My predictions are at the tail end of the video, but that’s all I’ve got for now. I really need to work. After a week of real-world work, I’ll re-focus here. Thanks for being patient, guys.
Archive for the ‘Disney’ Category
On Thursdays, I typically post a thorough box office analysis article. Today, I actually had a really cool one about the 3D trend, its box office effect, and the costs of 3D projection. I’ve been gathering information for a while, and I have lots to report on, but I think the information is useful enough that I’d like to give it its own page on my website, so stay tuned for that. Still, I don’t want to leave you without a post today, so let me tell you about a truly amazing deal. Right now on Amazon, you can get the Up 4-disc DVD/Digital/Blu-ray combo pack, Monsters, Inc. 4-disc DVD/Digital/Blu-ray combo pack, and Cars 1-disc Blu-ray for only $36.47 with free super saver shipping. Read on to find out how to get the set.
Basically, all you have to do is, go to the following link and check all three boxes to get the deal: Click Here I saw this posted on SlashFilm this morning, and I have no clue how long it will be up, so act fast if you want in!
It’s Tuesday, and you know what that means: it’s time for the DVD Sales Chart! This week, it looks like Tinker Bell cast a spell on the DVD home market, as there were three very well-performing DVDs at the top of the chart. Indeed, Ice Age: Dawn Of The Dinosaurs, Tinker Bell And The Lost Treasure, and Transformers: Revenge Of The Fallen had combined sales of 5.35 million DVDs for $97.5 million revenue, which is pretty great. Keep reading ahead for my DVD Sales Notes as well as the full DVD Sales Chart…
–Ice Age: Dawn Of The Dinosaurs‘ DVD Sales were hardly glacial this weekend, as the CG animated comedy sold 2.45 million copies for $43.6 million, but I’m surprised that they weren’t a bit better. Considering that Dawn earned $196 million at the domestic box office, and that the previous film, Ice Age: The Meltdown, sold 7.9 million copies on DVD during its run, I would’ve though this might open higher. Still, Christmas sales will benefit Ice Age: Dawn Of The Dinosaurs tremendously, and international sales will certainly be strong, for this film earned a huge $687.1 million internationally. Overall, it’s a good start for Fox, just not especially spectacular. A nice fringe benefit for Fox, though, is that the original Ice Age popped back onto the chart with $517,000.
-Disney has done a remarkable job of establishing the Tinker Bell franchise in the past few years. Formerly just Peter Pan’s cute sidekick or the fairy that would always pop up on the screen to end Disney movies when they played on TV, Tinker Bell is now a bona fide commodity in her own right. Tinker Bell And The Lost Treasure had a great first week of about 1.5 million copies, and $23.9 million overall. Keep in mind, people, this is a direct-to-DVD release, so this is a fantastic start! Disney has expanded its umbrella over young girls even more with the Tinker Bell franchise. By creating a complete girl-gang of other fairies, and making these characters current, Tinker Bell and her friends will sell millions of dollars worth of dolls, books, and DVDs for years to come. Wise move by Disney.
–Transformers: Revenge Of The Fallen had another strong sales week, though it fell a sharp 74% from last week. Michael Bay’s action-fest sold an additional 1.4 million copies this week for $30.1 million, giving it total sales of 6.8 million copies and $155 million, which is quite strong. (It should be noted that this chart does not account for the fantastic Blu-Ray sales, which stand somewhere around 2 million copies, according to my research.) Transformers is also benefiting from relatively high prices. By my calculation, Ice Age sells for an average price of $17.77, Tinker Bell for $15.99, but Transformers for $22.69.
-In fifth place, Orphan, the Summer horror film that found $41 million in theaters, opened pretty much where you would expect it to. It sold 284,780 copies and $5.1 million.
-In anticipation of New Moon‘s release, Twilight is restarting its rampage up the chart. The teen vampire smash popped up in eighth place this week, and it has sold 9.3 million copies for $167.5 million overall. By Christmas, I’d bet that it breaks the 10 million barrier.
-The TV-on-DVD performer of the week is Battlestar Galactica: The Plan. (Sidenote: does every title have to have a colon these days?) The television film found $3 million on the home market.
