Monday, March 31, 2008

"21" wins jackpot at North American box office


By Dean Goodman


LOS ANGELES (Reuters) -
The new gambling drama "21" played
a winning hand at the weekend box office in North America,
earning an estimated $23.7 million in its first round,
distributor Columbia Pictures said on Sunday.

The fact-based saga revolves around a team of college
whizzes who conspire to count cards at blackjack tables in Las
Vegas. The cast includes Kevin Spacey, a professor who coaches
the students, and Laurence Fishburne, who plays a casino thug.
The movie was directed by Australian filmmaker Robert Luketic
("Legally Blonde").

Columbia Pictures, a unit of Sony Corp, said the opening
for the $35 million film exceeded expectations, and it played
strongly to old, young, male and female moviegoers.

After two weekends at No. 1, the animated smash "Dr. Seuss'
Horton Hears A Who
!" slipped to No. 2 with $17.4 million. The
20th Century Fox comedy, featuring the voices of Jim Carrey and
Steve Carell, became the first release of 2008 to hit the
century mark, with sales of $117.3 million to date. Fox is a
unit of News Corp.

New at No. 3 was the spoof "Superhero Movie," with a
disappointing $9.5 million. Industry observers had expected an
opening in the low- to mid-teen millions. Two months ago, the
similarly themed "Meet the Spartans" opened to $18.5 million.
"Superhero Movie" was released by Metro-Goldwyn-Mayer Studios
Inc
., and produced by Weinstein Co's Dimension Films banner.
Both are privately held. MGM declined comment.

'STOP-LOSS' MISFIRES

Prolific filmmaker Tyler Perry's latest comedy "Meet the
Browns" tumbled two places to No. 4 with $7.8 million, 61
percent lower than its opening weekend haul. Its total stands
at $32.8 million. The film was released by Lionsgate, a unit of
Lions Gate Entertainment Corp.

The Owen Wilson comedy "Drillbit Taylor" fell one place to
No. 5 with $5.3 million, also in its second weekend. Its drop
was 49 percent, and its total rose to $20.6 million. The film
was released by Paramount Pictures, a unit of Viacom Inc.

Paramount also released the Iraq war-themed drama
"Stop-Loss," which opened at No. 8 with just $4.5 million.
War-related films, such as "In the Valley of Elah" and
"Rendition" have bombed at the box office, and expectations
were low for "Stop-Loss," which stars Ryan Phillippe as a
soldier who faces a second tour of duty. It was made by
Kimberly Peirce, who directed Hilary Swank's Oscar-winning
performance in the 1999 film "Boys Don't Cry."

The British comedy "Run, Fat Boy, Run," the feature
directing debut of former "Friends" star David Schwimmer,
opened at No. 13 with $2.4 million. The film topped the U.K.
box office in September, and was initially scheduled to open in
North America the following month. It was released by
Picturehouse, a unit of Time Warner Inc.

Overall sales fell for a second consecutive weekend and the
first quarter finished on a flat note. Ticket sales for the
quarter stood at $2.1 billion, up 0.64 percent from the
year-ago period, according to Media By Numbers, which collects
box office data. Attendance was down 2.6 percent. A year ago,
sales were up 5.7 percent from the first quarter of 2006 and
attendance was up 3.9 percent.

Media By Numbers president Paul Dergarabedian said the box
office faced a tough comparison with last year. By the end of
the first quarter last year, three films had made over $100
million: "Ghost Rider," "Wild Hogs" and "300."

He predicted business would remain tough for the next few
weeks. The lucrative summer period begins May 2 with the Marvel
comic book adaptation "Iron Man," but no one expects the Robert
Downey Jr
. movie to come close to the record-breaking $151
million opening for "Spider-Man 3" in 2007.

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    Hollywood unions rift derails unified labor talks


    SAN FRANCISCO (Reuters) -
    A unified front by Hollywood's
    two actors' unions engaged in labor talks with movie studios
    has dissolved in acrimony, leaving them to negotiate separate
    deals before a strike deadline.

