Midnight box office: The Amazing Spider-Man earns $7.5m at 12:01am. Will it fall closer to $112m or $155m by Sunday?

The official numbers are in, and The Amazing Spider-Man is off to a decent if-not amazing start.  The reboot earned $7.5 million in midnight screenings.  $1.2 million of that came from IMAX alone, giving each IMAX theater a $4,000 per-screen average.  For comparison sake, Spider-Man 3 debuted with $10 million worth* of midnight showings five summers ago.  While said threequel debuted on a Friday as opposed to Tuesday, it also was in the middle of the school year and didn't have the benefit of 3D ticket prices and expanded IMAX opportunities.  To be fair, there wasn't nearly as much 'rush out and see it' factor this time around, as it wasn't a sequel to a popular series and didn't have the debut of a fan-favorite villain (Venom, natch).  As it is, $7.5 million is the same midnight number that Iron Man 2 pulled in two years ago on its way to a $128 million Fri-Sun total.  But it's difficult/unfair to compare Fri-Sun openings with extended week openings, so let's look at more relevant stats.

Less is more. Why Marvel's decision to increase Iron Man 3's budget by $60 million may not be a net-positive.

This is old news, but it broke while I was busy and I suppose the release of the first official still is as good a time to discuss this as any.  Despite commentary running up to the release of The Avengers swearing that Shane Black's Iron Man 3 would be a scaled-back and character-centric affair, it now appears that the eye-popping success of The Avengers has changed the template over at Marvel.  The film's budget of $140 million has now been raised by a whopping $60 million, so that it will now cost $200 million assuming everything gets done on time and on schedule.  Instead of promising a low-key character drama loosely based on "Extremis", Iron Man 3 is now intended to be the biggest Marvel movie yet!  Iron Man 2 cost $200 million and still felt incredibly small-scale and the $140 million Captain America was the only pre-Avengers film that actually felt 'big'.  It's not that money can't buy quality or anything obvious like that, it's the idea that money wrongly applied and/or given to a film purely because it can be sometimes does more harm than good.

5 comic adaptations that bucked the mold, and still failed.

Actor Tom Hiddleston wrote an eloquent essay yesterday for The Guardian basically praising and defending the sub-genre known as the superhero picture.  Plenty of disdain for the genre comes from the very notion that it's big-budget entertainment based on literature that was technically intended for children that gobbles up production dollars and screen space that otherwise might be allotted for more explicitly grown-up fare.  But at least some of the alleged weariness of this specific type of film (the superhero comic book adaptation) comes from a feeling that all-too many of them are basically telling the same story.  You've generally got the standard origin story which (let's be honest) basically takes Richard Donner's Superman: The Movie and pours it into a different color bottle (I say that as a big fan of Spider-Man and Captain America).  Then you have the sequels, which are quite often merely a case of escalation and/or the hero dealing with self-doubt often while in combat with a 'bigger/badder' version of himself (again, thank you Superman II) or a multiple villains who represent that which he might become if corrupted (Batman Returns).  But over the last twenty years or so, there have been a handful of high-profile comic book films that have attempted to play around with the formula but have artistically failed anyway.  As a rebuttal to the idea that 'all superhero movies are the same' as well as a reaffirmation of the idea that 'it's not what it's about, but how it's about it', let's take a look at five comic book adaptations that didn't play it safe, but didn't come out on top either.

Yesterday's News Today: Jon Favreau off Iron Man 3.

We all saw this coming from as far back as mid-summer 2008, when Marvel basically played hardball with Jon Favreau in regards to financial compensation for Iron Man 2. Favreau wanted more money and a 3-year gap between films. He got the raise, but he only got two years between films. By all accounts, Marvel micromanaged the sequel into the aimless, pointless, glorified backdoor pilot that it now remains (Mickey Rourke allegedly acting like Marlon Brando on set probably didn't help either). So with Favreau having enjoyed general creative freedom with Cowboys and Aliens and now all set to tackle a fantasy film based on the Disney World theme park entitled The Magic Kingdom, it was only a matter of time before it was confirmed that yes, Favreau would not be finishing up his would-be Iron Man trilogy. What does it mean? Does it mean anything at all?

