Box Office: Coens’ Latest Makes “Serious” Money; “Capitalism” Expands Well (UPDATED)
by Peter Knegt (October 4, 2009)
A scene from Joel and Ethan Coen's "A Serious Man." Image courtesy of Focus Features.
Joel and Ethan Coen’s “A Serious Man” found itself high atop the specialty box office this weekend, scoring the year’s third best limited debut. According to weekend estimates, the highly acclaimed “Man” grossed $251,510 from just six theaters in New York, Los Angeles, and Minneapolis, averaging $41,918. Those numbers put the Focus Features release behind only “Sunshine Cleaning” and “Capitalism: A Love Story” in terms of ‘09 debuts, and places it in line the debuts of some of the Coens’ most financially successful films. While last year’s “Burn After Reading” debuted incomparably (and potently) on 2,651 screens, both 2007’s “No Country For Old Men” and 2000’s “O Brother, Where Art Thou?” had limited debuts, the former averaging $43,797 on 28 screens and the latter $39,020 from 5 screens. Considering “A Serious Man”‘s complete lack of starpower (save for the Coens themselves) in comparison to those films, its debut is all the more admirable. The film expands in the coming weeks, where the Coens’ ability to draw audiences outside of major markets without major stars will be curiously tested. Last weekend’s top film - the noted “Capitalism: A Love Story” - managed the second best numbers for a Michael Moore film’s first weekend in wide release. Jumping from 4 screens to 962, The Overture Films release grossed $4,850,000, topped only by “Fahrenheit 9/11”‘s scorching $23,920,637 debut (from 100 less screens, no less) back in 2004. Averaging $5,042, “Capitalism” fell nicely in line with 2007’s “Sicko,” which grossed $3,600,179 from a more limited 702 screens in its wide expansion (averaging an almost identical $5,128). “We’re excited about the reception to Michael’s film across the country,” Kyle Davies, EVP of Theatrical Distribution, told indieWIRE. “With a cinema score of A and exit polls showing audiences are loving the film, we expect to have legs. Theatres have been sending us reports of spontaneous applause and discussion groups forming in lobbies after the shows – Moore has got people talking once again!”
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