Below is the full DVD Sales Chart:
|Rank||Title||Units this Week||% Chg||Total Units||Sales this Week||Total Sales||
|1||Ice Age: Dawn of the Dinosaurs||2,455,003||-.-%||2,455,003||$43,622,948||$43,622,948||1|
|2||Tinker Bell and the Lost Treasure||1,497,306||-.-%||1,497,306||$23,941,923||$23,941,923||1|
|3||Transformers: Revenge of the Fallen||1,400,334||-74.3%||6,843,127||$30,093,178||$155,222,989||2|
|6||Monsters vs. Aliens||179,952||-21.8%||3,733,454||$3,078,349||$65,046,217||5|
|7||Battlestar Galactica: The Plan||178,970||-.-%||178,970||$3,040,700||$3,040,700||1|
|9||Drag Me to Hell||85,925||-28.2%||543,940||$1,588,753||$9,550,040||3|
|10||Land of the Lost||84,943||-46.0%||699,173||$1,443,182||$11,399,995||3|
|11||Nothing Like the Holidays||79,297||-.-%||79,297||$1,585,147||$1,585,147||1|
|13||Corpse Bride, The||71,932||53.7%||–||$394,907||–||196|
|14||X-Men Origins: Wolverine||70,704||-23.1%||3,858,311||$1,083,412||$65,354,268||7|
|15||Ice Age: The Meltdown||68,772||-.-%||7,927,159||$971,748||$130,071,291||154|
|18||Hannah Montana The Movie||57,938||-7.4%||2,751,623||$868,491||$47,224,392||11|
|19||The Wizard of Oz||54,010||-4.6%||–||$998,645||–||658|
|20||Wrong Turn 3: Left for Dead||51,801||-52.2%||160,113||$957,800||$2,798,021||2|
|21||Dr. Seuss – Green Eggs and Ham and Other Favorites||50,573||-.-%||–||$328,219||–||317|
|23||Katt Williams: Pimpadelic||46,891||-21.7%||203,412||$796,678||$3,455,970||3|
|25||Ghosts of Girlfriends Past||31,179||-27.5%||987,442||$467,373||$17,375,866||6|
|26||Observe and Report||29,913||-.-%||497,746||$597,961||$9,288,470||6|
|27||The Last House on the Left||29,706||-18.6%||843,565||$445,293||$16,262,226||11|
|28||Barbie and the Three Musketeers||29,215||-25.6%||798,270||$437,933||$11,622,566||7|
|29||Spookley the Square Pumpkin||28,233||-33.5%||–||$252,013||–||217|
|30||The L Word: The Final Season||27,516||-50.4%||83,032||$1,237,945||$3,291,482||2|
This weekend Disney is releasing A Christmas Carol, the much-buzzed-about Robert Zemeckis adaptation of Charles Dickens’ famous tale. Thanks to Disney’s marketing machine, awareness of the holiday feature is absolutely huge, and more and more, it’s looking like A Christmas Carol could be a major blockbuster. Jim Carrey, who turned How The Grinch Stole Christmas into a $260 million hit in 2000, has been promoting the film nonstop, and Disney has gone so far as to send a train all over the US for months just to promote the picture. Despite all the hype, though, I’m not whipping out my jingle bells just yet. (That sounds dirtier than I intended…) In my book, there are a few things working against A Christmas Carol which may negatively affect its box office performance.
It’s been frustrating enough that since mid-September, every time I walk into a Wal-Mart, I’ve had to look at inflatable Santa Clauses and holly wreaths, but come on, Hollywood! Can’t we please save the Christmas movies until after Thanksgiving? The typical American consumer side of me is just annoyed that the media seems to be trying to turn the holiday season into a three month affair. But the box office analyst side of me questions whether this release date is a good business decision on Disney’s part. To explain, allow me to take you on a little visit to the ghost of Christmas movies past…
On November 10, 2004, Warner Brothers released The Polar Express, another Robert Zemeckis creation. Based on the popular book by Chris Van Alsburg, expectations were riding high for the film. Indeed, The Polar Express looked like a box office freight train. However, upon opening, the film was only able to gross $30.6 million in its first five days, which was well below expectations. The Polar Express completed its original domestic box office run with a relatively disappointing $162 million. Fortunately for Warner Brothers, yearly re-releases, international grosses, IMAX receipts, DVD sales, and TV rights have since made up for its initially poor showing, but I’ve always wondered: If The Polar Express had come out two weeks later, would it have earned more at the box office?
