Back Seat Producers Season 04 Shows

BSP Episode 096: Watchmen


This has been a long time coming.   We’ve recently brought in a friend, Chris, who you’ll hear in Episode #100, to edit our episodes for us, we’ve got quite a few in the can (more about this in a post later today) and we’ll be releasing them frequently in the coming days.

In this episode, Tony, Adam, Darrell, and Melina talk about Watchmen.  I would supply more detailed show notes, but after 5 months of sitting on this, waiting a few more minutes is just silly.

Here you go.


Oh.. and at the tail end there is a bit of discussion about the series finale of Battlestar: Galactica.  Yeah, this was recorded that long ago.


Weekend Box Office for August 28 – 30

#1 The Final Destination from Warner Bros. debuts at #1 this weekend bringing in $28 million in 3121 theaters. Budget for Final was $40 million.

#2 Inglourious Basterds from the Weinstein Co. takes #2 this weekend bringing in $20 million in 3165 theaters. Budget for Inglourious was $70 million.

#3 Halloween II from Weinstein/Dimension debuts at #3 this weekend bringing in $17 million in 3025 theaters. Budget for Halloween II was $15 million.

#4 District 9 from TriStar drops to #4 this weekend earning $10.7 million in 3180 theaters. Budget for District 9 was $30 million.

#5 G.I. Joe: The Rise of Cobra from Paramount drops to #5 this weekend earning $8 million in 3467 theaters. Budget for G.I. Joe was $175 million

Rounding out the top 10 are:

#6 Julie & Julia Weekend Gross: $7,400,000 down 15% / Theaters: 2503 up 40 / Gross $70,992,000 / Budget: $40 million

#7 The Time Traveler’s Wife Weekend Gross: $6,745,000 down 30% / Theaters: 2961, down 27 / Gross $48,193,000 / Budget: $39 million

#8 Shorts Weekend Gross: $4,870,000 down 24% / Theaters: 3105, unchanged / Gross $13,565,000 / Budget: $38 million

#9 Taking Woodstock Weekend Gross: $3,749,000 / Theaters: 1393 / Gross $3,769,000 / Budget: $30 million

#10 G-Force Weekend Gross: $2,845,000 down 30% / Theaters: 1926 down 635 / Gross $111,801,000 / Budget: unknown

A note on “Gross”: On average, studios will earn approximately 55 percent of the final gross.


Box Office Mojo

Text Reviews Theatrical Review

Theatrical Review: The Final Destination

In Jurassic Park, when commenting on the fantasy that has come to life, Dr. Ian Malcolm at one point says to John Hammond the immortal words, “Life finds a way.”

For the Final Destination movies, the philosophy has always been the opposite: Death finds a way. Starting with the first film, which is a very fun genuine horror film, a group of teenagers are spared their lives from horrible accidents that wipe out a good many people because one of them gets a vision that that horrible accident is about to happen. Now in it’s fourth iteration, simply titled The Final Destination the formula remains the same…

… but this time it’s in 3D!!

And that’s the rub, there’s really nothing that’s very different for this film from the others, other than the fact that if your theatre is equipped, this time the grisly events can be witnessed in 3D, and it’s pretty good 3D at that. Now I like this series, though I’ll certainly grant you that the first one is the best one, but I’ve always had fun with it, and the fun to be had with these is watching the intricate Rube Goldberg-esque ways in which… Death finds a way. These are B-movies to be sure and they don’t try to be anything else other than short mindless diversionary thrill rides. David R. Ellis is the director here and he’s previously helmed the second film in the series as well as Snakes On A Plane, and he’s sticking to the formula… and there’s nothing wrong with that, as long as that’s what you’re expecting. If you’re expecting more than that, well you probably shouldn’t even be interested in the first place.

Oh, I could talk about the characters, but there’s really no point, they are all 2-dimensional and they all serve their purpose for this movie, but if you like these movies, they’re probably not the reason that you’re going to see the movie anyway. If that is what you’re looking for, then look elsewhere, this one’s not for you.

