With a teaser trailer that threw every
piece of logic out the window, showcasing
its charm in front of Die Another Day
audiences, and then displaying a cheesy
yet outlandishly fun trailer with hip
music and quick cutting, it would’ve
seemed logical for Full Throttle to
explode. Though a nearly $15 million first
night take is rarely a sour news item,
buzz had indicated potential at reaching
the $20 million vicinity for first day
sales. Charlie’s Angels 2 withdrew $14.7
million, averaging a hot $4,249
per-screen, compared to $13.7 million
opening day of the original and $4,506
per-screen (and $40.2 million weekend).
The obvious question would be to ask what
Sony did wrong, or at least, what stopped
it from reaching at least slightly higher
heights. Full Throttle, consisting of
ideal sex appeal for teens, young adults,
as well as middle-aged moviegoers, and
garnering media attention like no other
with press interviews and whatnot, would
seem like a surefire flick to ignite fumes
at the box office.
Though I thought the official preview
was right on the money (at least since
this movie isn’t meant to be taken too
seriously), the fact that it barely
represented a plot could have damaged some
folks’ desire. But then again, those who
attended the original knew a story wasn’t
going to be priority, and with a
big-budgeted loud sequel, you’d really
expect its business to be at least
somewhat greater.
The presence of Demi Moore (especially
with the latest scoop) only seemed logical
to boost its chances as well. But
expectations aside, I think the true
answer to its gross is somewhat of a
mystery given the huge deliveries of
popcorn rides so far this summer, and
Angels’ free-for-all approach at cheesy
fun.
If the Friday night rush factor was not
as significant as for The Hulk and 2 Fast
2 Furious, and more like the performance
rate of the original Charlie’s Angels,
Full Throttle should be looking at a 3-day
tally in the region of $43 million. With
immense competition in the coming weeks,
the Sony flick could have trouble seeking
a long-term gross higher than that of the
original ($125.3 million), but reaching
that territory shouldn’t be too
challenging, especially with inflated
midweek sales opportunities.
Proving that its X-Men 2 ad spot likely
aided its success enormously, Danny
Boyle’s weird, psychological zombie flick,
28 Days Later, captured a rock solid $3.3
million in just 1,258 theaters, averaging
a powerful $2,676 per-venue. Just like
this year’s House of 1000 Corpses, helmed
by Rob Zombie, gritty looking cult-classic
style horror films are what’s in demand.
With Boyle’s most dedicated fans likely
to be in specific theater markets (larger
cities), Fox’s original limited release
platform plan was probably ideal and
would’ve likely achieved a very robust
theater average. Nevertheless, 28 Days
Later (facing a second day drop
possibility) should rise to a weekend
figure of $8 – 9 million, allowing it to
top its production price tag of $15.0
million fairly easily, even if the project
proves to have zero legs after its debut.