Now, some of you probably think that I’m crazy. Clearly, the longer the film is in theaters before Christmas, the more time it will have to make money, and therefore the more money it will earn, right? I’m not so sure. Timing is important at the box office. Timing helped The Omen earn $12.6 million on a Tuesday that happened to be dated 06/06/06. Timing helped Independence Day open to $50 million on the July 4th weekend of 1996. And timing, I believe, is what negatively affected The Polar Express‘ box office in 2004. What if Warner Brothers had waited one or two more weeks to release their tentpole production? Sure, that’s one or two fewer weeks of box office revenue before Christmas day, but imagine how much higher the opening weekend could have been had audiences actually been in the Christmas spirit! The combination of a huge opening weekend, good word-of-mouth, parents off of work, and kids out of school is more than enough to carry a film to enormous grosses in five or six weeks, and I think with a stronger start, The Polar Express could have easily outpaced its $162 million run. Need another example? Look at the heavily promoted Fred Claus, which debuted on November 9, 2007, to $18 million on its way to a $72 million total. Again, with the amount of excitement that originally surrounded this movie, this was a disappointing result. If Warner Brothers had held off just a little while longer, I think Vince Vaughn’s Christmas comedy could have been much bigger. I worry that A Christmas Carol is falling into a similar trap.
If the aforementioned trend of underwhelming grosses takes place with A Christmas Carol, Disney is not going to be too happy, especially because they reportedly shelled out $175 million to produce this film, a figure that does not include the massive amounts they’ve clearly spent on marketing. The Polar Express‘ biggest flaw was its huge negative cost. It took The Polar Express a long time to make back its $170 million production budget and $60 million marketing budget, and that is a hurdle that A Christmas Carol will have to clear as well. Add in the fact that Christmas movies aren’t necessarily an easy international sell outside of Europe, and it will certainly prove difficult for Disney to quickly earn back all it has spent on this. The bottom line is that Robert Zemeckis’ motion-capture animated movies are very, very expensive to make.
But are they really worth the investment? Critics and audiences alike complained that, despite their incredibly lifelike movements, the characters in The Polar Express had somewhat eerie dispositions, due to the limitations of the motion capture technology, which rendered the actors with porcelain faces and dead eyes. While early reviews suggest that Zemeckis has come a long way with his groundbreaking visual style, the problem apparently still persists in A Christmas Carol, and according to MSNBC’s Alonso Duralde, “…most of the film’s cast look like they just sauntered out of Madame Tussauds.” Considering the vivid facial expressions we all know Jim Carrey is capable of producing, it seems like a shame that the technology is limiting them. The beauty of animation is that it can create a visually exaggerated world that cameras simply couldn’t capture, and I’m not sure why Zemeckis is so insistent on portraying animated humans realistically on the screen. I mean, if you’re going to make an animated movie, wouldn’t you want you characters to look, I don’t know, animated?! While this film will certainly score points for its bold visual style, I’m willing to bet that the traditional animation methods in Disney’s The Princess And The Frog, which comes out a month later, will generate more emotion from audiences, and emotional response is key. The recession has taken its toll on Americans, and the weather outside is chilly enough, so if the characters in A Christmas Carol feel at all cold to audiences, it could spell trouble for its box office.
Alright, I’ll be honest: the 3D factor is only going to help A Christmas Carol at the box office, especially in conjunction with the IMAX release. But seriously, am I the only one tired of the 3D gimmick? I know I harp on it a lot, but it’s just not worth the extra $3 to me to wear sunglasses while watching a movie.
In conclusion, let me say this: A Christmas Carol does have a lot going for it. Jim Carrey is a proven box office draw. Disney certainly knows how to market a film. People are genuinely drawn into theaters to see 3D movies. Charles Dickens’ book is one of the most well known titles in all of literature. All these things are major positives, and the film will not fail in any sort of devastating way. Still, with a massive production budget and one of the most expensive advertising campaigns I’ve ever seen (I would guess it cost about $75-100 million), A Christmas Carol needs to perform brilliantly at the box office to make up for Disney’s huge expenditures. My final prediction: A Christmas Carol will not recoup its costs at the domestic box office, and it will take quite a while for Disney to see positive returns on its investment. I’m sure Disney will re-release A Christmas Carol in theaters each year and slowly rack up annual profits. They will play it on ABC during the holiday season, sell tons of DVDs, prematurely claim that its a Christmas classic, and a few years from now, they’ll be happy to have it in their catalog.