I had fun with this, and the fun comes with sitting next to my friend who I saw this with and making our own little MST3K-like comments along the way, while being treated to some decent 3D effects. It’s by no means the greatest movie in the world, but still a fun diversion if you’re so inclined to enjoy something that’s a fun diversion more than anything else. If you’re looking for more than that, then this ain’t for you, but then you’re probably not reading this anyway…

Text Reviews Theatrical Review

Theatrical Review: Inglourious Basterds

1941. Once upon a time… in Nazi-occupied France (these words open the movie), an S.S. Colonel nicknamed the Jew Hunter, Hans Landa continues his duties, and now it’s in the hands of American Lt. Aldo “The Apache” Raine and his hand-picked group of Jewish-American soldiers known as “The Basterds” to spread fear through the Third Reich by viciously killing Nazis.

That’s all I’m going to say about the plot summary to Quentin Tarantino’s long-awaited new movie, Inglourious Basterds, though there is much, much more to this. If you know Tarantino films, then you know there’s a certain over-the-top pulp sensibility to all of his previous works, and Inglourious Basterds is no exception to it, perfectly fitting in with the same sensibilities of his more contemporary pieces. While I don’t think this is as effective as Reservoir Dogs or Pulp Fiction it’s still a mighty entertaining film. Now of course, there is a previous movie called Inglorious Bastards, and the only things this shares with this is it’s bastardized title and it’s rollicking sensibility… don’t come into this expecting to see an accurate World War II adventure, but do expect something with Tarantino’s hallmarks, tight characterization, well-crafted dialogue, and a great attention to detail in building his own mythology… you’ll get that in spades.

I have only two things that I would’ve liked to have seen in this movie… one would’ve been an additional chapter chronicling a little more of The Basterds exploits, though their inception and mission is laid out well, the movie does make a jump from 1941 to 1944 and maybe another scene would’ve been good to see, as The Basterds aren’t as prevalent in this as the title might have you think, and an additional scene would’ve added more to that. The other thing I think I would’ve done would’ve been to take out an additional “insurance policy” of sorts with this, in the fact that the film isn’t any sort of real reflection of the events of World War II. What I would’ve done at the start might’ve been to sort of stick it in the face of some of the more historical movies that go to pains to tell you that they’re based on true events, and thus I would’ve started this with a card that says the following- “What you are about to see is not true, and is in fact a work of… pulp fiction.” Yeah, it would be self-referential, but it would certainly be an upfront obvious counter to some of the criticisms that this is receiving in that Tarantino does re-write history. For the Tarantino fan, there’s enough there to cover that in throughout the movie, but for the uninitiated, this would’ve been your counter.

Still, for the fans, there’s much fun to be had… Tarantino, of course is always referential to other movies, and with Inglourious Basterds there’s a lot here as well, from the opening chapter which heavily references Sergio Leone’s Once Upon A time In The West, to it’s second chapter which references Robert Aldrich’s The Dirty Dozen to discussions later on of Leni Reifenstahl’s films. He also continues his terrific work with music for the film, though instead of using pop classics, here he uses a lot of score music from other movies and it’s all real effective. And of course there’s some stuff that’s just pure Grindhouse, like referring to a later recruit to The Basterds, Hugo Stiglitz, with his own Jack Hill-esque title card that basically tells you this incidental character would be cool enough to carry his own movie.

On top of that, this is just extremely well cast… of course the big deal is that uber-star Brad Pitt leads this ensemble, and make no mistake, it’s very much an ensemble piece, and Pitt is great as Aldo Raine… but the real meat of this is carried out with characters who aren’t part of The Basterds and who aren’t really well known to most viewers (myself for instance), actress Melanie Laurent who plays an escaped Jew named Shosanna Dreyfus now living in france under the name of theatre owner Emmanuelle Mimieux, Daniel Bruhl as German war hero Fredrick Zoller and most effectively Christoph Waltz as Col. Hans Landa, who personally I think is good enough here to get an Oscar nomination, but that’s me. With The Basterds though, viewers will recognize The Office’s B.J. Novak, and Tarantino’s fellow director Eli Roth. Veteran character actor Til Schweiger plays the above-mentioned Hugo Stiglitz and it’s probably his coolest moments ever on film. And doing voiceover, you’ve got Samuel L. Jackson and a brief scene using Harvey Keitel.

Like I said above, I think this is highly entertaining, and though not necessarily in the same league as some of Tarantino’s previous films, that’s no insult as I tend to think even Tarantino’s lesser works are way more fun than a lot of movies already out there. Inglourious Basterds was the third movie I was most looking forward to this year (the other two being Watchmen and Star Trek) and it’s just a hell of a good time at the theatre and one of those movies that I’m going to enjoy again and again once it’s released for home. Highly, highly recommended…


Weekend Box Office for August 14 – 16

#1 District 9 from TriStar debuts at #1 this weekend bringing in $37 million in 3049 theaters. Budget for District was $30 million.

