Box Office: The Slightly Mighty Thor

Thor discovers he isn't as strong as he looksOnline coverage of weekend box office is often dry, repetitive and facty. We respond to it as we do to sports stats, with curiousity that people care so much. This week is slightly different. Thor's box office take is actually a case study in how flexible numbers are, how perception is everything. FACT: Thor did not break box office records, did less impressive numbers than many summer heroes (if you want a comparison he's slightier mightier than The Incredible Hulk or Fantastic Four but far far weaker than Iron Man -- which no one remembers that people were  nervous about in terms of audience interest until the trailer arrived since history tends to rewrite itself after huge successes -- or Wolverine and such. FACT #2 Just last week, Fast Five was a bigger draw with less of a marketing push in a franchise you'd think would be weakening. Yet many online reports, or at least the headlines, were all about Thor's "super" box office weekend or how it "hammered", "smashed" and "crushed" its competition or somesuch.  LESSON LEARNED: the web roots for superheroes like young children clap for fairies in Peter Pan, in a show of enthusiastic solidarity.

USELESS FACT #3 The theater I saw it in had no more than 20ish people in it. Admittedly it was a morning show and for some reason people don't go to movies in the morning (Why not? Start the day off right!) but still... opening day.

The Box Office (Actuals)

01 THOR new $65.7 [my review]
02 FAST FIVE  $32.4 (cumulative $139.7)
03 JUMPING THE BROOM new $15.2
04 SOMETHING BORROWED new $13.9
05 RIO $8.5 (cumulative $115.2)

The success story of the weekend is Jumping the Broom; it's opening take was more than double its budget! FACT #3 I really wanted to see it given the Loretta Devine / Angela Bassett face off. But then I saw the trailer. Interest dwindled.

In other box office news, the new limited releases had a really difficult time: The Beaver and Last Night failed to find much of an audience despite big stars in the lead roles. If you have big stars who are typically bigger box office shouldn't you risk a wider opening with more advertisements? It seems strange that a movie starring Mel Gibson and Jodie Foster is going to make less than a period piece with no typically bankable names like The Conspirator (which opened much much wider). Kelly Reichardt's Meek's Cutoff, just discussed on the podcast, is also having a rough time. It's up to just $200,000. That's more than Wendy & Lucy (the previous Reichardt/Michelle Williams combo) had made at this point but the per screen average is much lower indicating it will probably not have that earlier film's very sturdy legs despite similarly ecstatic reviews. Wendy & Lucy neared the million dollar mark at the end of its long run.

What did you see over the weekend?

Reminder: Pedro & Antonio Cometh

I know I've been terrible about Hit Me With Your Best Shot lately but this Wednesday night we'll be celebrating the long time collaboration of Pedro & Antonio in Matador (1986) and Law of Desire (1987) -- take your pick as to which film you'll cover if you're joining us!

In the meantime enjoy this Cannes teaser for THE SKIN I LIVE IN

and here's some on the set footage for the extra curious among you (these props... que???). It's in Spanish but some of you will undoubtedly understand.

We might do a Yes, No, Maybe So when the full trailer arrives but it will all be reflexive as we're always a boisterous expectant "Sí" when a new Almodóvar rolls into town.

Podcast: Meek's Cutoff, Early Cinephilia

In an effort to bring you more podcasts, I'm going to be switching up the guest lists, for a hopefully rotating panel. So for this week's podcast we have three first time guests: Kurt (Your Movie Buddy), Michael (Serious Film and Unsung Heroes) and Robert ("Distant Relatives") and yours truly, Nathaniel.

Topics include:

• Kelly Reichardt's invisible storytelling and Meek's Cutoff
• Is Michelle Williams America's Tilda Swinton?
• Robert Pattison and Water for Elephants
• Cinephilia: When did it begin for our guests? How do their significant others deal with their movie obsessiveness?

As always the conversation can include more voices. Join us in the comments.

Podcast: Meek's Cutoff, Water For Elephants

Denzel's Pastrami

Mmmmm, (cinematic) sandwiches.

[Hat tip to the Daily What] That shot of Denzel Washington with his mouth full is too great. But my favorite clip in that montage is Marion in Raiders of the Lost Ark. She's got true appetite.

But clearly they forgot  short order cook / lonely waitress classic Frankie & Johnny.

Frankie: I gotta eat
Johnny: We all gotta eat -- we'll eat. How about i make a little picnic for us?
Frankie: What's the menu?
Johnny: Whatever you like. You like tuna fish. I can make casserole.
Frankie: No, Not tuna casserole. [makes face] No. Tuna fish sandwich.
Johnny: I am defined by my tuna sandwich! I take the tuna out of the can and I work it between my fingers until it gets real soft.

What are you hungry for right about now?

Linkwire

Awards Daily boldish concept art for Steven Soderbergh's Haywire.
Gold Derby wonders if Modern Family can set a record at the upcoming Emmy nominations in Supporting Actor.
Boy Culture discovers a horrific snippet from People magazine for Mothers Day. Poor Catherine Deneuve; she doesn't deserve this.
AV Club reviews The Almighty Thor, a old TV film.
Movie|Line checks in with Sam Caflin who is getting the "new star" treatment/ It seems to me like he's taking the Orlando Bloom role for the Pirates franchise (I don't mean that literally). So who knows about that stardom. People can be cruel with the "prettyboy" stars.

I'm Not Obsessed checks out Juliette Lewis in a rockin' trip to... the deli?
France Today looks at five legendary Gallic movie couples.
Hitfix interviews the awesomely multi-tasking Eddie Izzard on The United States of Tara and more.