The Weekend Box Office And The Monday Must-Read.

Good Monday Morning, Everyone.

The super-powered teens in found-footage flick “Chronicle” just about took the top spot at the box office over the weekend. They narrowly slipped past the reinvigorated Hammer House of Horror feature “The Woman in Black” starring Harry Potter hisownself Daniel Radcliffe.

Via BoxOfficeMojo, here’s the weekend, by the numbers:

TW LW Title (click to view) Studio Weekend Gross % Change Theater Count /Change Average Total Gross Budget* Week #
1 N Chronicle (2012) Fox $22,000,000 2,907 $7,568 $22,000,000 $12 1
2 N The Woman in Black CBS $21,000,000 2,855 $7,356 $21,000,000 1
3 1 The Grey ORF $9,500,000 -51.7% 3,208 +23 $2,961 $34,756,000 $25 2
4 N Big Miracle Uni. $8,500,000 2,129 $3,992 $8,500,000 $40 1
5 2 Underworld Awakening SGem $5,600,000 -54.7% 2,636 -442 $2,124 $54,353,000 $70 3
6 3 One For the Money LGF $5,250,000 -54.4% 2,737 $1,918 $19,668,000 $40 2
7 4 Red Tails Fox $5,000,000 -51.8% 2,347 -226 $2,130 $41,323,000 $58 3
8 8 The Descendants FoxS $4,600,000 -28.2% 2,038 +37 $2,257 $65,523,000 12
9 5 Man on a Ledge Sum. $4,500,000 -43.8% 2,998 $1,501 $14,700,000 $42 2
10 6 Extremely Loud & Incredibly Close WB $3,925,000 -43.8% 2,505 -125 $1,567 $26,793,000 7

If you read this blog regularly, then you’re well aware of my continued affection for 1950s scholckmeister Ed Wood (who I think might actually be a misunderstood genius).

The New York Times profiles film fetishists Jonathan Harris and Jason Insalaco, who oversaw the restoration of a Wood television show called “Final Curtain,” which was long considered lost.

The story’s a great read because it details the lengths to which serious fans will go in tracking down and restoring lost movies. There are literally hundreds of stories like this waiting to be told, I think.

Here’s the nut graf:

“The story of its discovery turns out to be almost as bizarre as the pilot itself. For one thing, the film was not nearly as lost as the two men had thought. This reporter’s calls to several film collectors led to the U.C.L.A. Film & Television Archive, one of the largest moving-image libraries in the world. Kelly Graml, a spokeswoman for the archive, said a print of “Final Curtain” was deposited in 2010 by a donor who chose to remain anonymous.

That was unknown to a rowdy audience at Slamdance, the self-described rebel festival held concurrently with Sundance. With considerable hoopla Slamdance unveiled this “new” work from Wood, a director it considers an inspiration for DIY filmmakers who, as he did, wear numerous hats on their microbudgeted productions.”

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