Image Credit: BoxOfficeMojo
Movie Review: Up Soars/Flies/Any Other Silly Pun You Can Think Of, That Thousands Of Others Already HaveJune 2, 2009
It’s midnight on Thursday the 28th, and I’m sitting in a crowded theater full of adults who have gathered to see a computer animated Disney cartoon. I’ve been to a lot of midnight releases, most of them being the huge block-busters, the franchise sequels that people come in droves for dressed up as their favorite character. For superheroes you’ll see people dressed up as the hero or villain (I was Superman for Superman Returns and the Joker for The Dark Knight, myself), for The Matrix you’ll get a lot of latex glad neogoths, for Harry Potter you’ll get a lot of young teens with broomsticks and sharpie drawn lightning scars. For Disney/Pixar’s Up I saw… People. Regular people, who weren’t raving mad over how Spider-Man would stop Doc-Ock or what would happen to Trinity in the third movie of the trilogy (Spoiler, she dies). These were adults who had come to see a cartoon because the people that made it are so damn good at what they do. They weren’t bringing their kids (it’s a midnight release, after all), they were coming because this particular film is the tenth from a company who has yet to strike out.
And Up delivers. It’s a wonderful movie, filled with laugh-out-loud humor, poignant emotion, even some suspenseful action starring the walker totting old geezer hero of the story.
Much has been said about the first ten minutes of the film, adoration it comes by most deservedly. It’s the montage of a love story, from its nervous childhood roots, through the different stages in life, all the way to its tragic ending. There are no words, it just shows Carl and Ellie Frederickson grow old to the perfect score by Michael Giacchino. Along the way we see their trouble with starting a home, coping with infertility, and the constant unfortunate delay of taking their dream vacation to South America. As soon as Carl buys the tickets, Ellie grows ill and passes. It’s a beautiful downer of a beginning. As I sat in that crowded theater at midnight, once the last note of music was played, the audience was completely still, in awe of what they had seen. I looked, because I had to know, and sure enough amongst the chorus of sniffles were tear-streaked faces. In a ten minute, cartoon montage, Up had pulled on some serious heartstrings. I almost feel guilty for not crying, though I had to work pretty hard at keeping my emotions at bay.
Carl lives in the same house alone, despite the sky-scrapers sprouting up around him, and the constant annoyance of the developers who dress suspiciously like agents in The Matrix. When he is forced to move to nursing home, he decides to take matters into his own hands. Tying up thousands of helium filled balloons to the grate his fireplace, he takes to the skies in the house he and Ellie had grown old in. Hoisting a makeshift sail, he points southward, to the dream spot in Paradise Falls they’d always talked about.
Illogical and impossible? Absolutely. Beautifully animated and done very well? Of course, it’s Pixar. Along for the ride is a horrified ‘Wilderness Explorer’ named Russel, who had been pestering Carl to get his Assisting the Elderly badge. Once in South America, they quickly meet up with a strange bird Russel names Kevin (despite her ovaries and uterus) and a dog named Dug, who has a strange collar that allows him to vocally project his thoughts. They come out in a completely matter-of-fact way, as I’m sure dogs actually think, with lines such as, “Hello, my name is Dug, I just met you, and I love you.” It’s hilarious to see and hear, I promise you.
Dug is part of a gang of dogs with similar collars, though he is ignorant to the malicious nature to the rest of their gang. Their master, Charles Muntz, is on the hunt for a bird just like Kevin and is willing to do anything to get it. Sure enough, Carl and Russel get tangled up in these shenanigans, and while Carl’s plans don’t go as he had wished he learns valuable some valuable things in his twilight years, like being a father, for instance.
Edward Asner does a fine job voicing Carl. He’s grumpy and bitter, but softens when he should. The real vocal stars, however, are newcomer Jordan Nagai as Russel and Bob Peterson as Dug. Russel has just enough annoyance to be funny but just enough tenderness to be lovable, treading the fine line between Short-Round and Haley Joel Osment in Pay It Forward. Bob Peterson’s Dug is hysterical, and his delivery of Dug’s lines is spot on. It’s all very honest, very eager, very doglike.
Up is a pretty funny movie. I wasn’t in stitches the entire time, but I got some pretty solid chuckles. The only time I would say I laughed really hard was during a very well placed dog gag, one that didn’t involve Dug. I hate to spoil it if you haven’t seen it, but they set the joke up perfectly with their ominous music and the camera zoom-in. If you’ve seen it, you know what it was. The dogs offer a lot of the funnier stuff in the movie, and I feel they were both over and underutilized. Over in the fact that they serve as an army for Muntz and are omnipresent with him, and serve as the villains in the film, but I still felt there was a lot of funny material that could have been included, especially with Dug.
