Three films starring Best Actress Oscar nominees nabbed the top positions, while three other films loaded with “A” list male actors struggled at the weekend box office. Jessica Chastain leads the way, with her horror film “Mama” grossing far above expectations, while her nominated film “Zero Dark Thirty” held on strong in its second wide week. Meantime, “Silver Linings Playbook,” starring Chastain’s Oscar rival Jennifer Lawrence, who went on Saturday Night Live, finally went wide to reasonable success.
The same can’t be said for new openings “Broken City” or “The Last Stand,” nor the holdover for “Gangster City,” all mostly far more expensive conventional action/male audience oriented films, all of which look like potential significant losses. Martin Luther King holiday weekend traditionally sees a range of such films (which stand in contrast to the more recent holiday adult and family audience releases), but this year, that audience has gone elsewhere.
Overall business this weekend was average, with about $111 million for the three days for the Top Ten. That’s down slightly from last weekend, while up from the same (but non-holiday) weekend last year, suggesting as have the first two this year that the new releases this year overall haven’t performed up to par.
Just below the top ten were “Lincoln” at $5.4 million, now up to $160 million total. Twentieth Century Fox capitalized on “Life of Pi”‘s major Oscar nomination haul to relaunch at 2,700 theaters for $3.4 million, and will hit $100 million Monday, adding to its much larger international total so far.
1. Mama (Universal/Entertainment One) NEW – Cinemascore: B-; Metacritic score: 58
$28,100,000 in 2,647 theaters; PSA (per screen average): $12,530; Cumulative: $28,100,000
For the third weekend in a row, the top new film (not counting the 2012 platform release “Zero Dark Thirty”) is a low-budget unheralded younger audience-oriented film that overperformed expectations. This one isn’t even American. Overseen by Guillermo del Toro, it is a mainly Spanish production (though mainly filmed in Canada, where it is being released by Entertainment One, not Universal).
But its pedigree seems clearly to have been enhanced by star Jessica Chastain. Timed to open just after her Oscar-nominated film, and coming after her string of higher-scale films recently, it totally eclipsed the performance of Jennifer Lawrence’s “The House at the End of the Street” last September whose total gross was about what “Mama” will do by tomorrow. (Of course, “The Hunger Games” was far beyond any of these films).
With a $15 million budget, this is going to be a significant money maker for all involved, although less of course for distributor Universal, which did not produce. Although Del Toro sponsored this, it was directed by a novice feature director, Andres Muschietta, who had previously made a short with the same name and plot, which was then expanded into this film. Del Toro’s involvement seems to have been enough to get a rising star like Chastain signed, and her presence provides a legitimacy to position this above other similar horror films.
What comes next: There is some risk in a tight possibly three-way Best Actress race for one competitor to appear in an on-paper less upscale film. But the strong showing for this at the same time as “Zero Dark Thirty” gives Chastain an added boost as a real draw, not unimportant in building successful momentum for an Oscar win.
2. Zero Dark Thirty (Sony) Week 5; Last weekend: #1
$17,600,000 (-28%) in 2,946 theaters (+9); PSA: $5,974; Cumulative: $55,945,000
The second Chastain-starrer had a strong hold this weekend, with a good Saturday and anticipated Sunday jumps from Friday showing signs of solid word of mouth now that this has reached a wide audience. The PSA impressively is ahead of “Silver Linings Playbook” despite one more week of wide release and playing in 400 more theaters, as well as easily outgrossing three new bigger-star films. It also now has gone slightly ahead of that film’s total gross, something of a surprise considering initial expectations for both films.
Continuing the ongoing comparison to the very successful “Black Hawk Down” 11 years ago, which also went from late year platform release to later wide playoff, this held up much better. The second weekend of the Ridley Scott Somalia rescue mission film was down 40% from its first, although with the disadvantage of coming off a Martin Luther King Holiday. In the end: controversy sells.
What comes next: With this weekend in, $100 million now seems like a real possibility.
3. Silver Linings Playbook (Weinstein) Week 10 ; Last weekend: #10
$11,351,000 (+126%) in 2,523 theaters (+1,713); PSA: $4,499; Cumulative: $55,310,000
Going above 900 theaters for the first time since its release, this long-delayed expansion is working quite well, although at the cost of higher than normal weekly marketing expense leading up to this. Considering that most of the best theaters in this break have been playing the film for weeks or more, this is a quite reasonable performance.
Even with higher advertising costs (plus the expensive parallel Oscar campaign), the low $21 million cost will make this a successful film. What is still to be determined is how successful. The performance so far has shown that at whatever level of playoff, this holds far above average. If this continues for the wider break, this could still reach $100 million or better, particularly if as is possible Jennifer Lawrence wins Best Actress.
What comes next: Foreign openings have been uneven so far, performing at levels that don’t suggest the usual higher grosses than at home. But with the domestic take enough to get this close to profit, whatever comes in make this along with “Django Unchained” a welcome ending to an uneven year of releases for Weinstein.
