I push the squeaky metal glass door open to the store known as Blockbuster. I’m here to return one B-movie for another one to feed my copious addiction to way-too-cool-for-its-own-good genre fiction.

I drop the movie off and get a half-assed “hello” from one of the cashiers. I take one look around and the place is dead. I can’t even remember what I came here for. I start browsing. All I can hear is the static of the old TVs playing what is probably “Schindler’s List,” but the poor quality of the sets make it look like an Ed Wood movie and the cashiers talking about what level they are in “Skyrim.” I grab my movie and head to the counter.

The college-age, bearded cashier scans my movie without much thought. Clearly, he probably wants to be somewhere else … and maybe I do, too. He’s nice enough, and I even hear the other cashier explain the plot of the movie “Super 8″ to a customer over the phone which is impressive in this day and age of the too-ironic-to-be-good-at my-minimum-wage-job attitude. I leave the store to hop in my gas-guzzling truck to head home to the cool tune of about $10 in gas ( I live two miles away – an over exaggeration, but not by much, sadly).

If I still had Netflix, my movie viewing night would have gone a little something like this: I pop open my laptop, pick the genre I want and start watching whatever I want and, if I get bored, I just stop the movie and start a new one. Hmm. Easy as pie. And we know how we all love pie! Because we are American! Hoo-ah (except meat pie — is that even real!?).

Considering you probably watch your movies through Netflix and your movie watching life is just as easy, if not more easy than what I just wrote, you’re probably laughing at my one of many Blockbuster experiences and wondering why the hell I don’t just wake up … oh, but I have. It’s time to wake you up, sirs and ma’ams.

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I can wait.

Can you wait?

Having to wait 90 days to see something like ”Green Lantern” or “Green Hornet”  feels as right as pushing back a dental appointment.

Besides, with Hollywood already pouring millions into re-electing President FailureTeleprompter, I’m suddenly not all that eager to send a whole lot of cash their way.

IMDB:

Blockbuster Express, the kiosk operator owned by Ncr Corp., not the Dish satellite company, which owns the brick-and-mortar stores, will inaugurate a new pricing structure for movie rentals beginning Nov. 8. Users will have to pay $3.00 for the first night during the first 28 days after a movie’s release. From the 29th day until the 90th, the first night’s rental will be $2.00. After that, it will drop to $1.00. From the second night on the rental charge will be $1.00. Blu-ray Disc rentals will cost an additional $1.00 across each level. The move presumably comes in response to studio threats to discontinue wholesale sales of their discs to all mass renters[.]

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WOW: WARNER BROS. STOPS GIVING NEW TITLES TO BLOCKBUSTER

Studios are getting desperate:

According to The Financial Times, Warner Bros has stopped supplying discs of its latest releases to Blockbuster after the rental chain refused to agree to a 28-day window between the films going on sale and becoming available for rent, The FT reports.

FT:

The move is the first step taken by Warner Bros to stimulate retail sales and make owning film content more appealing to consumers. It will be followed by efforts to expand similar release “windows” already in place with other movie rental services, such as Netflix and Redbox.

Blockbuster rejected Warners’ window request and instead bought discs of “Horrible Bosses” and “The Green Lantern” on the open market to in turn offer them to customers for rent.

“They felt it was important to continue to offer day and date rental so rather than work with us they went around us,” Kevin Tsujihara, president of Warner Bros Home Entertainment, told the paper.

If you’ve ever wondered why Hollywood is so enamored with tyrants like Castro and Chavez, look no further than this. It must be infuriating to have Blockbuster run to Walmart as a workaround to this stupid 28-day moratorium.

5 WAYS NETFLIX CAN STOP THE BLEEDING

This is not only a good list, but what’s most fascinating about it is how it’s focused on the importance of Netflix’s streaming content.

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Over the last year I watched an interesting mini-social experiment play out: my sixty-something parents trying out Netflix.

The company’s now-famous little red envelopes first gained fame around the time the dot-com boom went bust in early 2000. Video rental behemoth Blockbuster, reeling from a catastrophic bleeding of market share to this wily challenger, entered the rent-by-mail fray in 2004, but it soon became apparent that they were going to get their hats handed to them. An even younger upstart, Redbox, began as a subsidiary of McDonald’s, and by 2007 its kiosks has spread across the fruited plains of America like wildfire, in the process putting the final nails in Blockbuster’s coffin.

My folks watch a lot of flicks, either at the theater or at home, so there’s always opportunities for improving the experience — the Great TiVo Immersion Program of 2005, masterminded and forced upon them by moi in the face of strenuous objections, turned out to be life changing. So after years of watching them drive out in the early evening to various video stores, I bought them a year-long Netflix subscription in Christmas 2009, and waited to see how it played out.