The biggest flaw in the movie would have to be Muntz himself. As a villain, he just sort of fell flat. His grand scheme is to kidnap a bird to prove its existence, and clear his sordid name. He’s relatively one dimensional, and that one dimension isn’t particularly interesting. When it comes to great villains, The Incredibles has the one-up here. But Muntz serves his purpose.
The story isn’t all that grandiose, either. Not that that’s a particularly bad thing, but when it comes to Pixar stories this one lacks a bit of their creative depth. A rat becomes a gourmet chef in Paris vs. an old man flies his house to South America by tying balloons to it. But it also brings the film back to a sense of reality (kind of). That is, it’s human protagonists, not mice or fish or toys. A lot of Pixar’s creative success comes from humanizing those inhuman objects. So when the main characters are human it feels easier. That’s not fair at all, because I’m sure it isn’t, that’s just the vibe I got.
But the visuals. Ahhh, the visuals! Strikingly beautiful, from the balloons, to the jungle, to the characters themselves. All flawlessly designed with the perfect shape and sheen, from Carl’s square face to the wavy fur on Dug’s body, it always looks impressive. I didn’t get the chance to see it in 3D, but I can’t imagine how spectacular that looks.
This wouldn’t be my favorite Pixar movie. It’s not even in my top four (Nemo, Toy Stories, The Incredibles). It’s better than last year’s Wall-E, though, and would certainly fall somewhere between 5 and 7 on my list of Pixar’s greatest. But to be in the middle of that list is still to be among some of the greatest movies ever made. Up is another majestic film from Pixar, one that makes us laugh, cry, and stimulates our collective imagination.
Clever, Charming, Cute, and Comical. The Four C’s of Pixar.
Yomygod… It’s finally here. I was excited about Wolverine. I look forward to seeing Angels and Demons, I’m being infinitely patient with a friend would like to ‘finish the book first.’ (ahem), and Terminator looked like a good diversion. But the first film I’ve been really ecstatic about, the one I’ve anticipated the most, the one I might actually see during its midnight debut, comes out at 12:01 tonight, Disney/Pixar’s Up.
I’ve purposely avoided too much information about this movie, just because I don’t want to be spoiled on what I foresee to be another masterpiece. When I heard the early premise, and all we knew was, “an old guy straps balloons to his house and flies away,” I won’t lie, I had my fleeting doubts. But my faith was strong and my spirit pure, and as I’ve said, if Pixar announced they were making a movie called “The Little Shit-Biscuit That Could” I would probably froth at the mouth at its release as well. Blind brand loyalty? Perhaps. But when the brand has not delivered a bad movie yet, nay, when the brand has delivered at least 8 (I say 9) great movies it’s hard not to go gaga over each subsequent release.
The movie sounds, not surprisingly, unique and imaginative. (See the treatise on the remakes posted yesterday. Oh, also add Alien to the remake/prequel category). An old widower, who had always promised his wife he would take her to South America finally fulfills that promise by shooting balloons out his chimney and flying south. He accidentally takes a young boy scout with him, who was on the front porch during lift off. From the preview I know there’s an old antagonist, a big funny sounding bird, and a dog with a collar that allows his thoughts to be communicated to humans (interrupted every few seconds by the thought “Squirrel!”). That’s about all I want to know. It looks funny, charming, original, inventive; everything I want from a Pixar film.
So far it has a 96% rating on Rotten Tomatoes, and 50 critics have voted in. I expect that number to rise; the two nay-sayers are not exactly the most popular on the sight and tend to vote down popular, good movies. A lot of people actually predicted Armond White would vote it down, based on his track record. So reviews are wildly positive. Box office predictions say Up could rack in approximately 60 million this weekend.
Oh, and I believe a teaser for Toy Story 3 is attached as well. Though it might be another sequel, with Toy Story 2 Pixar showed they made sequels just as innovative as they do their original movies.
Excitement Buzz: 8.5/10
May 28th brings another Disney Pixar movie, which means I’m excited. Up has garnered a lot of positive pre-release reviews, which I’m sure everybody is shocked to hear. They have gone 9 for 9 on great movies, and when it comes to original imagination, Pixar can’t be beat. Their whole film-making philosophy is awesome. There are no bad ideas to them; they make everything work. And they make it work well.