#2 G.I. Joe: Rise of Cobra from Paramount takes #2 this weekend bringing in $22.5 million in 4007 theaters. Budget for Joe was $175 million.

#3 The Time Traveler’s Wife from Warner Bros. debuts at #3 this weekend bringing in $19.2 million in 2988 theaters. Budget for Wife was $39 million.

#4 Julie and Julia from Sony drops to #4 this weekend earning $12.4 million in 2354 theaters. Budget for Julia was $40 million.

#5 G-Force from Buena Vista. drops to #5 this weekend earning $6.9 million in 3065 theaters. Budget for G-Force is unknown.

Rounding out the top 10 are:

#6 The Goods: Live Hard, Sell Hard Weekend Gross: $5,350,000 / Theaters: 1838 / Gross $5,350,000 / Budget: unknown

#7 Harry Potter and the Half-Blood Prince Weekend Gross: $5,155,000 down 42% / Theaters: 2771, down 684 / Gross $283,893,000 / Budget: $250 million

#8 The Ugly Truth Weekend Gross: $4,500,000 down 33% / Theaters: 2733, down 214 / Gross $77,502,000 / Budget: $38 million

#9 Ponyo Weekend Gross: $3,506,000 / Theaters: 927 / Gross $3,506,000 / Budget: unknown

#10 (500) Days of Summer Weekend Gross: $3,025,000 down 19% / Theaters: 1048 up 231 / Gross $17,955,000 / Budget: unknown

A note on “Gross”: On average, studios will earn approximately 55 percent of the final gross.


Box Office Mojo

Text Reviews Theatrical Review

Theatrical Review: District 9

Aliens have publicly landed on Earth and they’ve been with us for the last 20 years…They’ve mysteriously “landed” in Johannesburg, South Africa (their ship remains afloat above the city) and they’ve proven not to be a threat and more destitute than anything else. The aliens are evacuated from their ship and put into a refugee camp outside of Johannesburg called District 9 where life is hard for them and about to get harder. Over time, the aliens, derisively called Prawns by humans have become a major annoyance to the people of the city, and now it’s in the hands of a Haliburton-type of corporation to move them from the city to a location some 200 kilometers away, where they’ll be less of a concern to the people of Johannesburg. This corporation, called MNU who has more plans than just the displacement of the aliens, puts this task into the hands of a rising bureaucrat named Wikus Van De Merve who’s life is about to take the turn for the worse…

And that’s the basic premise to District 9 the new movie from director Neill Blomkamp and producer Peter Jackson and it’s one incredible ride from start to finish.

Now parts of this premise are certainly nothing new in movies, with the basic idea being one that was handled years ago in Alien Nation, but District 9 ups it’s ante considerably by placing it in a location that’s just as alien to American viewers in South Africa, and griming it up dramatically. It’s story is told in both a mock documentary style and straight-up narrative that blend together pretty well as the events unfold and it doesn’t really let loose for a moment.

There’s a lot of back story established though there are some holes, but I don’t necessarily think those holes are there for lack of an effort, but more for getting the main thrust of this story moving forward. Or maybe Blomkamp is trusting his audience to sort of fill in the holes themselves (these holes being the language barrier between human and alien and aspects of a lack of involvement from other nations of the world here- but with a 20 year past of being on Earth, there are certainly ways to fill those holes in yourself). Regardless, they don’t hurt how this moves, and discussion of these things makes for great talk after the experience is done, and believe me, there’s room for this property to move in all sorts of ways beyond what’s here…

It’s really incredibly well made and well-paced. Jackson’s visual effects team WETA has gone the extra mile here and there’s no seams showing, the visual effects of District 9 are so far, for me, the best I’ve seen in movies this year, and one can only hope this will be remembered come Oscar time… and for maybe more than just the effects…

… what I’m speaking of in particular is the performance of actor Sharlto Copley as Wikus Van De Merve which is just loaded with all sorts of nuance. He starts this thing as almost a Steve Carell-type of movie character (sort of thinking of The Office’s Michael Scott as a serious character) who just grows in leaps and bounds as events happen to him and unfold for him along the way. He’s not a typical movie “good guy” (nothing in the movie is typical really at all) and there’s shades of grey here at the start that don’t necessarily put you in a rooting mood for him. But it unfolds pretty naturally and we’re with Wikus as this goes and by it’s end, you can’t help but really feel for the poor guy. Big kudos to Blomkamp and Jackson for not using any name actors here, as it obviously adds further to the realism of the piece.

