• Nahata’s Year End Report: 3 Idiots profit 75 cr, KI loss 20 cr, DDD loss 15 cr
    Nahta Rocks | January 13, 2010, 3:36 AM | 15 comments | 0 views

    ‘3 Idiots’ Brings Cheer, Other Idiots Don’t!

    What a brilliant end to an otherwise bad year! The Hindi film industry couldn’t have asked for a better or bigger blockbuster than 3 Idiots to end year 2009. So huge is the business of the Rajkumar Hirani film that this film alone has changed the complexion of the year gone by.

    Instead of the industry posting a net total loss of around Rs. 455 crore in the films released during the year, the figure has been brought down by around Rs. 75 crore, thanks to 3 Idiots alone.

    In fact, it wouldn’t be wrong to say that the combined profits of the other successful films released in 2009 were the same as the profit in one 3 Idiots alone!

    As against the gain of Rs. 150 crore (Rs. 75 crore in 3 Idiots and another Rs. 75 crore in films like 2012 – Pralay Ki Shuruaat (dubbed), Love Aaj Kal and a few others), the film industry lost around Rs. 530 crore in the remaining releases of the year, resulting in a net loss of Rs. 380 crore. Of the combined loss of Rs. 530 crore in the approximately 220 loss-making films that hit the screens in 2009, at least Rs. 450 crore was posted by some 30 big-budget and/or star cast and/or big banner-backed projects. (more…)

  • Weekend Report: Tyler Perry ‘Can Do’ Good at the Box Office
    Som | September 14, 2009, 9:47 AM | no comments | 0 views

    Weekend estimate

    Tyler Perry’s Madea swung her weight at the box office again, handily topping a modest weekend at the box office with her latest appearance in Tyler Perry’s I Can Do Bad All By Myself. The weekend also saw a passable start for the animated 9 and the failures of two thrillers, Sorority Row and Whiteout. Overall business was off seven percent from the same weekend last year, when Burn After Reading and Tyler Perry’s The Family That Preys opened.

    I Can Do Bad All By Myself yanked an estimated $24 million out of approximately 3,200 screens at 2,255 sites. It was the third highest-grossing debut for a Tyler Perry movie, though slightly above average in terms of attendance, and a new high for one of his Fall releases, topping The Family That Preys ($17.4 million) and Why Did I Get Married? ($21.4 million). Though not named in the title like Perry’s biggest hits, Madea was front and center in I Can Do Bad’s marketing, suggesting the character’s continued popularity with Perry’s audience.

    More HERE

  • Weekend Report: ‘Final Destination’ Clings to Labor Day Lead
    Som | September 7, 2009, 12:38 AM | one comment | 0 views

    Weekend estimate

    With the usual smattering of modest Labor Day releases, Summer 2009 came to a quiet close. While overall business was up 40 percent from the corresponding (non-holiday) weekend last year, it was the least-attended Labor Day weekend in over a decade.

    Falling 55 percent but still leading the weekend, The Final Destination pulled in an estimated $12.4 million, lifting its total to $47.6 million in ten days. The horror sequel had a steeper drop than its predecessors as well as My Bloody Valentine 3-D from earlier this year. Nonetheless, it surpassed the final gross of Final Destination 2 and will soon top the other Final Destination movies, though it has a ways to go in terms of attendance.

    More HERE

  • Weekend Report: ‘Final Destination’ Rips Into Top Spot
    Som | August 30, 2009, 10:50 PM | one comment | 0 views


    In a rare instance of two movies of the same genre going head-to-head, the latest entries in the popular Final Destination and Halloween horror franchises collided and neither was particularly scathed by the clash, if their opening grosses were any indication. Overall, the weekend was the highest-grossing ever seen for the end of August and was up a whopping 32 percent from the same weekend last year, due mainly to the more potent new releases and recent holdovers.

    The Final Destination impaled an estimated $28.3 million on approximately 4,300 screens at 3,121 sites, scoring the biggest start of the franchise. The previous best was the last movie, Final Destination 3, at $19.2 million three and a half years ago. Included in the fourth movie’s opening were 3D presentations at 1,678 sites, and they accounted for 70 percent or nearly $20 million of the gross. While each Final Destination is basically the same story, the new movie remained an attraction due to the marketing’s promise of a thrill ride in which the invisible hand of death makes mincemeat out of young people in new, elaborate ways involving everyday situations. Applying 3D enhanced the appeal as the right fit for this type of visceral, disaster-oriented thriller. Distributor Warner Bros.’ exit polling indicated that 52 percent of the audience was female and 60 percent was under 25 years old.

