Box Office: Matt Damon political thriller Green Zone + Robert Pattinson romantic melodrama Remember Me flop
March 15 update: Starring Matt Damon, Paul Greengrass’ Iraq War thriller Green Zone landed far behind top movie Alice in Wonderland this past weekend (March 12–14). Faring even worse – though on about 15 percent of Green Zone‘s budget – was Allen Coulter’s romantic melodrama Remember Me, toplining Twilight Saga actor Robert Pattinson in his first star vehicle.
In Green Zone, Matt Damon plays the leader of a U.S. Army team who uncovers a government conspiracy in Iraq. American and Canadian audiences couldn’t care less. Green Zone pulled in an underwhelming $14.3 million from 3,003 locations, or a mediocre $4,765 per theater.
That’s not only slightly less than estimates released on Sunday but also several million less than Universal and partner Relativity Pictures were expecting. One key reason: unlike kiddie flick Alice in Wonderland, the adult-oriented Green Zone did relatively poor business on Saturday.
Clearly, this $100 million production will turn out to be the latest Iraq War-related flop at the domestic box office, following, among others, Redacted, In the Valley of Elah, and this year’s Best Picture Oscar winner The Hurt Locker. Green Zone also happens to be Universal’s third domestic bomb of 2010, following The Wolfman and Leap Year.
Besides Matt Damon, the Green Zone cast includes the following: Best Supporting Actress Oscar nominee Amy Ryan (Gone Baby Gone), Best Supporting Actor nominee Greg Kinnear (As Good as It Gets, 1997), Jason Isaacs, Brendan Gleeson, Khalid Abdalla, and Omar Berdouni.
Universal’s two box office bombs
March 29 update:Paul Greengrass-Matt Damon Iraq War thriller Green Zone took in $3.38 million, down 45 percent. The $100 million Universal production has grossed a mere $30.4 million to date.
At no. 9, down from no. 4 last weekend, the Jude Law-Forest Whitaker futuristic action thriller Repo Men earned only $3.01 million. Universal’s $32 million production lost 50 percent of its business from a week ago. Total to date: $11.3 million. Repo Men has become the studio’s second flop in a row.
Remember Me soon to be forgotten at domestic box office
Remember Me, Robert Pattinson’s first big-screen try-out as a human being since Twilight made him a household name, brought in $8 million at 2,212 screens, or a highly disappointing $3,657 per screen – that’s about $1,000 less than Green Zone‘s average, even though Matt Damon’s movie is screening at about 50 percent more theaters. (All things being equal, the smaller the number of theaters, the higher the per-theater average should be.)
One key issue: Remember Me has been plagued by mostly negative reviews, which may help to explain why it opened at the very low end of Summit Entertainment’s already modest expectations.
Of course, a number of Robert Pattinson fans showed up at this past weekend’s showings, but not nearly enough of them to give the $16 million romantic melodrama the initial boost it so desperately needed. In fact, Remember Me actually suffered a 20 percent box office drop on Saturday.
Ultimately, Remember Me debuted below both She’s Out of My League, a teen comedy with no stars, and Martin Scorsese’s hold-over mystery thriller Shutter Island.
March 22 update: Remember Me suffered the weekend’s second worst drop-off among the top twelve movies: 59 percent.
Most of Robert Pattinson’s Twilight Saga fans have clearly opted to stay away from a movie in which their idol gets killed. Or it could be that they only care about Pattinson as the vampire Edward Cullen.
Not so surprising climax
Saturday’s box office figures all but killed Remember Me, possibly because of poor word of mouth or perhaps Robert Pattinson’s fans decided they didn’t want to go see a movie in which the all-but-immortal Edward Cullen dies. Really, the film’s “twist” ending was out even before Remember Me opened.
Allen Coulter’s romantic drama will in all probability be unable to recover its low cost at the domestic box office. (Exhibitors keep about 50 percent of a film’s gross.) But ancillary and international revenues will likely earn investors some good cash, even after taking out distribution and marketing expenses.
Besides Robert Pattinson, Remember Me features the following:
Oscar box office effect: ‘Crazy Heart,’ ‘The Blind Side’ & ‘The Hurt Locker’
At the North American box office, Scott Cooper’s Crazy Heart, John Lee Hancock’s The Blind Side, and Kathryn Bigelow’s The Hurt Locker were the only three movies that benefited from their Oscar victories on Sunday, March 7.