As I said at the top, this is just one hell of a ride, and the whole thing will spur a lot of discussion afterwards, particularly with genre fans. They’ve certainly left this open for a sequel, and I have to say I hope this does well enough for this to happen. It’s R-rated and it certainly earns that R in it’s graphic violence, so fair warning for those that might be a little squeamish out there. It borrows from a lot of other movies, but puts it together in a way that’s fresher than anything else out there. This one made a great impression on me, and is certainly right up there with The Hurt Locker as one of the best things I’ve seen this year. Don’t wait for video on this one, catch it in the theatres… highly, highly recommended.

Text Reviews Theatrical Review

Theatrical Review: G.I. Joe: The Rise of Cobra

A devastating new weapon has fallen into the clutches of a sinister terror force and now it’s up to an elite multi-national fighting force to save us all.

That’s the basic plot of G.I. Joe: The Rise of Cobra, the next film designed to get the fans of The Transformers and the latest film from director Stephen Sommers.

I have to say that when I was younger (but older than the G.I. Joe fan base) and this form of G.I. Joe toy came out, I just wasn’t interested at the time. I thought the cartoons were big toy commercials and the comics were the ass-end of Marvel Comics (except when artist Michael Golden was involved here and there, and then I wanted to at least see the book). But I have to say, when I first saw the trailer for the film, I thought it looked like it could be a fun ride (which I’ve found out is certainly counter to fans of this stuff, with a lot of the comments really hating the trailer and especially the mechanized suits involved with it- I don’t get that, but there you go) and so I was at least interested in seeing the movie…

And I’ve always liked Stephen Sommers’ movies– oh sure, they’re not the greatest things ever committed to film, but just some fun brainless and harmless stuff that was a good diversion for a couple of hours. In the end, that’s what I thought of G.I. Joe: The Rise of Cobra though also I was fairly indifferent to it as well. It was a pretty ride with lots of big-ass stuff being thrown at you on the screen, but with little or no emotional investment, at least for me. But let me say, if I was 10 years old and seeing this for the first time, I’d probably love it to death.

Now the thing is, I thought anyway, for fans of this stuff though, they’d probably just eat it up. I mean, they loved Transformers so they should probably love this as well, but then admittedly, I’m about as far removed from that fanbase as can be, so hell, I don’t know for sure. I mean it was always, at least from what I know, this particular group of good guy toys against this particular group of bad guy toys in a never-ending cycle, and near as I can tell, the movie delivers that…

My own biggest criticisms is that I thought the effects for the most part were pretty obvious looking (but near as I can tell that’s a directorial choice, and it doesn’t really hurt the movie) and that the lead character on the G.I. Joe side, Duke, played by Channing Tatum, is pretty much stiff as a board. There’s never any real risk of danger to anyone here in a way that made me give a damn, but then I don’t know if that was exactly the purpose of it, I don’t think it was. I’ve seen one review where at the end of it, he said to go see The Hurt Locker instead, and I just sort of think that’s a wrong direction to go in when writing a review of this movie, trying to compare it to something that’s super-real, when this is obviously an adolescent fantasy that’s trying to stay true to it’s roots (or at least near as I can tell).

Sommers has a big and pretty cast for this movie, the above-mentioned Channing Tatum, Sienna Miller (who it;s kid of nice to see in something as opposed to reading incessant gossip stuff on her), Dennis Quaid, Ray Park, Joseph Gordon-Leavitt, Christopher Eccleston, Marlon Wayans, Rachel Nichols amongst others. and Sommers even manages to get “his guys” in some of the parts, like Brendan Fraser, Arnold Vosloo and in particular Kevin J. O’Connor. Nobody’s going to win an Oscar for this and really I don’t think anyone really cares, they all fill their parts well at least physically (and I happen to think Sienna Miller looks way better as a brunette in glasses than she does a blonde) and I guess they’re doing just what Sommers wants them to do. There was one point where I was watching this and thinking of the motivations of one of the characters, the Baroness, and applying to her some stuff that Martin Scorsese has said about simplistic character motivations just bugging him, and then I just had to laugh because I was going there for this movie, which of course was just ridiculous (much like the above comment from the reviewer who said you’re better off seeing The Hurt Locker instead).

