February 14, 2005

This weekend's box office trifecta by Sony - Hitch, Boogeyman, Are We There Yet? - is a symbol of a lot of different things… almost all of them quite positive. (I haven't thought of any negative ones yet, but I'm just starting the column.)

The first is the most obvious… dollars and cents. Sony has had the #1 movie three of the last four weekends. In 24 days, the three films have already generated more than $135 million domestic. In the same period, the five Oscar nominees (announced on Day 5 of the period) grossed about $110 million.

Choosing the best performing films of this period last year (The Butterfly Effect, Barbershop 2 and 50 First Dates), the number is still a little short of the Sony 2005 triplets. In 2003, Chicago, Kangaroo Jack and The Recruit did about $140 million in those three weeks and a weekend. But by any standard, the total is an impressive number for Sony.

As for Hitch's estimated $45.3 million start, it is the fourth best First Quarter opening ever, following The Passion of The Christ, Hannibal and Ice Age, making it the best first quarter start in a lot of categories, from romantic comedy to adult targeted film not rated R. It is Will Smith's best non-summer start ever. It is, as spin goes, the best romantic comedy opening ever. And it is the best Valentine's Day weekend start in history.

NEXT - This trio of titles represents the most overt show of success in studio synergies we have seen… perhaps ever. Hitch is a Columbia film, produced by Will Smith's Overbrook Entertainment, which keeps house at the studio. (The project was originally titled "Last First Kiss" and was set up at about the same time the studio was changing the title of "50 First Kisses" to 50 First Dates. Eventually, someone at Columbia will be kissed… other than the posteriors of cash cows Mr. Smith and Mr. Sandler.)

Boogeyman is a Screen Gems release, produced by Columbia Spideystar Sam Raimi and marketed by Tri-Star chief Valerie Van Galder. Perhaps it is not a turd. But even if it is, Columbia has turned it into a hit. With $50 million domestic well within range and the very real possibility that this story of an icon will play well overseas, this is likely to be one of the studio's most profitable films this year, going well into the black before going to Home Entertainment.

Are We There Yet? is a Sony release of a Revolution Studios film. There is a real chance that the film will become Ice Cube's highest grossing title to day, passing Barbershop's $75.8 million. Sony & Revolution will follow this up with what seems sure to be the high box office watermark for Cube this April… XXX2: State of the Nation. (The really big story to come on this is that it seems that Joe Roth is ready to re-up with Sony in a kind of opposite of Pixar and Disney, taking a lot less of the cream off the top in order to keep his moderately successful production company running and filling a significant part of the Sony Pictures pipeline.)

This trifecta emerged, ultimately, from three different parts of the Sony machine, were marketed by a team, each player filling their role, and the results were uniformly above expectations.

This is exactly where Tom Freston seems to be aiming with the New Paramount. Freston is the boss. Brad Grey is the talent guy. Movies are being bought and presumably will be greenlit with marketing cross-platforms in mind. MTV and Paramount, Nick and Paramount Classics, BET, Comedy Central… surely even VH-1 in time.

NEXT - Two of three of these films are triumphs of genre marketing. Two years ago, the surprise first quarter hits were Bringing Down The House, How To Lose A Guy In 10 Days, and Kangaroo Jack. Last year, it was Along Came Polly, Hildago (which was too pricey, but well outperformed expectations) and Dawn of the Dead. Romantic Comedy, Kids, Urban Draw and Scares… cha-ching, cha-ching, cha-ching.

For the first time in my memory, genre is hot across the board. It used to be that one genre would get hot and the others would cool. It was all horror or all teen movies or all kids movies or all. Now, in any given month, you can get one from every column that works.

What is the downside? The cost of production and marketing. One of the thrills of these films is that they are cheaper product, sold without the advantage of franchise or huge stars. They prove that Hollywood can sell without relying on these expensive crutches. But the real question is how these kinds of films play in a more crowded room.

Perhaps the biggest gamble to come is The Hitchhiker's Guide to The Galaxy, which Disney is taking out in that first weekend of May slot that many consider the most valuable territory of the year. But also coming this summer are The Amityville Horror, House of Wax, Lords of Dogtown, and Into The Blue, among the low-profile films that will be looking to embrace niche audiences (and more) in the midst of a lot of big titles.

But the story of the summer could be that The Longest Yard and The Bad News Bears, both of which were underdog hits in their originals' day, end up amongst the top grosser of the summer at some of the lowest prices (though Sandler will eat a lot of the T.L.Y. gross). And in one of those classic moments of a number of filmmakers chasing the same bone at the same time, Will Ferrell will get into the marketplace first with his sports comedy, Kicking & Screaming.

You're not likely to see another trifecta at the top of the box office charts again anytime soon. It was over 15 years ago the last time it happened. But the lessons of this trifecta are lessons that might well be informing the industry for years to come.

READER OF THE DAY: BRAZIL REN writes: "Don´t forget my fellow brazillian Fernando Meirelles and his first journey on the international cinema with The Constant Gardner, a film that mix romance, drama, polemic issues, and have potential to bring a lot of attention, including for its actors - Ralph Fiennes and Rachel Weisz... and that´s it!"

And THE SWEDE writes: "Enough about boring American stuff. What people clamour for is the Swedish perspective.

I haven't seen the South African nominee, but otherwise:

The Sea Inside : I'd think it was well enough known in the U.S. to be judged on its many merits, although Bardem's lack of nomination suggests that it wasn't, quite.

Les Choristes : An awful piece of sentimentalist claptrap, but the Big Fat Greek Wedding crowd seems to be taking to it like the French did. When those two groups get together, the world should tremble.

As It Is In Heaven: I hate to say it, but this is also a mediocre film -- a typical touchy-feely "successful career guy is forced to go back to the
town where he grew up for the first time in many years, and everyone grows and changes through the experience" piece.

The Downfall : This one deserves to be a serious contender, I think -- a deadpan (and German!) exploration of the last days of Hitler provokes an intriguing tangle of reflections and emotions. I would probably prefer The Sea Inside, myself, but still, that this film's subject matter probably makes it instantly an impossible choice is dispiriting."

THE OTHER BRAZILIAN offers: "Maybe the drama DA VINCI'S MOTHER, from Jim Sheridan and starring Diane Keaton?"

E-ME: What do you think?

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