Starring veteran Jeff Bridges (The Last Picture Show, King Kong) as a down-and-out country singer who strikes up a relationship with a younger woman (Maggie Gyllenhaal), Crazy Heart earned Bridges the Best Actor Oscar, in addition to winning another statuette for Best Original Song (“The Weary Kind” by T Bone Burnett and Ryan Bingham).
More than any other film, Crazy Heart has been immensely helped by this year’s awards season buzz. Following Bridges’ victory and the addition of 87 locations, the film was down a mere 9 percent from the previous weekend – the smallest decrease among the top 14 films. To date, Crazy Heart has pulled in $34.2 million.
At no. 13, The Blind Side – relatively speaking – did even better, gaining 28 percent despite the loss of 19 sites. The sentimental family/socially conscious drama stars Best Actress winner Sandra Bullock and Tim McGraw. After adding $1.6 million this past weekend, the top sleeper hit of 2009 reached a remarkable cume of $252.7 million.
Following the addition of 75 venues, at no. 17 Best Picture winner The Hurt Locker grossed an estimated $828,000 at 349 theaters, for a $2,372 average. These are hardly huge figures, but they’re not insignificant ones either, considering that the Iraq War drama was initially released last summer – when it flopped – and it has since become a sizable hit on DVD.
The Hurt Locker won five other Oscars, including Best Director and Best Original Screenplay (Mark Boal). Total to date: $15.7 million. The cast includes Best Actor nominee Jeremy Renner, Guy Pearce, and Anthony Mackie.
‘Alice in Wonderland’ tops international box office
Alice in Wonderland is doing extremely well overseas, raking in an estimated $76 million from 6,621 screens in 48 markets. Tim Burton’s 3D extravaganza was the top movie in every single territory.
After ten days the film has taken in a staggering $221 million, nearly 70 percent of which at 3D venues (which charge a premium). And there’s more to come. Alice in Wonderland has yet to reach several top international markets, including France, China, Japan, Spain, and Brazil.
Alice‘s current top markets are:
- The United Kingdom with $10.8 million this weekend; $34 million total.
- Russia with $10.6 million; $32.2 million total.
- Italy with $9.3 million; $28.7 million total.
- Germany with $7.1 million; $16.4 million total.
Worldwide, Alice in Wonderland has amassed $429.6 million.
‘Green Zone’ finds slightly greener pastures overseas, ‘Remember Me’ not so lucky in Australia
Matt Damon’s Green Zone was no. 4, with $9.7 million at 1,562 sites in 14 markets. In terms of per-theater average, that’s better than the Iraq War-related thriller’s domestic performance (at least in part thanks to the weak U.S. dollar), but Green Zone is hardly what you’d call an international blockbuster.
Universal/Relativity Pictures will have trouble recovering their $100 million investment, not to mention distribution and advertising costs.
Meanwhile, Robert Pattinson’s domestic disappointment Remember Me fared even worse in Australia, where it opened at 173 screens. The romantic drama grossed only $388,000 in that country. For comparison’s sake: also in Australia, Green Zone, scored $1.9 million at 212 screens.
Overall, despite Pattinson’s Twilight popularity, Remember Me brought in a paltry $1.6 million at 530 screens in 9 markets.
Oscars also helping ‘international audience-unfriendly’ movies
Crazy Heart, The Blind Side, and The Hurt Locker have all apparently also been helped at the international box office following their Oscar victories.
This past weekend (March 12–14, but in some territories four or even five days are included as “weekend”), The Blind Side took in $1.8 million from 369 sites in 11 markets for an overseas cume of $10.3 million. That’s not bad for this type of film, but by the end of its run The Blind Side will be one movie to have performed infinitely better domestically than internationally.
Part of the reason may be that Sandra Bullock isn’t as much a box office draw overseas as she is in the United States. Besides, despite its Oscar win, The Blind Side may feel much too culturally “suburban USA” for non-American-suburbia tastes.
Crazy Heart, for its part, beat to the tune of $882,000 at 459 theaters in 21 markets. International total to date: A very modest $3.9 million. Why such modesty?
Well, country music and Jeff Bridges aren’t exactly major box office draws anywhere in the world, especially outside the U.S. But the Oscars in all probability helped. Else, rest assured that Crazy Heart and The Blind Side – in addition to The Hurt Locker – would have fared much worse internationally.
Kathryn Bigelow’s Iraq War drama, in fact, grossed an impressive $580,000 this past weekend in Australia for a total of $2.5 million.
