Miramax and Bob Berney are off the scene. The brothers Weinstein - who regularly churned out counterprogrammers earlier in the 00s, have been laying lower this year. And then there’s the fact that this summer’s breakout, ‘Inception,’ a kind of big-budget art-house film, sponged up many of the moviegoers who might have otherwise seen specialty counterprogrammers.īut it’s the simplest explanation that may be the truest: The number of financiers and distributors that might have produced and pushed these films are no longer doing business. Or maybe the specialty business is simply cyclical, and we’re at a low point. There’s the matter of changing audience appetites, they said. And sometimes there’s even one blowout one, a ‘Napoleon Dynamite’ or, all the way at the upper end of the register, a ‘My Big Fat Greek Wedding.’ This year the well is dry.Įxecutives we spoke to ranged around for explanation about the crossover crisis.
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And the Lisa Cholodenko film is actually the exception - there isn’t a single other specialty movie so far this year close to it. ‘The Kids Are All Right’ will probably make it to $20 million, but barely.
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In only one other summer in the past decade did a specialty movie not crack the $20-million mark (it happened in 2007, when ‘Waitress’ just missed the cut). But it’s hardly the blowout success of ‘Little Miss Sunshine,’ a movie to which ‘Kids’ has been compared but which grossed nearly $60 million, or even the quirky breakup dramedy ‘(500) Days of Summer,’ which grossed $32 million last summer. For a $5-million acquisition of worldwide rights out of Sundance, that’s not a shabby investment for distributor Focus Features.
Continued abuse of our services will cause your IP address to be blocked indefinitely.The offbeat family dramedy ‘The Kids Are All Right’ comes closest to earning the crossover crown - it’s grossed just over $19 million since being released in early July.
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