As I said, if I was 10 years old, I’d probably think this was the coolest thing in the world. I tend to think that if I was a fan of G.I. Joe in the day, I’d probably eat it up as well. For me, it was a fun visual diversion for a couple of hours, though in the end I still didn’t care one way or the other when it came to a human element in the film, but then I hardly think that matters here…


American Icon John Hughes dead at 59

John Hughes, the landmark director and voice of awkward disassociated teens everywhere died Thursday of a heart attack in Manhattan while taking a walk. He was 59. The filmmaker, whom critic Roger Ebert once called “the philosopher of adolescence,” was without a doubt a major influence on many of the filmmakers to come since his heyday including Wes Anderson, Kevin Smith and Judd Apatow, who told the L.A. Times last year, “Basically, my stuff is just John Hughes films with four-letter words.”

His vaguely disguised anti-establishment message was uniquely American and certainly help seal his movies appeal with the American public. Called a contemporary J. D. Salinger, Hughes didn’t make movies; his work was social commentary in high school, a slice of the microcosm writ large on the macro. He gave a real voice to the American teenager and in doing so opened up a window on the souls of the rest of us. He reminded us as adults that being young was legitimate and important and that the experiences of youth were real and universal and sweeter than we remember. He would, through his dysfunctional grouping of miscreants and social outcasts, show us where we came from. His lessons were simple and clear and absolutely true, we are all a product of our childhood and we are all the same.

“He understood young people in a way few filmmakers ever have. He tapped into the feelings of teenagers and literally changed the face of the ’80s. The film industry has lost a giant — a gentle, wonderful giant,” said “Home Alone” said actor Devin Ratray in a statement given to the press.

Born in Michigan, Hughes used his high school town of Northbrook, Ill., as a location for many of his films. He got his start as an advertising copywriter in Chicago and started selling jokes to performers such as Rodney Dangerfield and Joan Rivers. Hired by National Lampoon magazine after submitting his short story “Vacation ’58,” he wrote his first screenplay, “Class Reunion,” while on staff at the magazine, and it became his first produced script in 1982. His next, “National Lampoon’s Vacation,” based on his short story, became his first big hit and spawned several sequels.

Behind the scenes Hughes would become renowned as the script doctor of choice for Hollywood while his own work was slower in materializing. He worked on a Jaws sequel, and with PJ O’Rourke wrote The History of Ohio from the Beginning of Time to the End of the Universe, neither of which were ever made. He locked horns with the director of his first produced screenplay, the horror-comedy National Lampoon’s Class Reunion, and the film was widely considered a disaster; he also co-wrote the unremarkable swashbuckling adventure Nate and Hayes. Bruce Berman, who was VP of production at Universal and president of production at Warners when Hughes made several films with those studios, told Daily Variety, “He was one of the most challenging relationships an exec could have, but one of the most fun, most talented and gifted.” Berman said that Hughes was one of the fastest writers in the biz, saying “He could write a draft over a weekend” but “he didn’t like to be rewritten.”

Hughes’ first film as a director was 1984’s “Sixteen Candles,” starring Anthony Michael Hall, John Cusack and Molly Ringwald. The teen romance introduced several of the actors who would make up Hughes’ “stock company” a legendary group that would eventually become known as the Brat Pack. In 1985, “The Breakfast Club” became that era’s, and possibly the 20th century’s, most iconic and influential high school film. It starred Ringwald, Emilio Estevez, Ally Sheedy, Hall and Judd Nelson as teens who must learn to get along when thrown together during Saturday detention.

After an impressive string of hits — “Home Alone” is one of the top-grossing live-action comedies of all time — Hughes, who never won a major show business award, stopped directing in 1991 and virtually retired from filmmaking a few years later, working on his farm in northern Illinois.

While his work has a visual style that is unique to its era the messages that he conveyed with absolute skill are timeless. He taught us that “society” will always see us as it wants to see us. In the simplest terms, in the most convenient definitions. But what we found out, through his work, is that each one of us is a brain…and an athlete…and a basket case…a princess…and a criminal.
Does that answer your question?
Yes it does Mr. Hughes. Yes it does.
Sincerely yours, the Breakfast Club.