‘Alice in Wonderland’ down nearly 60 percent, ‘Green Zone’ & ‘Remember Me’ are box office casualties
March 13 update: As expected, Alice in Wonderland was the no. 1 movie at the North American box office on Friday, March 12, grossing an estimated $17.4 million – an impressive (3D-boosted) $4,667 per location.
At a distant no. 2, Paul Greengrass’ Iraq War drama Green Zone picked up $5 million from 3,003 venues, or $1,665 per theater. That doesn’t bode well for the $100 million production starring Matt Damon, though Green Zone will possibly end up earning more on its first weekend than distributor Universal (at least officially) expected.
Allen Coulter’s Remember Me, featuring Robert Pattinson’s first non-vampire starring role since his meteoric rise to fame as Twilight‘s Edward Cullen, took in $3.6 million at 2,212 screens – or a mediocre $1,627 per theater at about 800 fewer venues than Green Zone. (Generally speaking, if movies are equally popular, the one playing at fewer theaters should have a higher per-theater average.)
Matt Damon, Robert Pattinson non-franchise box office appeal
The Green Zone and Remember Me figures are “modest” for movies toplining Matt Damon and Robert Pattinson, the stars of the spectacularly successful The Bourne Identity and Twilight franchises. But that would be comparing apples and watermelons.
From the get-go, The Bourne Identity and The Twilight Saga have enjoyed wide brand recognition by way of bestselling novels. Besides, neither Green Zone nor Remember Me are feel-good fare.
Set in Iraq, the former is a political thriller that depicts a chunk of its American characters as corrupt jerks – hardly the sort of thing to whet the cinematic appetite of millions of popcorn-eating U.S. moviegoers. Remember Me, for its part, amounts to a low-budget indie drama with a much talked about feel-bad Sept. 11, 2001, finale.
‘Alice in Wonderland’ to rule, Matt Damon’s ‘Green Zone’ and Robert Pattinson’s ‘Remember Me’ to be ruled
March 12: Reviews for both Paul Greengrass’ Green Zone, starring Matt Damon, and Allen Coulter’s Remember Me, starring Robert Pattinson, have been mixed to negative. According to The Wrap, Universal is expecting Green Zone to open in the “upper teens.” If so, that will prove troublesome for the $100 million production.
In addition to Remember Me, Summit Entertainment is rereleasing at 349 venues The Hurt Locker, winner of six Academy Awards including Best Picture and Best Director (Kathryn Bigelow). The studio expects Remember Me to earn between $8 and $10 million – a worrisomely modest amount for a movie opening at more than 2,000 screens.
‘Remember Me’: Weak weekend performer
At no. 12, Robert Pattinson’s Remember Me earned $1.93 million, down an acceptable 42 percent from last weekend. Curiously, when compared to most other movies Remember Me actually does better on weekdays than on weekends.
The romantic drama was no. 10 on Friday, but according to current estimates it had only a minor surge on Saturday and did poor business on Sunday. That has been the film’s pattern since it opened two weeks ago. A relatively weak weekend, but then on weekdays it goes up a spot or two on the chart.
To date, Remember Me has brought in $17.1 million, or about $1 million more than its production cost. It’ll probably earn another $3-$5 million in the next couple of weeks, ending its run in the low $20 million range. That’s not bad at all for a movie that at first looked like it was going to disappear within the week.
Movies in limited release: Kristen Stewart-Dakota Fanning rock biopic down alarmingly
A holdover from last week, the Kristen Stewart-Dakota Fanning rock biopic The Runaways dropped an alarming 43 percent, collecting only $455,000 at 237 North American screens this past weekend. Average per screen: a paltry $1,920.
Here’s wondering what’s going to happen when The Runaways opens wide in April. The film’s total to date is $1.58 million.
The silver lining: much like Robert Pattinson’s Remember Me, The Runaways will probably do much better on home video and pay-per-view. Twilight fans may not be willing to go to a movie theater and shell out $12 to watch Pattinson or Stewart in off-beat roles, but they may well be willing to catch them on the small screen.
Weekend debuts: ‘How to Train Your Dragon’ & movie ticket price increases
March 26: How to Train Your Dragon opens today in North America. Expect box office receipts to soar even if actual attendance drops.
Thanks to the success of James Cameron’s Avatar and Tim Burton’s Alice in Wonderland, 3D venues have decided that the Great Recession is over, spring is here, and it’s time to cash in on the Good Times.