4. Gangster Squad (Warner Brothers) Week 2; Last weekend: #3
$9,100,000 (-47%) in 3,103 theaters (unchanged); PSA: $2,936; Cumulative: $32,220,000
Considering all the competition on the action front, this is not a disastrous second-weekend drop. But it started at a disappointing level for the investment involved (with domestic marketing, easily at least $90 million), and the flick will have to pop internationally in order to come close to breaking even.
What comes next: This should have one more modest week left before falling out of the Top Ten. International territories are opening in stages, with the initial ones grossing $25 million last weekend.
5. Broken City (20th Century-Fox) NEW – Cinemascore: B; Metacritic score: 49
$9,000,000 in 2,620 theaters; PSA: $3,435; Cumulative: $9,000,000
Though not a particularly expensive production ($35 million), this political thriller with two stars coming off of major hits (Mark Wahlberg in “Ted,” Russell Crowe in “Les Miserables”) fell flat and then some. With neither enough action to capture the young male audience and with mediocre reviews failing to attract older moviegoers, the cast wasn’t enough on its own to attract much interest.
The first solo directorial effort by Allen Hughes, who with his brother Albert has made several solid successes over the years (“Menance II Society,” The Dead Presidents,” “The Book of Eli”), this was co-produced by Emmett/Furia Films, who have backed numerous modestly budgeted films in recent years (last year “End of Watch” and “Alex Cross” to different results).
What comes next: Nothing indicates that this will have more than a short domestic run. The cast will help more overseas, although American political intrigue won’t be a great help.
6. A Haunted House (Open Road) Week 2; Last weekend: #2
$8,330,000 (-52%) in 2,160 theaters (unchanged); PSA:$3,900; Cumulative: $30,000,000
Down over 50%, but still in total above anticipated performance for this broad farce from exhibitor- run distributor Open Road.
What comes next: This won’t stick around much longer, but its success will keep Open Road in position as a go-to company for mid-level independent productions.
7. Django Unchained (Weinstein) Week 4; Last weekend: #4
$8,243,000 (-25%) in 2,516 theaters (-496); PSA: $3,276; Cumulative: $138,362,000
A decent holiday weekend hold for Quentin Tarantino’s biggest hit since “Pulp Fiction” (better in unadjusted figures, but likely to fall a bit short of the around $200 million that film’s total would equal today).
The big news though comes from foreign openings. Sony is distributing this elsewhere, and reports an initial $48 million weekend in the middle of wintry European weather, 30% better than the performance of “Inglourious Basterds” in the same territories. With African-American centered stories not automatically performing as well overseas, this is a significant success.
What comes next: Though it won’t stay close to this level through the Oscars, this seems positioned to still add on another $25 million at least before it ends its run. And the strong foreign openings will should push this $100 million production into significant profit.
8. Les Miserables (Universal) Week 4; Last weekend: #5
$7,800,000 (-19%) in 2,579 theaters (-348); PSA: $2,700; Cumulative: $130,400,000
A solid hold for this weekend as this successful musical continues to find new fans despite its mixed overall reaction from critics and some viewers.
What comes next: Its Oscar nomination haul will aid in keeping this going, though at a lower level, for upcoming weeks. Worldwide grosses, with most territories opening after the U.S., are already approaching $300 million.
9. The Hobbit: An Unexpected Journey (Warner Brothers) Week 6 ; Last weekend: #6
$6,405,000 (-) in 2,323 theaters (-689); PSA: $2,757; Cumulative: $287,395,000
Hanging on one last week in the top ten, with a $300 million domestic total in view, just about the same as “Skyfall,” which hit that total this week.
What comes next: Will the next two do as well? This level of performance indicates continued interest among the large fan base.
10. The Last Stand (Lionsgate) NEW – Cinemascore: B; Metascore: 54
$6,300,000 in 2,913 theaters; PSA: $2,163; Cumulative: $6,300,000
There is no way to disguise that this, barring a huge overseas showing, is the first major flop of the year. Arnold Schwarzenegger’s first starring role post-politics shows that he has lost his action star mojo.
At $45 million, this was a reasonably priced vehicle, along the lines of what normally Lionsgate manages to turn into a success. But looking at a likely sub-$20 million domestic gross, then adding the marketing costs, they could find themselves in a $50 million + loss before testing the waters elsewhere.
The film had other quality creative participants. Director Kim Jee-woon, previously known for such festival-shown genre films as “The Quiet Family” and “The Foul King” (commercial successes in his native South Korea) and producer Lorenzo di Bonaventura (“Transformers,” “G.I. Joe,” “Salt,” “Red”) and co-starring Forrest Whitaker and Johnny Knoxville, this still was Schwarzenegger’s film to deliver. And he didn’t.
What comes next: This will last not much more than a second week in the U.S., an inglorious return to movie stardom for the ex-Governor. This opened many other territories this weekend, and their results will suggest whether this still has a chance to recover somewhat after this disaster.