2005 proved the studios can no longer bank on what they once considered bankable. The total box office grosses for 2005, which are estimated at about 8.8 billion, are 5 percent down–or nearly $461 million–from 2004, making it the steepest year-to-year decline in at least two decades.
Over the summer, not even the blossoming Darth Vader, Batman’s beginnings or a War of the Worlds could help. Sure, thanks to smaller budgeted fare–such as a quirky chocolate maker peddling his factory wares, some penguins protecting their young, a couple of guys crashing weddings and a 40 year-old who hasn’t done the “deed” yet–the box office got a little boost. But it wasn’t nearly enough.
Does this mean big-budgeted blockbusters will be a thing of the past? That remains to be seen. It’s picked up somewhat since November, thanks to Harry Potter and his quest for the Goblet of Fire, which broke the $200 mark in just two weeks. Traipsing through Narnia and fending off a 8,000 pound gorilla haven’t hurt either. Still, overall, it looks like the times are indeed a-changin’.
As we’ve done each year, we took a gander at each big studio’s successes (and failures—there were a few of those too) to find out which reigned supreme in 2005. From lowest to highest, here’s how they scored.
10. Lion’s Gate (approximately $283.7 million; 12 wide releases)
Finally, one of the little guys makes on the list. Fahrenheit 9/11 and Saw gave the indie studio a major jolt in 2004–and they haven’t looked back.
Show Us the Money: Of course, Lion’s Gate is still getting their feet wet playing with the big boys, but they had a decent showing in 2005 with hits such as Diary of a Mad Black Woman ($50.3 mil) and the Oscar contender Crash ($55.3 mil). Then they hit a jackpot with Saw II, which took in a bloody $86.4 million. Not too shabby! Keep a watch out for these fellows.
The “Ouch!” Factor: Then again, Lion’s Gate is also responsible for Christian Slater’s awful Alone in the Dark and Ashlee Simpson’s misfire Undiscovered. Oh well, can’t win them all.
9. New Line Cinema (approximately $423.3 million; 9 wide releases)
OK, so it might not have been a Lord of the Rings profit-boosting year, but R-rated comedies were still very, very good to New Line in 2005.
Show Us the Money: Who would have thought raunchy comedies would be all the rage? The Wedding Crashers brought in a whopping $209.1 million for the studio, while the less raunchy but just as profitable comedy Monster-In-Law helped out with its $82.9 million take. Plus, although taking in a modest $30.9 million, New Line may also see some Oscar gold with its A History of Violence. Sometimes it’s about quality over quantity.
The “Ouch!” Factor: Unfortunately, New Line couldn’t walk away completely unscathed. They also lay claim to Son of the Mask and King’s Ransom. Yeah, that’s got to hurt.
8. MGM/Miramax (approximately $481.8 million and 12 wide releases combined)
Since MGM was bought by Sony and Miramax (sans the Weinsteins) is now solely under the Mouse House’s thumb, this will probably be the last year these two will stand on their own.
Show Us the Money: Neither studio had anything to write home about, save for MGM’s horror remake The Amityville Horror, which took in a respectable $64.2 million. John Travolta’s Be Cool ($55 mil) and Queen Latifah’s Beauty Shop ($36.3 mil) also did fare business for MGM. But out of seven releases, Miramax’s Adventures of Sharkboy and Lavagirl was the only one that did any business for them with $39.1 million.
The “Ouch!” Factor: Miramax really got the short end of the “ouch” stick this year with ill-fated films such as Cursed, Brothers Grimm and Venom. But hey, it’s not really their fault. It’s hard to lose mom and dad–or two dads, in Miramax’s case–and still keep your chin up.
7. DreamWorks (approximately $500.5 million; 8 wide releases)
DreamWorks has always been about quality over quantity, and 2005 proved to be another year of smart choices–with maybe one mistake. We’ll see what happens next year now that Paramount has bought out the big DW.
Show Us the Money: It’s all about the penguins. DW’s biggest success story was their delightfully hilarious CGI-animated zoo comedy Madagascar, which hauled in $193.1 million. Runners-up were the not-as-scary sequel The Ring Two ($75.8 mil), the surprisingly taut thriller Red-Eye ($57.8 mil), the veddy British and claymated Wallace & Gromit: The Curse of the Were-Rabbit ($55.3 mil) and the ghostly romantic comedy Just Like Heaven ($48.2 mil).
The “Ouch!” Factor: The Island. Enough said.
[PAGEBREAK]6. Sony Pictures, (approximately $851.7 million, 16 films)
Wow, how the mighty have fallen. Last year’s No. 1 champ, with a $1,290 billion take–thanks to a superhero named Spider-Man–only manages a weak sixth place this year.
Show Us the Money: Sony made some commendable efforts but nothing really pushed them over the edge. The Will Smith rom-com Hitch was their biggest winner, taking in a cool $177.5 million, with Ice Cube’s family comedy Are We There Yet? ($82.3 mil) and the creepy The Exorcism of Emily Rose ($75 mil) as strong supporters.