Shrek Forever After wins Memorial Day box office derby, while Sex and the City 2 and Prince of Persia crash. Weekend box office review (05/31/10).

Usually the above picture would make me sad, but Allison is actually napping again! As expected, Shrek: The Final Chapter was able to easily surpass Sex and the City 2 to take the three-day weekend crown and the four-day weekend crown over Memorial Day weekend. The contest on Friday was close enough that Shrek: Forever After was able to capitalize on strong family matinee business as well as the HBO sequel's downward plunge. In the end, the three day total is $43.3 million and the five-day total is $55.7 million. That's a drop of 38% from last weekend's disappointing three-day $70 million opening sprint. Since every single Shrek picture opened on the same weekend, the comparisons are easy to make. For reference, the first Shrek actually increased 0.4% over its second weekend, grossing $42.4 million in its second, holiday-inflated frame. The second picture set a record for the largest non-opening weekend of all-time, grossing $72.1 million and dropping just 33% (it's still the third-biggest second weekend, behind The Dark Knight's $75 million and Avatar's $77 million second-weekends). The third picture was beset by poor word of mouth and the monstrous opening weekend of Pirates of the Caribbean: At World's End ($114 million over Fri-Sun), plunging 56% from $121 million to $53 million in its second frame.

Mendelson's Memos Flashback - As Sex and the City 2 opens, a look at female escapist fantasy and how it differs from male escapist fantasy.

I have a heck of a lot more readers now than I did in September 2008, when I first published this massive essay on gender and escapism. Since Sex and the City 2 is facing (fairly or not) the same kind of scrutiny that the first did, I thought it was worth a re-look. This is not about whether the films are good or not, but whether critics properly understand the genre that said franchise represents. If you've been reading me from the beginning, this is pretty much as it was with a few minor tweaks...

Shrek: The Final Chapter opens with $71 million, while MacGruber crawls to $4.1 million. Weekend box office review (05/23/10).

By any normal standards, a movie opening with $70.8 million in three days would be a pretty big success. So, before we get into what this means for the Shrek franchise, let's talk that number in cold detail for a minute. First of all, it gives the fourth Shrek picture a pretty solid 3.4x weekend multiplier, which was superior to the 3.1x scored by Shrek the Third over its opening weekend. Second of all, in the grand scheme of animated films, it is still the fourth-biggest opening weekend for a cartoon, behind only Shrek 3 ($121 million), Shrek 2 ($108 million), and The Simpsons ($74 million). Also, for what it's worth, it's the fifth-biggest opening weekend for a 'fourth chapter' in box office history, behind Harry Potter and the Goblet of Fire ($102 million), Indiana Jones and the Kingdom of the Crystal Skull ($101 million), X-Men Origins: Wolverine ($85 million), and Fast and Furious ($71 million). Of course, if you glance at the numbers posted by the previous two Shrek sequels, you start to see the reason for concern. Come what may, anytime a sequel opens with $50 million less than the prior installment, that's generally a bad thing. Shrek Forever After just made less on its opening weekend than Shrek 2 made on its second weekend ($72.1 million).

Shrek 4, MacGruber crash and burn in Friday box office (05/21/10).

It's tough to call anything grossing $20.7 million in a single day a disaster, but expectations and precedence tell the tale. The first Shrek film grossed $11.5 million on its first day, while Shrek 2 grossed $28.3 million on its first Friday (it had already grossed around $20 million on Wednesday and Thursday before exploding over the traditional weekend). Shrek the Third grossed $38.4 million on its opening day, also a Friday. So, even if we acknowledge that the Shrek franchise isn't the titan that it once once, and even if we admit that the marketing campaign for this unwanted fourth film was all over the place (is the film called Shrek Forever After or Shrek: The Final Chapter?), expectations were in order for something a bit under the three-day $121 million take of Shrek the Third. The $108 million Fri-Sun gross for Shrek 2 would have been reasonable, over even a low $90 million gross. But, as things stand now, Shrek Forever After is looking less like Shrek the Third and more like A Shark Tale.