    The American Federation of Television and Radio Artists, or
    AFTRA, told the Screen Actors Guild, or SAG, late on Saturday
    that it was terminating a joint negotiation agreement, accusing
    the more-powerful SAG of trying to undermine it.

    "AFTRA believes it must devote its full energies to working
    on behalf of performers, and not wasting its time assessing
    whether our partner is being honest with us," AFTRA President
    Roberta Reardon said in a statement.

    Reardon said AFTRA aimed to negotiate a contract as soon as
    possible for its 70,000 members, who include actors, singers,
    dancers, announcers and other broadcast performers.

    The 120,000-strong SAG called AFTRA's move "calculated" and
    "cynical" and said it did not serve members' interests.

    The current film and TV contract expires on June 30, which
    is being treated as the de facto strike deadline. An actors'
    strike would deal a major blow to Hollywood, where nerves are
    still raw from the 14-week writers' strike that ended February
    12.

    The unions share many of the same demands as writers, who
    sought more money for work distributed over the Internet, but
    the actors also face unique issues such as forced commercial
    endorsements through product placement in TV shows and movies.

    The studios are represented by the Alliance of Motion
    Picture and Television Pictures, which said it was "pleased" to
    hear AFTRA was ready to begin talks immediately.

    (Reporting by Scott Hillis)

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      Live Nation inks 12-year pact with U2


      By Yinka Adegoke
      2 hours, 53 minutes ago


      NEW YORK (Reuters) -
      Live Nation Inc said on Monday it had
      signed a 12-year global contract to handle the merchandising,
      digital and branding rights of Irish band U2, along with its
      touring.

      The deal with U2, one of the world's biggest rock bands,
      comes just five months after Live Nation announced a
      comprehensive partnership with pop star Madonna, which included
      her coveted recording rights.

      But Live Nation said U2 will continue the band's long-term
      recording and publishing relationship with Universal Music
      Group
      , a unit of French media giant Vivendi.

      "It's not a do or die situation that we have to be involved
      in the recordings," said Live Nation Chairman Michael Cohl in
      an interview with Reuters. "We'd prefer to, but it's not always
      available."

      The company would not reveal financial terms of the U2
      deal.

      The deal with Madonna, which included the recording rights,
      was estimated to be worth $120 million over 10 years including
      a three-album commitment after the artist submits her last
      album to her current music company, Warner Music Group.

      Live Nation has been expanding its business model to
      develop more far-reaching and deeper relationships with artists
      beyond just handling their touring.

      Its partnership with U2 will now include merchandise and
      licensing rights, sponsorship and strategic alliances, digital
      rights, fan club/Web sites and other marketing and creative
      services.

      Cohl said the new model will help boost the overall
      company's profit margins. Analysts have said that touring and
      ticketing have traditionally been a low-margin business.

      Several of the company's executives had managed U2's tours
      for more than 20 years.

      DIVERSIFICATION

      Live Nation's attempts to diversify its business and win
      artists from music labels, come as the major labels are also
      trying to reinvent their business and win control of touring,
      digital and merchandise rights of their artists.

      The music companies are keen to replace lost revenues
      caused by falling recorded music sales. Fans are buying fewer
      CDs and are not purchasing enough digital music to make up for
      the shortfall.

      The major labels have started signing some artists to
      so-called 360-degree deals which, as well as recording,
      includes publishing, touring, digital and other rights.

      Cohl said his company will focus on signing other major
      artists rather than developing new acts such as a traditional
      music label or publishing house.

      "Our intention is to work with artists who are already
      making it or on their way to making it," he said.

      Live Nation said its new strategy will also include its Web
      site LiveNation, which Cohl said was aiming to become the
      biggest music portal on the Web through a mixture of ticketing,
      merchandise sales as well as fan clubs and other features.

      (Additional reporting by Justin Grant; editing by
      Jacqueline Wong and Sue Thomas)

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