Midnight box office: Twilight Saga: Breaking Dawn 2 earns $30.4 million in Thursday 10pm and 12:01am showings.

The bad thing about the incredibly consistency of The Twilight Saga is how little there is to add when the box office numbers come rolling in.  This fifth and final installment racked up another $30.4 million in midnight and Thursday 10pm showings.  Now on one hand, it's right in line with the $30.25 million that Breaking Dawn part I earned at midnight and the $30.1 million that Eclipse snagged 2.5 years ago at midnight.  It's also a token uptick from the $26 million that New Moon earned at 12:01am this weekend back in 2009.  On the other hand, one has to wonder what effect the 10pm showings had on the figures.  It would seem that they had little effect, as there weren't too many people such as myself who are too old to do midnight showings but can handle a 10pm screening.  Anyway, what this means is that we may not be seeing much of a 'series finale' uptick as might have been expected.  Point being, we're looking at a debut between $138 million and $166 million, depending on if it was as frontloaded as Breaking Dawn part I (likely - 21% of the weekend gross at midnight) vs. New Moon (unlikely, - 18% of the weekend gross at midnight - save for potential repeat viewing over the weekend by uber hardcore fans).  Of course, presuming there is no finale bump and the film is even more frontloaded, then we're looking at 23% of the gross already accounted for with around $132 million for the weekend.  If it ends up as frontloaded as Harry Potter and the Deathly Hallows part II (25% of its weekend at midnight), then Twilight 5 ends the weekend with $121 million.  No matter where it lands in this spectrum, The Twilight Saga goes out with its financial head held high.

Scott Mendelson

Review: The Twilight Saga: Breaking Dawn part II (2012) finishes the franchise on a relative high note.

The Twilight Saga: Breaking Dawn part 2
2012
110 minutes
rated PG-13

by Scott Mendelson

As a would-be series finale, the biggest problem with Breaking Dawn part 2 is that  it really doesn't feel like the end of anything, nor does it feel like a natural stopping point.  This is not a finale in the vein of Harry Potter and the Deathly Hallows part II, where the series-long conflict is brought to a definitive end and the characters end in places from which they can not go back.  Nor is it akin to Back to the Future III, which attempts to bring its narrative full-circle and finish the specific story that it has been telling while leaving the door open for more adventures down the line.  The Twilight Saga: Breaking Dawn part 2 basically plays like just another chapter in the lives of its main characters, one that qualifies as the end purely because the author of the original novels, Stephenie Myer, decided to stop.  The story does continue the adventures of Bella, Jacob, and the Cullen vampire clan, offering a completely new conflict at the end of its first act purely to actually have a conflict at all.  Obviously this is a source material problem, but don't expect the 'this is the end!' goosebumps that you got during the opening reels of Return of the King.  As merely a Twilight film, it's not half-bad.  If only by default, it's the best Twilight sequel and comes the closest to the irreverent shaggy dog charm of Catherine Hardwicke's original installment.

The Twilight Saga comes to an end in John Gosling's weekend movie preview.

This weekend, after only four years, the Twilight saga comes to a close with the release of Breaking Dawn Part 2.  Based on the books by Stephenie Meyer, it has become a global phenomenon, creating its own literary sub genre with many imitators (the multi-million selling 50 Shades of Grey started out as Twilight fan fiction). Primarily, the series concerns the romance between 17 year old Bella Swan and the eternally youthful vampire, Edward Cullen. Like Harry Potter, the series has also spawned all manner of related (and not so related) merchandise, along with gaining a fervent fan base. The first book, Twilight, had not been an easy sell for Meyer, and had been rejected a number of times before securing a publishing deal with Little, Brown and Company, who paid $750K as part of a three book deal (LBC originally offered $300K, Meyer had wanted $1M). Published in October 2005, the initial print run of 75,000 sold out, and the book debuted at number five on the New York Times Best Seller's list within a month of its release and would eventually reach the top spot. In September of 2006, a follow up was released, entitled New Moon. Like its predecessor, the book was incredibly successful, selling out of its entire 100,000 hardback print run and making the top spot on the USA Today best sellers list (as well as the NY Times one again). 