The “Ouch!” Factor: But Sony also released Man of the House, Stealth, The Cave–and their greatest disappointment, Bewitched–among others. It’s hard to win with a slate like that.
5. Buena Vista, (approximately $884.7 million, 16 films)
Following in Sony’s less-than-stellar footsteps is Buena Vista, who came in third last year with $1,120 billion, thanks to some Incredible heroes, but failed to score big in 2005. Maybe Sony and Buena Vista should remember the whole superhero thing for next year.
Show Us the Money: The studio had a full slate with some solid earners but, like Sony, not one of the films was a smash hit. The successes ranged from their first CGI-animated effort Chicken Little ($128.8 mil) to Vin Diesel’s The Pacifier ($113 mil) to flying high with Jodie Foster in Flightplan ($88.8 mil). And of course, there’s The Chronicles of Narnia, which since opening Dec. 9, has taken in a healthy $113 million. It could be their highest grosser of the year–but it’s a little too late to help the studio’s standing.
The “Ouch!” Factor: Buena Vista really only had a couple of true misses, including the tepid A Lot Like Love and the animated Valiant, but even just a few mistakes can bring a whole Mouse House down.
4. Paramount Pictures, (approximately $889.3 million, 12 wide releases)
Paramount happily had a banner year, due to one very nasty alien invasion, moving up the ladder from last year’s seventh place to fourth.
Show Us the Money: Of course, looking at their release schedule, one wonders exactly how Paramount managed to come in fourth place. Guess the studio should thank Steven Spielberg and Tom Cruise for the lift. The dynamic duos’ War of the Worlds, whose hype was justly deserved, garnered a hefty $234.2 million. Also along for the ride was the Adam Sandler remake The Longest Yard, which brought in $158.1 million. The Yours, Mine and Ours remake didn’t do too badly either with $45. 2 million.
The “Ouch!” Factor: But then Paramount had some serious disappointments in what they hoped would be hits, such as Cameron Crowe’s Elizabethtown, 50 Cent’s Get Rich or Die Tryin‘ and Charlize Theron’s Aeon Flux. Ouch indeed.
3. Universal Pictures, (approximately $1,041 million, 16 wide releases)
Universal redeemed itself in 2005 after a poor showing last year. But its really the studio’s independent arm that shows the most promise.
Show Us the Money: Universal’s biggest moneymaker was yet another R-rated comedy, The 40 Year-Old Virgin, which laughed up $109.2 million. Also coming in solid was the Marine drama Jarhead ($62 mil). And the end of the year looks entirely promising for the studio, with mega-sized King Kong banging on its chest and the movie-musical The Producers swingin’ away. But the studio’s stellar slate of indie films, under the Focus Features banner, shined the brightest in 2005, even if they didn’t make the most money, including the Oscar-touted Brokeback Mountain and The Constant Gardener. Way to mix it up, Universal!
The “Ouch!” Factor: Doom spelled it all out. So did Two for the Money, The Wedding Date and White Noise.
2. 20th Century Fox, (approximately $1,415 billion, 14 wide releases)
Ah, what a few light saber duels, a galactic senator gone mad and a Jedi knight gone bad can do for a studio’s ego.
Show Us the Money: With the highest grossing film of the year under its belt, it’s easy to see how Fox managed to take second place. Star Wars: Episode III – Revenge of the Sith earned a remarkable $380.3 million. The studio also released the Brangelina hit Mr. and Mrs. Smith ($186.3 mil), the juiced-up Fantastic Four ($154.6 mil) and the animated nuts-and-bolty Robots ($128.4 mil). You’d think with all that, Fox would have come in first. But, no…
The “Ouch!” Factor:…and here’s why. Fox also had more than a few bad eggs, including Elektra, Supercross and Rebound. Blech.
First place goes to…
1. Warner Bros. (approximately $1,544 billion, 16 films)
Warner Bros. just knows how to get it done. As last year’s second place holder, Warner kicked into high gear this year with a slate of HUGE moneymakers.
Show Us the Money: Let’s see, there was Batman Begins with $205.3 million; Charlie and the Chocolate Factory with $206.5 million; Dukes of Hazzard with $80.3 million–and the piece de resistance, Harry Potter and the Goblet of Fire which, at present, stands with $252.5 million. To top it all of, Warner’s indie arm also put out the highest grossing documentary of the year as well: March of the Penguins (see I told you its all about penguins), which took in $77.4 million. Overall, not a bad day’s work.
The “Ouch!” Factor: Still, it can’t be all perfect. Warner Bros. did release a few dullards (Miss Congeniality 2; Must Love Dogs) and one stinker (A Sound of Thunder). But that’s OK. WB is still laughing all the way to the bank.
Estimates reported as of Dec. 27