To my surprise, they hated it. For a year they bemoaned that Netflix never seemed to have the newest titles already available at the local rental shops. Even when using the service to queue older titles, they never got used to having to wait a day or two for DVDs that they could have in fifteen minutes by driving down the street. Eventually they settled in to using Netflix only for older or obscure films, things they otherwise wouldn’t have rented at all, and of course taking chances on such films was more of a hit-or-miss proposition than using Redbox to rent new movies they were jazzed to see. Meanwhile Netflix’s newest innovation, streaming to computers and TV, went entirely unused. (more…)

The Hollywood star system: Rest in Peace.

Nowadays, when I trawl through Blockbuster aisles, I find films with major stars that never saw the dark light of a theater. I’ve never even heard of some films. And I wonder about the parallel between society and film. History may be defined as the intersection of amazing events with amazing people. Will Mallory make the climb up the cliffs of Navarone? People created history by their choices, hesitations, fears, desires, whimsy, obsessions and visions.  Will the Colonel give in to Saito’s brutality? Great films, anchored by magnetic personalities, cast wide nets across our consciousness. Will Lawrence survive the Devil’s Anvil?

“Epic,”film producer Frank McCarthy (“Patton”) once told me, “is defined as a man who changes himself, his community and his world.”  In short, all the great character arcs in a movie script have driven the creation of events and epics which, in turn, are pushpins in World History. A noted script consultant, Chris Vogler,  distilled and explained the work of Joseph Campbell, an expert on tribal storytelling and myth. Vogler explains the hero’s journey through the Ordinary World, the Call to Adventure, the Refusal of the Call, Mentor, Threshold, Tests by Allies and Enemies, Approach, Ordeal, Reward and The Road Back. (more…)

Liam Neeson is officially a full-fledged action star. The Irish-born actor has often played heroes, whether it was Oskar Schindler in Steven Spielberg’s masterpiece Schindler’s List, the wise Qui-Gon Jinn in Star Wars: Episode I – The Phantom Menace or determined sex researcher Alfred Kinsey in 2005’s biopic Kinsey, Neeson has always had a knack for playing the earnest-but-flawed good guy. In his new movie Taken (Fox), writer/producer Luc Besson and director Pierre Morel have turned him into a Dad with the “mad skills” of a super-spy – think Mike Brady crossed with Jason Bourne.

The result is a well-reviewed (56% Fresh on Rotten Tomatoes) action film that will help to satisfy blockbuster-hungry audiences waiting for Warner Bros’ Watchmen (due March 6). Taken has scored big on its opening weekend. After grabbing an estimated $9.4M, the movie surged on Saturday to $11.62M (up almost 24% from opening day) and, despite today’s Super Bowl, the film could reach $24.62M according to studio estimates. That will be more than enough to win the Super Bowl 3-day, and positive word-of-mouth could get this one into the $70M-$75M range domestic.

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Steve Mason is on Facebook and now also on Twitter.

Jim Carrey and his high-concept comedy Yes Man (Warner Bros) will win the pre-Christmas weekend out-performing Will Smith’s more challenging Seven Pounds (Sony), although both films seem to be under-performing industry expectations.. Audiences are saying “Yes” to a breezy, cheerful, undemanding movie experience, although it is not a particularly emphatic “Yes.” In my Final Weekend Tracking column, I predicted $26.35M for Yes Man, and industry tracking certainly supported an opening in the mid-$20M’s. Instead, moviegoers have agreed to the tune of only $6.7M on opening day, and that could translate to a less-than-expected $18.76 or so by Monday morning.

Meanwhile, Will Smith has landed in unfamiliar territory. This strange new land for the World’s Biggest Movie Star is called “Second Place.” Seven Pounds managed to churn up only $5.3M to start the 3-day, and I am projecting a $15.63M opening. This movie, a re-teaming of Smith with his Pursuit of Happyness director Gabriele Muccino, has endured scathing early reviews and some definite “Will Smith is a little full of himself” backlash. The movie has been described as pretentious and downright dumb by some critics, and heart wrenchingly-optimistic and emotionally cathartic by others. The end result is Smith’s weakest opening since 2000’s Ali ($14.7M).

Yes Man is the latest in a year-long winning streak for Warner Bros Not only have they locked up the studio market share race for 2008, this decent-not-great opening may lift Warner Bros to finish the year with more domestic ticket sales than any studio in history. If my opening weekend number for Yes Man holds, I am projecting that the film could bank a possible $48M (conservatively) before the end of the year. Add to that a projected cume of $120M for Four Christmases by the close of business on December 31, and an anticipated $5.4M or so from the limited engagements of Clint Eastwood’s Gran Torino (70 playdates starting Christmas Day), and Warner Bros would reach an annual domestic sales figure of $1.75 billion, surpassing Sony’s $1.71 billion take in 2006.