Why The Twilight Saga film franchise mattered, what it accomplished, and why its legacy is ultimately a positive one.

In just a month, The Twilight Saga film franchise will come to an end.  Oh sure we may see spin-offs, reboots (probably in a different medium) and/or quasi-sequels in some form in another, but the five-part Edward/Bella saga will come to its apparent climax.  We can argue that few if any of the entries (including the unseen final chapter) were any good.  We can argue their morality and/or philosophy and debate what (mixed) messages the core audience took from the series as a whole.  But one cannot deny the cultural impact of the series.  Of all the countless fantasy films to follow in the wake of Harry Potter and Lord of the Rings, it is the only one of its ilk to actually make it past a second entry beyond The Chronicles of Narnia.  Heck, aside from the Aslan fables and the yet-unreleased second chapters in The Hunger Games and Percy Jackson, it is the only post-Potter/LOTR fantasy-lit series to even get a second chapter. But more than sheer staying power, The Twilight Saga was important in a number of ways, most of them actually net-positive. In the end, I firmly believe that the film industry is a better place because The Twilight Saga existed and flourished.

Don't think, just run! Twilight Saga: Breaking Dawn part II gets a goofy but charmingly dumb poster.

Umm, I guess they are all going for a quick jog.  And I'd make the joke that "Edward, Jacob, and Bella are jogging right at *you*!", but this is the rare tent-pole franchise of the last three years to never go the 3D route (and kudos to Summit for that).  Yes, this is a silly poster, which is fitting for the end of a rather silly series that I have a certain fondness for.  I have an essay hidden away until closer before the film's release about why the Twilight Saga was actually a worthwhile and important franchise, but that can wait.  For now, let us feast our eyes on the almost courageously goofy one-sheet artwork, as well as the 'epic finale that will live forever' tagline that is both too wordy and too late.  This isn't Return of the King or Harry Potter and the Deathly Hallows part II.  This is a series finale that apparently climaxes with a battle about the same scale as the 'lets all kill each other in the snow' smack-down that closed The Golden Compass.  Still, in an era with any number of would-be Potter pretenders that never made it past their initial installments, The Twilight Saga should be proud that they made it to the end and got to summarily close the book on their own franchise in their own terms.  Twilight Saga: Breaking Dawn part II opens November 16th, 2012.  As always, we'll see, but I've come this far.

Scott Mendelson 

Twilight Saga: Breaking Dawn II gets a final trailer.

Updated with the full trailer...
Summit/Lionsgate know they don't have to hard sell, although it's a little sad watching them try to sell their series finale (featuring a couple dozen vampires and a few wolves fighting in the snow) as  anything as epic as The Lord of the Rings: The Return of the King or Harry Potter and the Deathly Hallows part II.  The only real box office questions are whether the real life gossip fodder surrounding Kristen Stewart and Robert Pattinson will have an effect and/or whether the film will get any kind of hard 'series finale bump'.  I'm guessing no to both questions.  I'm guessing an opening weekend a little higher than New Moon's $142 million, if only for inflation, and then a swift theatrical play that gets the film just past Eclipse's $300 million domestic total.  Anyway, this one is two months away.  As always we'll see.  I've made it this far with this critically complicated but worthwhile little franchise.  I'll be there for the end.

Scott Mendelson

Make war, not love. Why do we mock actors who romance while lionizing those who do violence?