That means an additional $2 to $3 per ticket for 3D presentations – though the price hike will actually take place across the board. In other words, 2D movies will be affected as well.
At this rate, next spring a 2D matinee will cost about as much as an IMAX-3D ticket for Avatar last winter.
Avatar inflation-adjusted domestic box office chart
James Cameron’s socially conscious sci-fi/fantasy/adventure mix Avatar hasn’t been the top grosser at the North American box office for nearly two months. Starring Sam Worthington, Zoe Saldana, and Sigourney Weaver, Avatar was initially dethroned by the shirtless Channing Tatum-Amanda Seyfried tearjerker Dear John, followed by Garry Marshall’s all-star Valentine’s Day, the Martin Scorsese-Leonardo DiCaprio thriller Shutter Island, and, for the last three weekends, Tim Burton’s 3D extravaganza Alice in Wonderland.
Avatar is still doing okay business, but it lost quite a bit of steam globally after Alice in Wonderland took hold of hundreds of IMAX and 3D screens. Adding insult to injury, Tim Burton’s fantasy adventure starring Mia Wasikowska and Johnny Depp broke Avatar‘s domestic IMAX record a mere two and a half months after the sci-fier’s release.
Avatar worldwide box office
Still, Avatar remains at the top of the all-time box office charts. As of this past Sunday, March 21, Avatar had grossed $736.9 million in the U.S. and Canada, in addition to $1.931 billion internationally (up to March 14) for a staggering worldwide total of $2.667 billion.
On the all-time, inflation-adjusted domestic box office chart, which is supposed to more accurately reflect the number of tickets a film has sold, Box Office Mojo estimates that Avatar is no. 14. (For comparison’s sake, James Cameron’s own Titanic is no. 6; Victor Fleming’s Gone with the Wind remains a distant no. 1.) Four weeks ago, Avatar was no. 15, right behind Richard Marquand’s 1983 Star Wars sequel Return of the Jedi. In other words, Avatar has gone up a single slot in a month.
The big blue Na’vi have just about had it, at least for the time being. In about a week or so, Avatar will probably be gone from North America’s top-ten box office chart.
And if things continue as they’ve been in recent weeks, Avatar will need at least two more weeks to reach the no. 13 slot. That’s currently occupied by William Wyler’s multiple Oscar-winning epic Ben-Hur, which raked in the equivalent of $745.7 million (in 2010 dollars) back in 1959. Slightly ahead is another Star Wars sequel, Irvin Kershner’s The Empire Strikes Back (1980), with $747.1 million.
Chances are Avatar will end its initial run at no. 12, though with some luck it may reach no. 11. That slot is currently occupied by Disney’s 101 Dalmatians (which has had multiple rereleases since it first came out in 1961) with an adjusted cume of $760.3 million.
With $829.4 million at no. 10, Disney’s Snow White and the Seven Dwarves (which has also had multiple rereleases since 1937) is totally unreachable.
Avatar‘s only chance to surpass Snow White and thus become one of the all-time top-ten movies in North America is if Fox’s planned late-year rerelease becomes a monumental hit.
Now, if 3D/IMAX surcharges and currency fluctuations (for the international box office tallies) are taken into account – to reflect actual ticket sales – the overall picture would change quite dramatically. Avatar ticket costs have ranged from $9 to $16.50 or whereabouts, or between 28.5 percent and 40 percent more than ticket prices for 2D movies. [See Avatar vs. Titanic: International Box Office.]
Box office factors
Once again, bear in mind that the figures found on Box Office Mojo’s inflation-adjusted chart are approximations based on “average” ticket prices provided by the National Association of Theater Owners.
In Avatar‘s case, the 3D/IMAX premiums in North America can add between 25-40 percent to the sci-fier’s grosses when compared to 2D movies that sold the same number of tickets. According to The Hollywood Reporter, approximately 80 percent of Avatar‘s domestic gross and about two-thirds of its international gross have come from 3D and 3D/IMAX screenings.
So, out of its $736.9 million earned in North America as of Sunday, March 21, $147.4 million (20 percent) came from 2D venues and $589.5 million (80 percent) from 3D/IMAX sites charging premiums. Now, deduct one third of the latter amount and you’ll place Avatar on a par with 2D movies in numbers of tickets sold. Approximately $196.5 million would be taken out (of the $589.5 million figure), leaving Avatar with a 2D-equivalent total of $540.4 million.
