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David Mumpower: In terms of why Warrior failed on opening weekend, I think the matter is less about star power and more about perception. There is some projects that have the stigma of low budget knockoff productions no matter how they turn out. To the casual observer, this could easily star John Cena, which is to say that it's not a notable project on paper. When the glowing reviews started to filter in, I'm not sure if I did a literal double take or not but there was definitely a figurative one. If I'm thinking, "Warrior is good? Really?", imagine what people who do not monitor movies for a living are thinking. "What's a Tom Hardy?" is almost certainly one of them. After he plays Bane, people will know who he is and they will rediscover Warrior. Until then, this is that rare instance when we see a movie perform poorly on opening weekend just as we realize it's going to have its legend grow in later years. This is a guy film that will become at least as popular and re-watched as Rudy, meaning that what happened over the past few days does not mark the end of its legacy. That's not the case with all of the other movies we will discuss in MMQB this week.

Finally, a movie that covers our nation's financial crisis

Kim Hollis: The Debt, the Focus Features release with accomplished thespians such as Helen Mirren and Tom Wilkinson, has earned $21.9 million in 12 days. Should the studio be pleased with this result?

Bruce Hall: I think so. I'm not sure what this film's budget was, but I'll wager the box office so far measures up favorably against it. But it's a remake of an Israeli film almost no Americans will have heard of. It's about a subject even fewer Americans know about. Not to mention, most people will only recognize one or two members of the cast. And, we will most certainly hear about this film again when awards season runs around. Against all odds, this is a very positive result.

Brett Beach: Yes. Focus Features once again works the hard sell for a not-easy-to-slot film into the Labor Day weekend mid-week opening and comes away with another winner. Even if this isn't as a big as coup as getting the very art flick-y The American into a bewildered mainstream audience and landing at number one, there is every reason to believe that this could be remembered for significant noms (a la The Constant Gardner) a few months from now. It was cheaper than either of those and will probably end up in the mid-$30 million like them. Just a reminder that not every film that gets bumped around on the schedule (in this case due to the folding of Miramax) is terrible or is doomed to underperform. Plus, Jessica Chastain in the top five twice FTW!





Max Braden: That actually compares favorably to the similarly plotted Munich, which was a Christmas platform release in 2005 which had the benefit of Spielberg's name and focused on a cast that could appeal to the younger male demographic. Munich started on about 500 sites for two weeks and after another two weeks on about 1500 sites had taken in only $33 million. Dual casts for The Debt could have been an obstacle, and I think this result speaks well for Helen Mirren, who has become required viewing for the independent theater crowd ever since The Queen. As Brett notes though the biggest beneficiary will probably be Jessica Chastain, who will certainly be on many Breakout Star lists in the near future. ("Jolene" is available on DVD for those interested in seeing more of her. (Heh.) (No, seriously))

David Mumpower: The barometer I would use is that Red, a comic book adaptation with a couple of much more famous people, earned this much on opening weekend. The Debt is a darker, more somber tale of espionage that on its surface has little box office appeal. The fact that it managed in 12 days what Red grossed on opening weekend impresses me. There is a sliding scale factor in the comparison that bears noting here. Still, Helen Mirren's last project, Arthur, had massive name recognition yet earned roughly the same amount ($23.6 million) in the same time frame. The Debt appears likely to surpass it in terms of final domestic gross. Given that comparison, A) Arthur is a massive disappointment and B) The Debt is a clear triumph relative to expectations.

On a sidenote, Helen Mirren's absence in the Harry Potter franchise is the most glaring omission among all the established British thespians involved. Also, for all of the criticism (rightfully) directed at Killing/Teaching Mrs. Tingle in the late 90s, Miramax deserves a lot of credit for casting her as the titular lead seven years before The Queen finally established her reputation in North America.

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