    Drawing far less blood than its predecessor, Halloween II (2009) nabbed an estimated $17.4 million on around 3,600 screens at 3,025 sites, and, according to distributor The Weinstein Company’s research, 54 percent of the audience was under 25 years old and there was an even split between genders. By comparison, Halloween (2007) seized $26.4 million out of the gate on the same weekend in 2007, and the original Halloween II sold more tickets initially back in 1981. That picture itself was ultimately a huge step down from the first movie from 1978, so the same fate was reasonably expected for the remake, regardless of whether it faced off with another horror movie or not. After all, that’s what happened with the recent Texas Chainsaw Massacre and Hills Have Eyes repeats as well.

    Unlike The Final Destination, Halloween II (2009) was a continuation of the story of its predecessor and effectively offered the same slasher horror that audiences already experienced. It’s difficult for horror franchises to maintain their audiences, because they are often ephemeral experiences and, once people get the scares, there’s little reason to return. Franchises like Final Destination and Saw are exceptionally consistent, because they keep things fresh with new characters and more compelling suspense and mystery elements. (more…)

  • Weekend Report: ‘G.I. Joe’ Doesn’t Roll Snake Eyes
    Som | August 9, 2009, 10:39 PM | no comments | 0 views


    The summer’s last would-be event picture, G.I. Joe: The Rise of Cobra, wielded its kung fu grip on the box office over the weekend, though it wasn’t quite a real blockbuster hero. With a big movie opening, the weekend as a whole was up 22 percent over the same timeframe last year, when The Dark Knight led for the fourth weekend in a row and Pineapple Express debuted in second. Compared to previous years, though, weekend attendance was middling.

    G.I. Joe enlisted an estimated $56.2 million on approximately 5,900 screens at 4,007 sites, ranking as the fourth highest-grossing August opening ever, but a far cry from its Hasbro toyline stable mate, Transformers. Joe’s estimated attendance was nearly identical to XXX, another action spectacle that opened on the same August weekend in 2002, and it was slightly higher than similar pictures like Mission: Impossible III and Wanted but less than the Fantastic Four movies. Despite the sizable launches, none of those pictures attained true blockbuster status, and Joe would need to be unusually flinty to break the trend. Distributor Paramount Pictures’ exit polling indicated that 60 percent of the audience was male and 50 percent was under 25 years old.

    While riding on the 1980s toy-cartoon-comic brand name and attempting to cash in on some of the disaster thriller appeal of Transformers with the destruction of the Eiffel Tower, the marketing for G.I. Joe mostly resembled XXX and other movies with its clearly computer-generated action set-pieces, such as the brand’s most popular character, Snake Eyes, leaping over cars a la Spider-Man. Much of the focus was on The Rise of Cobra (on the movie poster, the bad guys are featured at the top, while the Joes are below the credits), which was a bit cockeyed considering that G.I. Joe itself had yet to be established as a movie franchise. That lack of central heroic characters for audiences to get behind may have limited the appeal. Curiously, though Paramount publicly eschewed advanced screenings for movie reviewers, they mysteriously presented reviewer quotes as the centerpiece of their television ads. Such dogmatic (and, in this case, hypocritical) adherence to critic’s quotes only comes at the expense of what audiences truly care about: the story, the characters, the spectacle, etc.

    Targeting a different audience than G.I. Joe, Julie & Julia julienned the record for biggest-grossing opening for a live-action cooking-themed movie (Ratatouille being tops if animation is counted). The comedy-drama served up a solid estimated $20.1 million on around 2,700 screens at 2,354 sites, which was more than 60 percent better than No Reservations, another late summer cooking comedy-drama from two years ago. According to distributor Sony Pictures’ research, 67 percent of the audience was female and 64 percent was aged 35 years and older. The picture was heavily promoted (including an obvious tie-in with the Food Network) as a relatable tale of two women taking charge of their lives, buoyed by being based on two true stories as well as its cast of Amy Adams and Meryl Streep, who was fresh from her recent summer successes of Mamma Mia! and The Devil Wears Prada. (more…)

Back to Top