It's worth noting the deluge of praise that has greeted Matthew McConaughy over the last 18 months as he's basically cast off the high-profile romantic comedies of the last decade in favor of theoretically more serious work.  When Matthew McConaughy appeared in mainstream romantic comedies, he was a sell-out movie star, not a real actor.  Regardless of whether he was actually effective in said films (Yes - How to Lose A Guy In Ten Days and Ghosts of Girlfriends Past; No - The Wedding Planner, Failure To Launch, and  Fool's Gold), the idea that McConaughy was headlining relatively popular and often profitable entertainments was considered a net loss because he was using his talents in a disreputable genre.  But now that he's appearing in legal thrillers (The Lincoln Lawyer), male-centric dramas (Magic Mike), and ultra-violent crime pictures (Killer Joe), *now* he's being proclaimed as a real actor worthy of discussion. In short, McConaughy made films that were embraced by mostly female audiences and was derided for it.  Yet when he moved into male-centric genres, he's suddenly a respectable actor turning over a new leaf.

Weekend Box Office (08/19/12) - The Expendables 2 tops while ParaNorman and Sparkle mostly shine.

It's no real surprise that The Expendables 2 (review/trailer) opened with about 18% less this weekend ($28.75 million) than the first Expendables on this weekend in 2010 ($34 million).  The Expendables (review) was a culmination of a good twenty years of 'what-if' anticipation.  And while the final result was a little lacking, in that it was barely a good movie and most of the biggest action icons were either absent or had cameos, it was still enough of a wish-fulfillment fantasy to be a massive worldwide hit ($274 million on a $80 million budget).  Two years later, the sequel delivers on both the action front (lots more of it) and the A-level casting arena (Bruce Willis and Arnold Schwarzenegger have expanded roles while Chuck Norris and Jean-Claude Van Damme came to play) but that initial high is somewhat gone.  Still, a $28 million debut, especially from Lionsgate, is nothing to sneeze at. This will still be their largest non-Saw/Tyler Perry opening outside of The Expendables and The Hunger Games and their tenth-biggest debut ever.  Not only have we seen a pattern of lower opening weekends and domestic totals for sequels, but this is easily the kind of property that could have elicited a giant 'no one cares anymore' reaction after the somewhat underwhelming first film (I seem to be among the few who likes it).

John Gosling previews the weekend's new releases (08-17-12).

Something for everyone this week, with four major releases and a potentially interesting limited one. 

The first Expendables movie was like an action-fanboy's dream, with a special nod to the 1980s. From a story by David Callaham, Sylvester Stallone wrote, directed and starred in the feature, with action stars Dolph Lundgren, Jet Li and Jason Statham, being joined by MMA fighter Randy Couture, former wrestler Steve Austin and Mickey Rourke. The film also managed the scoop of featuring a short scene with Stallone, Bruce Willis and Arnold Schwarzenegger. The ensemble flick followed Stallone's team of expendables on a mission to take out a military leader and a corrupt CIA official (played by another 80s veteran, Eric Roberts). While not quite delivering on the wall to wall action some were hoping for, it was a global smash, making $107M domestically, with a further $174M overseas, on a budget pegged at $80M. Before the film was even in theatres, Stallone was already talking a sequel, and his plan to bring back even more action icons next time around. The follow-up was greenlit a few months later with the star adapting a story by Ken Kaufman, David Agosto and Richard Wenk. By April 2011 things were shaping up but Stallone announced he would not return to direct, instead, Con-Air's Simon West, who had worked with Statham on the remake of The Mechanic, would be at the helm. He hired story co-creator Richard Wenk to pen a new draft of the script, after which casting commenced. 

Why Kristen Stewart's public apology is far more disturbing than her (and Rupert Sanders's) apparent transgression.

It could be argued that director Rupert Sanders and actress Kristen Stewart owe an apology to a handful of people.  Obviously they are in respective deep trouble with Robert Pattinson and Liberty Ross.  They certainly owe an apology to Saunders's two children, and perhaps some kind of apology to certain studio executives at Universal and Summit/Lionsgate, since their allegedly adulterous actions will certainly have some kind of impact on the respect fortunes of Snow White and the Huntsman (with a sequel now in doubt) and Twilight Saga: Breaking Dawn part II (which may well increase in interest ala Mr. and Mrs. Smith).  But other than that, neither of these people owe any of us a damn thing.  I am less troubled by the apparent adultery (or attempted adultery?) than I am by Kristen Stewart's public apology, seemingly specifically intended for Mr. Pattinson but released out into the open for all to see as a kind of public mea culpa.  I don't blame Ms. Stewart for this instant press release so much as I blame a media/popular culture that demanded a public apology for an inherently private indiscretion.