But what about the other half of that partnership? That is, the Disney half. Outside of their live action films (both good and god-awful), what’s up with Disney animation? Bolt was respected by the critics, the first CGI movie made only by Disney to really do that. In fact, it’s the first animated movie in a while that has given Disney any sort of success without attaching the Pixar name (I might be mistaken, but I can’t think of any. The only recent movie I can think of is Chicken Little, which… Well, you know). So what is the company doing now?
Awesome things, that’s what. Remember the Disney Renaissance? Of course you do. Especially if you’re my age, because we grew up in it. It started with The Little Mermaid and took off from there, releasing great movie after great movie, as its affiliate Pixar does now. Beauty and the Beast, Aladdin, The Lion King, Tarzan, Mulan, Hercules, even the least respected of the bunch Pocahontas had some good ideas and moving moments. Then we seemed to hit a wall. We got The Emperor’s New Groove which was entertaining, I suppose, but not memorable. Treasure Planet, Brother Bear, and Atlantis fell flat. Lilo and Stitch was the only movie released to achieve high critical acclaim as well as any sort of financial success. What’s the company to do? What they do best. They’re going back to the basics.
This holiday season they’re releasing The Princess and the Frog, the classic fairytale set in a Cajun themed Louisiana. Despite some unneeded controversy (it stars Disney’s first Black princess), the film is on its, ahem, hind legs and is looking strong. The first official preview was released recently, and is embedded here:
It’s a return to the classic, hand-drawn, musical Disney movie. It has been rumored that the 2-D animation style was dead, but I think this film will prove that false. We’ve just been waiting for a really good, well-made 2-D film. Those aforementioned didn’t quite do the trick. I think this one will.
Next year they’re releasing Rapunzel. I was always surprised they hadn’t made this movie already, but it’s nice to know there are still some classic fairy-tales left for them to put the Disney spin on. Rapunzel has an interesting animation style that blends the 2D with the computer imaging. It looks like the perfect balance of the old and the new, and while little has been released about this movie, it looks like it could aid in bringing Disney animation back into the limelight.
Here’s the latest DVD Sales Chart from The-Numbers for the week ending April 12th. I’ve added my notes below:
-I was wrong about Bedtime Stories bombing last week on DVD. It looks like it just hit stores a day early, and it registered on the chart as having a poor debut. The reality of the situation is actually much rosier, though, and Bedtime Stories has accrued a solid $28 million over eight days. Not bad for the disappointing Disney/Adam Sandler collaboration that struggled to pass $100 million.
–The Day The Earth Stood Still? More like The Day The DVDs Stood Still. It’s not that the Keanu Reeves sci-fi remake bombed with its $14 million debut, but when you factor in the fanboy effect, this is really not a great start on the home market for the Fox film, which also underwhelmed this fall, barely making it to $79 million despite huge buzz.
-Wow. The week of Easter is a great time to be a family film on DVD. Look at the giant boosts that the holiday offered all family-oriented films. A 16% increase for Bolt! A 117% increase for Beverly Hills Chihuahua! A 218% increase for High School Musical 3! A 300% increase for Kung Fu Panda! Pretty impressive stuff. The family effect also helped out The Tale Of Despereaux moderately, as it found a humble $9.8 in its first week on DVD, which is onl $300,000 less than it earned in its opening weekend.
|Rank||Title||Units this Week||% Change||Total Units||Sales this Week||Total Sales||Weeks in Release|
|2|| Day the Earth
Stood Still, The
|4||Marley and Me||726,305||-52.4%||2,251,541||$12,581,128||$40,813,246||2|
|5|| Tale of
|6|| Madagascar: Escape
|11|| Beverly Hills
|12|| High School Musical
3: Senior Year
|14||Not Easily Broken||217,628||-.-%||217,628||$4,256,804||$4,256,804||1|
|15||Kung Fu Panda||207,978||300.5%||8,332,557||$1,904,392||$126,522,601||22|
|17||Quantum of Solace||169,949||-54.1%||1,752,836||$2,962,636||$31,383,986||3|
|18|| Tigger and Pooh
and a Musical Too
|22||Shrek the Third||98,869||-.-%||11,578,058||$874,269||$173,439,755||74|
|23||Scooby-Doo and the Samurai Sword||95,797||-.-%||95,797||$1,340,200||$1,340,200||1|
|29|| Punisher: War