The Kings of Summer” (CBS Films), which also opened to similar reviews at Sundance and focused on adolescent vacation activities, opened to only $58,000 in four theaters (six weeks on it is only at $1.1 million). This is a tricky kind of film to present, even more so in the heart of the summer, but Searchlight seems to have created both awareness and positive interest. The increase in grosses from Friday to Saturday (not guaranteed with the earlier day a semi-holiday and the younger appeal for the film) is a particularly positive development.
What comes next: 13 more markets/75 theaters will be added next Friday, with a projected 650-750 theater wider break planned for July 26.
“Big Star: Nothing Can Hurt Me” (Magnolia) – Criticwire: B-; Metacritic score: 68; Festivals include: DocsNYC 2012; also available on Video on Demand
$21,000 in 2 theaters (including Weds-Thurs New York); PSA: $10,500
Like last year’s “Searching for Sugar Man,” this documentary focuses on a 1970s musical act rediscovered and gaining cult status. The Memphis-based group Big Star gained cult following and released three albums, but faced less success than their music seemed to warrant, which combined with a tragic death led to their early demise. The New York/Los Angeles two-theater release, which comes after multiple-week video on demand showings, shows a continued core interest decades later in the group’s music. This is one of the best initial showings for a film available for home viewing at the same time.
What comes next: This opens in Memphis this week, and is scheduled for at least limited engagements in 30 markets total at this point, a significant number for a VOD release.
“Stuck in Love” (Millennium) – Criticwire: C+; Metacritic score: 49; Festivals include: Toronto 2012, Newport Beach 2013, Seattle 2013
$38,100 in 21 theaters; PSA: $1,814
Millennium has gained some traction recently with “The Iceman” and “What Maisie Knew.” Like those two, this played at last year’s Toronto (in the Special Presentation title, then titled “Writers.”) With a cast that inclues Jennifer Connolly, Greg Kinnear and Kristin Bell in a story about a writer in mid-life crisis, Millennium opened this in New York (at Landmark’s Sunshine) as well as multiple runs in two atypical initial locations (Kansas City and Orlando). The result was a mediocre gross which suggests that it is unlikely to reach the $1-2 million totals of the other two films.
What comes next: This doesn’t look likely to generate much interest ahead.
Last week’s two decent openings both continue to show strength. Pedro Almodovar’s sexily entertaining “I’m So Excited” (Sony Pictures Classics) jumped to 16 theaters (+11) for $149,000 (PSA $9,313), which puts it behind the second week similar expansion of the director’s “The Skin I Live In,” which ended up grossing over $3 million. While the film is at the lower end of performance for recent Almodovar films (likely due to less favorable than usual reviews), it is at the higher end for subtitled films of late, particularly for one outside the awards season. It is doing much better than “Rust and Bone” at the end of last year despite that film’s potential awards pedigree, holiday playtime and Marion Cotillard in the lead.
Adding just one screen, Cinema Guild’s Vienna-set “Museum Hours” grossed $32,328 in three, for a PSA of $10,657. This continues to impress, with word of mouth seeming to make up for a low marketing spend.
Two much wider third-week films continue to do decent business as they expand. Weinstein’s “Unfinished Song” jumped to 70 screens (+51) for $248,000 (PSA $3,543) and a $443,000 total. This is only 75% of the PSA, where their earlier “The Sapphires” played on the same number of screens its third week (that film is now at $2.4 million). Cohen’s “The Attack” jumped to 53 screens (+17) for $205,000 (PSA $3,868, total $483,000, above average for a subtitled film).
The most impressive expansion performance comes from RADiUS/TWC’s “Twenty Feet from Stardom,” which took in $510,000 in 89 theaters (+45, PSA $5,730, total $1,100,000). The ongoing success means that the music documentary about backup singers could end up the-biggest grossing documentary of the year, and should easily outperform last year’s Oscar-winning “Searching for Sugar Man.”
Among the wider-released films, Roadside Attraction’s “Much Ado About Nothing” did $472,000 in 170 theaters (-47, PSA $2,776, total now at $3 million). The gross actually fell less in percentage than the theater count, suggesting stabilization and a chance for further growth. Sony Pictures Classics’ “Before Midnight” continues to amass more gross – another $513,000 in 214 (-76, $2,397 PSA), bring it up to $6.6 million, ahead of previous “Before” films in unadjusted figures, but also outpacing them in total attendance as its ongoing stabilized performance looks headed toward $9-10 million, half of this year’s best specialized successes (“Mud” and “The Place Beyond the Pines”) but much better than it looked after its initial much wider expansion.
A24’s “The Bling Ring” however is not holding on as well. Its fourth weekend total of $300,000 in 159 (-471, PSA $1,887) brings it to a total of $5.1 million, most of that still from its second week when it went to a surprisingly wide 650 screens. Unlike what SPC was able to do for “Before Midnight,” this hasn’t gained the traction at core theaters as the total reduces, and this looks like it won’t add a lot to its final result.
Four other longer-running films took in more than $100,000 this weekend – Fox Searchlight’s “The East” did $172,000 in 102, total $1,974,000; SPC’s Israeli “Fill the Void” $160,000 in 59, total $1,204,000, and IFC’s “Frances Ha” added another $145,000 in 69, now up to $3,680,000. The longest running, Roadside Attraction’s “Mud” is still around, doing $177,000 in 111, now up to an amazing $20,800,000.