Twilight Saga: Breaking Dawn part II gets a trailer.

I've been whining a lot about sledgehammer-style advertising campaigns, so I must give kudos to this brief and concise trailer.  It's about 75-seconds long and does little more than set up the story and offer a few alleged money shots.  What I do find amusing is that this trailer isn't even trying to sell the idea that this series finale has anything approaching the scope and pathos of Harry Potter and the Deathly Hallows part II.  Yes there is a final battle of sorts, but it's clear that it's about on the scale of the action finale from The Golden Compass, which was basically a street fight as far as fantasy battle scenes are concerned.  Maybe the next trailer will sell the emotional highs, but of course I'd argue that there doesn't need to be a 'next trailer'.  I can't imagine anyone who isn't already a Twi-Hard not seeing this in theaters, while the whole 'series finale' enticement will only rope in so many casual fans. The Twilight Saga: Breaking Dawn part II opens on November 16th, 2012, or the 11th-anniversary of the opening of Harry Potter and the Sorcerer's Stone, for whatever that's worth.  It's opening unapposed, as its Skyfall the previous weekend, but considering there are five (!) movies opening over Thanksgiving, I imagine something will end up opening alongside one of the two films (Ang Lee's Life of Pi perhaps?) As always, we'll see.  

Scott Mendelson

Lionsgate picks Francis Lawrence to helm Hunger Games sequel Catching Fire: When a 'safe', 'cheap' choice is also a good choice.

If you discount his last-minute attempt to salvage Jonah Hex, Francis Lawrence has made three films since 2005 and I have liked all three of them.  As such, while he is not a particularly brave/bold, or outside-the-box choice for Lionsgate to hire to helm the next Hunger Games sequel, Catching Fire, he is a good one.  All three of his films show an emphasis of character and substance over visual razzle-dazzle, and his sure-footed and confident eye will be a relief after sitting through Ross's shakey-cam hysterics.  While I was hoping Lionsgate would pick someone a bit off the beaten path (one of the female directors I mentioned, perhaps?), Francis is a solid choice.  In short, he makes good movies, casts good people in them, and delivers quality mainstream material that entertains without insulting their respective audiences.

Question of the day: Why *isn't* Twilight's Bella Swan a feminist creation?

In a classical sense, FEMINISM is defined as believing that women should have the same rights, freedoms, choices, privileges, and benefits as men in a civilized society.  Under that relatively general definition, I would argue most rational people, men and women, would classify themselves as 'feminist'.  In my eye, the feminist ideal is not one where women constantly make the 'correct' moral and/or professional decisions or choices that further their own independence, but merely that they have the freedom to do so if they so desire.  So I ask the question, why exactly is the Twilight Saga inherently anti-feminist?  I'm speaking merely to the movies and not the books, but as the series has unfolded, it's primarily been about one thing: Bella Swan (Kristen Stewart) relentlessly pursuing a singular goal, to be in a long-term relationship with Edward Cullen, no matter what obstacle or constructive criticism is hurled her way.  We may not agree with Bella's choice in men, but as I've written before (HERE), I'm not entirely sure the films agree with her either.  Moreover, if feminism is about having the choice to, as a woman, live your life as you see fit, isn't her dogged pursuit of Mr. Cullen inherently feminist by virtue of it being absolutely Bella's choice?

Weekend Box Office (11/20/11): Twilight Saga: Breaking Dawn scores 5th-biggest debut, while Happy Feet Two fails and Descendants scores in limited debut.