Avatar, currently at #14 on Box Office Mojo’s inflation-adjusted chart, would fall behind nearly 20 more movies if 3D/IMAX surcharges are factored into its box office grosses. As I’ve explained before, Box Office Mojo’s inflation-adjusted chart is supposed to better reflect the number of tickets a movie has sold.
In (approximate) number of tickets sold, James Cameron’s sci-fi epic would then find itself at #32, a couple of million ahead of the 1984 supernatural comedy Ghostbusters with $538.2 million and slightly behind DreamWorks’ 2004 animated feature Shrek 2 with $540.6 million.
If things continue as they are, Avatar will likely end its initial run at #30, sandwiched between two old Disney releases: The Jungle Book (1967) with $560.7 million and Sleeping Beauty (1959) with $553 million.
Once again, bear in mind that those are approximations based on “average” ticket prices provided by the National Association of Theater Owners: $7.61 for 2010. An accurate calculation of a film’s popularity at the box office — as in, the number of tickets sold and its ratio to the population size at the time of the movie’s release — would be based on where the movie made most of its money, e.g., a top-dollar New York house, thousands of cheaper small-town theaters, 3D/IMAX screenings, or kiddie matinees.
Avatar‘s ticket prices, for instance, cost much more than the purported $7.61 “average” for 2010. In fact, most releases — whether new or old — that earn(ed) most of their revenues in major urban centers are at an advantage on those charts, whereas movies that did well in smaller towns or those made for children (lower prices for kids, matinees) are at a disadvantage.
It’s also worth remembering that population increases, changes in movie-going demographics, changes in movie distribution (movies didn’t open at 3,000 — or even 300 — screens until the mid-1970s), and the growth of entertainment alternatives (home video, cable television, pay-per-view options) should all be taken into consideration when comparing the box office success of movies from different eras. And that many of the movies found on Box Office Mojo’s inflation-adjusted chart had one or more rereleases throughout the years.
The effect of piracy on a movie’s box office performance remains highly debatable. It all depends on the type of movie (would you rather watch Avatar on your computer screen or at a 3D movie house?), the quality of the pirated material (high-def. copies vs. crummy reproductions), and where the copying is taking place (Beverly Hills or, say, Lagos or Kinshasa, where most people who’d buy 50-cent copies of Hollywood flicks wouldn’t be able to afford going to the movies, anyhow).
Feb. 11: Boxofficemojo.com estimates that Avatar is now #20 on the all-time domestic box office chart adjusted for inflation, or six slots higher than it was ten days ago. It’s just ahead of Disney’s Fantasia (1940), which has had numerous rereleases, and about $12 million behind George Lucas’ Star Wars: Episode I – The Phantom Menace (1999).
If things continue as they’ve been – a decrease in revenues of around 15 percent each weekend – Avatar will gross another $4 million by Thursday night and about $19 million over the three-day weekend for a total of $23 million. By Monday, Avatar should be either #17 or #18 on the inflation-adjusted all-time box office chart, having passed both Star Wars and Mike Nichols’ The Graduate, while (figuratively speaking) running neck and neck against Steven Spielberg’s Jurassic Park (1993).
Still some ways ahead of Avatar will be Spielberg’s Raiders of the Lost Ark (1981), starring Harrison Ford (above); George Roy Hill’s Best Picture Oscar winner The Sting (1973), with Paul Newman and Robert Redford; Richard Marquand’s Return of the Jedi (1983), also with Harrison Ford; William Wyler’s multiple Oscar winner Ben-Hur (1959), with Charlton Heston; and another Harrison Ford movie, Irvin Kershner’s The Empire Strikes Back (1980).
If 3D/IMAX surcharges are factored in, Avatar would drop quite a bit on Box Office Mojo’s inflation-adjusted chart. As I’ve explained in the comments section of a previous Avatar post, the 3D/IMAX premiums can add somewhere between 25-30 and 40 percent to Avatar‘s grosses. Most other movies, including the vast majority of recent releases, don’t have that sort of advantage — certainly not to Avatar‘s extent, as 80 percent of its domestic gross has come from 3D and/or IMAX screenings.
Even if you opt for the lower end of the scale and subtract only 25 percent from Avatar‘s earnings – in order to better estimate where James Cameron’s sci-fi adventure would rank in number of tickets sold – the film would have earned to date (Feb. 9) $475.2 million, placing it at #51, ahead of Peter Jackson’s 2003 fantasy epic The Lord of the Rings: The Return of the King and a couple of million dollars behind Leo McCarey’s 1945 comedy-drama The Bells of St. Mary’s, made in the days when Bing Crosby and Ingrid Bergman were two of Hollywood’s top box office stars.