John Hughes is survived by his wife of 39 years, Nancy; two sons, John, a musician, and James, a writer; and four grandchildren and he will be missed by us all.

NY Times
The Guardian.

Text Reviews Theatrical Review

Theatrical Review: The Hurt Locker

It’s 2004 and the setting is Baghdad as we’re being introduced to an elite Bomb Squad of Bravo Company as they’re getting ready to do what they do best, take out any bombs. Unfortunately, tragic results ensue, and the two men left, Sanborn and Eldridge, with only 38 days left in their rotation, get a new squad leader, Staff Sergeant Will James…

The only problem is James really comes alive with the action that he faces, and goes the extra distance to get his job done, much to the dissatisfaction of the men underneath him.

The Hurt Locker just became the best movie of the year for me of those that I’ve seen thus far. It’s also the return to the big screen by director Kathryn Bigelow, who hasn’t had a full length feature in theatres since K-19: The Widowmaker and who previously helmed such movies as Strange Days, Point Break and the vampire classic, Near Dark, and it’s just a stunning return to form. Delivering over two hours of tension right from the get-go, yet still being a full and satisfying character piece, and a great showcase for it’s lead actor Jeremy Renner.

There’s no Hollywood politics in this piece, or any Hollywood military cliches with any of the characters, and that’s extremely welcome. Bigelow isn’t afraid to let a scene go on for as long as it needs to to get the right atmosphere and tension, and the way this all unfolds is just like a good book, with little bits to tease and inform at first and fuller character bits coming along the way, until it’s final resolution.

Jeremy Renner has been one of these guys who’s been out there for a long time (I guess most recently seen in the TV series The Unusuals) doing good solid work more as a supporting guy more than anything else. The Hurt Locker is a big breakthrough for him and honestly, I hope he gets remembered for this when Oscar nominations roll about, he’s just that good in delivering this character that has way more to himself than just what his surface actions show. He’s backed up with fine work by both Anthony Mackie and Brian Geraghty as Sanborn and Eldridge, and though they are the support here, neither actor or character gets shortchanged. Also in the cast are small roles by some bigger names, Guy Pearce, David Morse, Ralph Fiennes and Evangeline Lilly are all in here doing good “bit” work that does nothing to take away from Renner, Mackie and Geraghty.

I know this one has been out there for awhile now, but only recently has it come to a theatre near enough to me that made me want to go see it. It may not be in a lot of areas out there, but if it is, I’d urge anyone to seek this out. It’s solidly engaging for it’s entire time, a great return to the big screen from director Kathryn Bigelow and a star-making turn from actor Jeremy Renner. Like I said at the top, already for me, the best movie of the year and of course this is highly, highly recommended.


Weekend Box Office For July 31 – August 2

#1 Funny People from Universal debuts at #1 this weekend bringing in $23.4 million in 3008 theaters. Budget for Funny was $75 million.

#2 Harry Potter and the Half-Blood Prince from Warner Bros. holds at #2 this weekend bringing in $17.7 million in 4393 theaters. Budget for Half-Blood Prince was $250 million.

#3 G-Force from Disney drops to #2 this weekend bringing in $17 million in 3697 theaters. Budget for G-Force is unknown.

#4 The Ugly Truth from Sony drops to #4 this weekend earning $13 million in 2882 theaters. Budget for Truth was $38 million.

#5 Aliens in the Attic from Fox. debuts at #5 this weekend earning $7.8 million in 3300 theaters. Budget for Aliens was $45 million.

Rounding out the top 10 are:

#6 The Orphan Weekend Gross: $7,250,000 down 43% / Theaters: 2750 / Gross $26,791,000 / Budget: unknown

#7 Ice Age: Dawn of the Dinosaurs Weekend Gross: $5,300,000 down 37% / Theaters: 2757, down 543 / Gross $181,843,000 / Budget: $90 million

#8 The Hangover Weekend Gross: $5,080,000 down 21% / Theaters: 2071, down 214 / Gross $255,776,000 / Budget: $35 million

#9 The Proposal Weekend Gross: $4,848,000 down 24% / Theaters: 2435, down 344 / Gross $148,882,000 / Budget: $40 million

#10 Transformers: Revenge of the Fallen Weekend Gross: $4,600,000 down 43% / Theaters: 2626 down 611 / Gross $388,101,000 / Budget: $200 million

A note on “Gross”: On average, studios will earn approximately 55 percent of the final gross.


Box Office Mojo