It is weird that I have so little to offer on a weekend when a film earned the fifth-biggest debut in US history, as well as the tenth-biggest worldwide bow.  But the Twilight Saga: Breaking Dawn part I (essay) had an opening weekend that is so perfectly in line with the franchise, that it is not only unexpected, but leaves us with little doubt in regards to how the film will fare in the long haul.  For the record, Twilight Saga: Breaking Dawn part I (trailer and teaser) opened with $139.5 million this weekend, $30 million of which came purely on Thursday midnight showings.  That's just shy of the $142 million debut of Twilight Saga: New Moon on this same weekend two years ago.  With a 1.93x weekend multiplier film was slightly more front-loaded than the first sequel (they both had $72 million opening Fridays), but less so than the original Twilight.  The original, with its $35 million opening day and $69 million opening weekend, opened with a 1.97x weekend multiplier this weekend three years ago).  The third film, Eclipse, opened on a Wednesday over the Independence Day holiday of 2010, which makes comparisons difficult.  The film played 80% female, 60% over-21, and earned a B+ from Cinemascore.

Midnight Box Office (11/18/11): Twilight Saga: Breaking Dawn part I scores another $30 million at 12:01am. Opening weekend between $118 million and $163 million.

Yup, Team Bella/Edward/Jacob did it again, as the fourth Twilight picture scored another massive midnight gross, which should lead the way to another massive single-day and a massive and hilariously front-loaded opening weekend.  Breaking Dawn part I earned $30.25 million at midnight, putting it just above the $30 million earned at 12:01am by Twilight Saga: Eclipse and comfortably ahead of the $26 million earned by Twilight Saga: New Moon.  The second film's numbers are better comparison points, since the first sequel opened on the exact same weekend two years ago (and the third film opened on a Wednesday, which negates any reasonable comparison).  This is also the weekend where Harry Potter and the Deathly Hallows part I earned $24 million in 12:01am showings last year, which amounted to a $62 million opening day and a $125 million weekend.  The Harry Potter and Twilight films have both the biggest midnight grosses around and the most heavily-front-loaded opening weekends in the business.  As you no doubt recall, Harry Potter and the Deathly Hallows part II scored an eye-popping $43 million in midnight shows just four months ago, which led to a $92 million opening day and a $169 million opening weekend (records, all three).  Long story short, here's how Breaking Dawn part I will measure up if its opening weekend trajectory follows its most obvious comparisons...  Harry Potter and the Deathly Hallows part II (3.9x its midnight number) - $118 million, Harry Potter and the Deathly Hallows part I (5.2x  its midnight number) - $157 million, Twilight Saga: New Moon (5.4x  its midnight number) - $163 million.  So there you have it, the 3-day opening weekend record is not in any plausible danger, but The Dark Knight may find itself as merely the third-biggest debut by Sunday evening.  Most impressively, Breaking Dawn part I is achieving these massive grosses without any IMAX or 3D price-bump.  Let's split the difference between $119 million and $165 million and call a $140 million opening weekend for Twilight Saga: Breaking Dawn part I.  We'll know more when the Friday numbers roll in, although I will likely be otherwise occupied (family birthday party).

Scott Mendelson

Does the Twilight Saga endorse its own story?

I did not attend last night's Twilight Saga: Breaking Dawn part I screening.  I was invited, but since I'm married with two kids, I try to reserve press screenings for the important stuff, like tonight's screening of The Muppets and the deluge of Oscar-bait movies I actually want to see (Young Adult next week, Tinker Tailor Soldier Spy the week after).  So while I don't loathe the series like a lot of other people do, I'd still rather catch the latest entry on my own time, instead of plunging into rush hour traffic just 36 hours or so prior to opening morning.  So while other critics (mostly the 'geek crowd' oddly enough) are openly discussing the overt weirdness that is present both in the original Breaking Dawn book and the 'first part' of its film adaptation, the above graduation speech always stuck out for me.  The reason is simple: in about 75 seconds, Ana Kendrick seemingly condemns the entire narrative arc of Bella Swan.  Marrying the first serious boyfriend you get right out of high school?  "Bad".  Not going to college?  "Bad".  Not making any effort while you're young to see the world and/or have various adventures before settling down?  "Bad."  I've had conversations with a friend of mine about whether or not Stephenie Meyer actually endorses the narrative arc that Bella Swan undergoes during the four-novel series, as well as whether or not she wanted Edward Cullen and Bella to end up together at the end at all.