If you opt for a mid-level percentage, or about 33 percent, Avatar‘s “2D-equivalent revenues” would be $422.4 million, which would place it at #71, slightly ahead of David Lean’s 1962 political epic Lawrence of Arabia (above, and with which Avatar has thematic elements in common) and slightly behind Steven Spielberg’s 1977 sci-fi drama Close Encounters of the Third Kind (including the 1980 rerelease).
‘Repo Men’ ready for repossession
Starring two-time Academy Award nominee Jude Law (supporting for The Talented Mr. Ripley, 1999; lead for Cold Mountain, 2003) and Best Actor Academy Award winner Forest Whitaker (The Last King of Scotland, 2006), Repo Men had a dismal opening at no. 4, with a mere $6.015 million and a meager $2,440 per-screen average.
Miguel Sapochnik’s futuristic action thriller won’t get even close to recovering its relatively modest $32 million budget – unless, that is, the international market (unlikely) and home video/pay-per-view come to the rescue.
That’s more bad news for Universal, whose $100 million Green Zone has thus far grossed an underwhelming $24.7 million, and hasn’t been doing all that great overseas either.
March 22 box office actuals: Repo Men drew in $6.12 million over the weekend. Don’t be too surprised if by next weekend the action thriller is nowhere to be found on the Top Ten chart.
‘The Ghost Writer’ goes wider for last time?
As mentioned above, Roman Polanski’s thriller The Ghost Writer, winner of the Best Director Silver Bear at this year’s Berlin Film Festival, earned an estimated $2.1 million at the North American box office this weekend.
Playing at 819 theaters at the start of its fifth week – 595 more venues than last weekend – The Ghost Writer soared in terms of revenues, but disappointed in terms of per-screen average: only $2,564. Unless these screens are all located in really tiny theaters, that probably means the film’s expansion will end at those 819 sites.
Polanski’s latest has thus far brought in $6.8 million in North America. That’s not bad when compared to the director’s Oliver Twist ($2.08 million in 2005), but it isn’t great, either, especially considering the film’s remarkable first couple of weeks and the fact that it has received mostly glowing notices from U.S. critics.
For comparison’s sake, the Holocaust drama The Pianist, which earned Polanski the Best Director Oscar, grossed $31.5 million in 2002. The film’s star, Adrien Brody, took home that year’s Best Actor Oscar.
Roman Polanski movies better appreciated internationally
Like other previous Roman Polanski efforts, The Ghost Writer will likely do much better business overseas. To date, things stand at about 50-50. But bear in mind that Oliver Twist went on to gross more than $40 million internationally, while The Pianist took in $87.5 million.
The tale of a corrupt former British prime minister (based on Tony Blair) with lots of decomposing skeletons in his past, The Ghost Writer stars the following:
Remember Me actor Pierce Brosnan. Ewan McGregor. Kim Cattrall. Timothy Hutton. Olivia Williams. Tom Wilkinson. James Belushi.
Limited release: Kristen Stewart-Dakota Fanning biopic disappoints
The Kristen Stewart-Dakota Fanning star vehicle The Runaways, the IMAX documentary Hubble 3D, the Noah Baumbach-Ben Stiller collaboration Greenberg, the Swedish crime thriller The Girl with the Dragon Tattoo, Raymond De Felitta’s comedy City Island, and Marco Bellocchio’s historical drama Vincere were the films opening in limited release this weekend in the United States.
Among these, The Runaways posted the highest gross, an estimated $803,000 – but the rock biopic also had the highest number of theaters by far: 244. As a result, its $3,291 per screen average was – also by far – the lowest.
Although not exactly disastrous, The Runaways’ average was below par especially for a movie in limited release. It certainly doesn’t bode well for the Floria Sigismondi-directed effort, which opens wide in April.
Image of Ewan McGregor in the Roman Polanski thriller The Ghost Writer: Guy Farrandis / Summit Entertainment.
Kristen Stewart as Joan Jett in The Runaways: Apparition.
Ruby Jerins and Robert Pattinson Remember Me images: Myles Aronowitz / Summit Entertainment.
Matt Damon Green Zone image: Jasin Boland / Universal.
Jeff Bridges Crazy Heart image: Lorey Sebastian / 20th Century Fox.
Avatar Pandora image: ILM / 20th Century Fox.