The Dark Knight ($530.7M domestic so far) is the lynchpin of Warner Bros’ soon-to-be record-breaking year, but there are 4 other $100M+ grossing films that have helped to push the studio over-the-top. Along with Four Christmases, which will blow by $100M on Sunday, WB has also scored with Sex and the City ($152.6M cume), Get Smart ($130.3M cume) and Journey to the Center of the Earth ($101.7M cume). Sony set the previous record with one $200M+ performer (Da Vinci Code), 3 $100M+ hits (Casino Royale, Talladega Nights and Click) and about $96M of the ultimate $163.5M gross for Pursuit of Happyness, which landed in December 2006.

As for Will Smith, Seven Pounds is likely to break his historic streak of consecutive $100M+ grossing movies, which stands at 8.

2002 – Men in Black II – $52.1M opening – $190.4M cume
2003 – Bad Boys II – $46.5M opening – $138.6M cume
2004 – I, Robot – $52.1M opening – $144.8M cume
2004 – Shark Tale – $47.6M opening – $160.8M cume
2005 – Hitch – $43.1M opening – $179.4M cume
2006 – The Pursuit of Happyness – $26.5M opening – $163.5M cume
2007 – I Am Legend – $77.2M opening – $256.4M cume
2008 – Hancock – $62.6M opening – $227.9M cume

Critical pans be damned, people love Will Smith, but I am betting that the word-of-mouth on Seven Pounds will not be enough to net the 6.4 multiple that would be required to push it past $100M.

Universal’s Tale of Despereaux coaxed an estimated $3.8M in ticket sales to start the weekend and, with huge matinee business on Saturday and Sunday, the all-time umpteenth animated mouse movie should reach an estimated $15.27M good for third place, setting up for some solid holiday week business.

As expected, The Day the Earth Stood Still (Fox) has fallen apart, down about 67% for the weekend. Keanu Reeves’ spin on Klaatu could only muster $3.1M on its second Friday, and it will finish the frame with about $10.07M for a 10-day cume of $48.55M.

Rounding out the Top 5 is the aforementioned and surprisingly durable Four Christmases. Vince Vaughn and Reese Witherspoon enjoyed another $3.06M in Friday sales, and it will deliver $9.49M or so more of “holiday cheer” for Warner Bros by Monday morning.

Details of the weekend’s specialty releases and lots of analysis is on tap for Saturday morning.

EXCLUSIVE STEVE MASON EARLY FRIDAY ESTIMATES
1. NEW – Yes Man (Warner Bros) – $6.7M, $1,951 PTA, $6.7M cume
2. NEW – Seven Pounds (Sony) – $5.3M, $1,922 PTA, $5.3M cume
3. NEW – Tale of Despereaux (Universal) – $3.8M, $1,224 PTA, $3.8M cume
4. The Day the Earth Stood Still (Fox) – $3.1M, $871 PTA, $41.57M cume
5. Four Christmases (Warner Bros) – $3.06M, $871 PTA, $95.47M cume
6. Twilight (Summit) – $1.55M, $521 PTA, $154.79M cume
7. Bolt (Disney) – $1.31M, $443 PTA, $92.06M cume
8. Slumdog Millionaire (Fox Searchlight) – $1.24M, $2,120 PTA, $10.23M cume
9. Milk (Focus) – $804,000, $2,257 PTA, $9.48M cume
10. Australia (Fox) – $763,000, $345 PTA, $40.38M cume

EXCLUSIVE STEVE MASON EARLY 3-DAY ESTIMATES
1. NEW – Yes Man (Warner Bros) – $18.76M, $5,463 PTA, $18.76M cume
2. NEW – Seven Pounds (Sony) – $15.63M, $5,669 PTA, $15.63M cume
3. NEW – Tale of Despereaux (Universal) – $15.27M, $4,921 PTA, $15.27M cume
4. The Day the Earth Stood Still (Fox) – $10.07M, $2,830 PTA, $48.55M cume
5. Four Christmases (Warner Bros) – $9.49M, $2,701 PTA, $101.9M cume
6. Bolt (Disney) -$5.66M, $1,908 PTA, $96.41M cume
7. Slumdog Millionaire (Fox Searchlight) – $4.86M, $8,268 PTA, $13.85M cume
8. Twilight (Summit) – $4.83M, $1,616 PTA, $158.06M cume
9. Milk (Focus) – $2.93M, $8,237 PTA, $11.61M cume
10. Australia (Fox) – $2.59M, $1,172 PTA, $42.21M cume