Twilight Saga: Breaking Dawn part I gets a trailer.

There isn't much to add here.  Once again I am intrigued at how much these trailers seem to be treating the seemingly sought-after finale (Edward and Bella get married) as a genuine tragedy, with the resulting pregnancy-of-doom as some kind of punishment.  As it is, each installment looks and feels more cinematic and polished than the last and this Bill Condon installment is no exception.  I enjoy these pictures more or less as guilty pleasures, relishing the time spent with the supporting cast as opposed to the three main romantic leads.  Of course, even many a fan kinda hated the final book of the series, so it will be interesting to see if said literary failure has any effect on the box office for the last two installments.  Come what may, the second-highest three-day weekend of 2011 is all-but guaranteed.  Breaking Dawn part I drops on November 18th.  As always, we'll see...

Scott Mendelson

For those who care - Twilight Saga: Breaking Dawn part I gets 'final' posters.

I'm a little busy today, so I'm using this 'straight from the horses' mouth' press release worth of posters as a lazy attempt to drum up hits.  Anyway, enjoy and I'll hopefully have something more substantial later in the weekend.

Scott Mendelson

A look back at Harry Potter part IV: The Goblet of Fire hits the most of the major story points, but lacks the fiery emotion of the best book in the series.

This will be a six-part retrospective on the Harry Potter film series, covering films 1-6 (I think most Potter fans can remember the one that came out eight months ago...).  This essay will be covering Harry Potter and the Goblet of Fire.

Harry Potter and the Goblet of Fire is easily my favorite book in the series.  It is not my favorite movie in the series.  It is also a very long and complicated book, one that was nearly split up into two films.  That director Mike Newell decided to stick to one long movie is I suppose commendable.  But as a result, the fourth Harry Potter film is the only entry that truly feels like a Cliff Notes version of the original text.   It hits most of the major plot points, but feels understandably rushed and somewhat compromised.  Taken outside of its worth as an adaptation, it still remains one of the better films in the series.  It is easily the most action packed film in the franchise (until the finale, I presume), and there is plenty of solid character interaction between our young heroes.  The adults again get the shaft, although Michael Gambon finally comes into his own as Dumbledore (I love the moment where he basically attacks Harry while asking him if he indeed sneaked his name into the Tri-Wizards tournament cup).  It is, objectively, an exciting and entertaining fantasy action picture, but one that feels curiously remote considering the emotional stakes and epic narrative.  As the first entry actually directed by a Brit (Mike Newell), it perhaps maintains too much of that stiff upper lip.

Credit where credit is due: Summit chooses not to bleed Twilight fans dry. Breaking Dawn still set to forgo 3D conversion.

I've seen the teaser trailer for Twilight Saga: Breaking Dawn part I, but I won't be posting it until I'm sure its a legit copy that won't get yanked offline.  But for the moment, I'd like to acknowledge that Summit Entertainment has taken the higher road as it seeks to close out the blockbuster Twilight Saga over the next two years.  Yes, they have indeed split up the final book into two films, so their hands are not completely clean.  But it is surprising that Summit has (thus far) decided to forgo the 3D conversion gimmick that seems to be all the rage.  And frankly, it's an act of pure artistic restraint.  Twilight fans are arguably amongst the most rabid and fanatical in all of geekdom.  So no matter how much they might dislike 3D or don't want to pay the extra upcharge, they damn-well will pay whatever they have to pay to see the next two films in theaters.  The same goes I suppose for Harry Potter fans, which is why Warner earned kudos last year for releasing Harry Potter and the Deathly Hallows part I in 2D only.  The 'Twi-Hards' are perfect prey for a pointless and needless 3D conversion, which exist only to pump an extra 33% from 45-60% of the screens over the first two weekends or so from fans who were planning on seeing it anyway.  So Summit Entertainment deserves a moment of recognition for not going that route.

Scott Mendelson