‘Ghost’ Appears to Edge Out ‘Wives,’ ‘Kiss’ in Tight Race

Paramount’s newly released “The Ghost and the Darkness” appeared to be leading at the movie box office over the weekend, taking in an estimated $9.3 million, although the race was close and some figures were in dispute.

New Line Cinema’s “The Long Kiss Goodnight” was ringing up $9 million in its first weekend, according to early industry estimates, and was listed in third place behind the previously released “The First Wives Club” ($9.2 million), but New Line wasn’t ready to relinquish its claim on first place.

Another debuting film, Universal’s “The Chamber,” was in fourth place with $6 million, a less than spectacular showing considering it was based on a novel by John Grisham, author of a series of blockbuster films.

Paramount’s “The First Wives Club” was clearly holding well in its fourth week of release, having already accumulated $71.9 million, and was putting up a strong showing against some highly touted newcomers. Some of Paramount’s competitors speculated Sunday that “First Wives” actually was surpassing the Michael Douglas thriller in ticket sales but that the studio was using a conservative estimate to give its debut film the better spin.

And New Line Cinema insisted that its action thriller starring Geena Davis and directed by her husband, Renny Harlin, would emerge as the weekend winner when all the chips are counted. Final, official weekend figures are due today.

“No matter what Paramount reports, we’re still going to claim No. 1,” said Al Shapiro, New Line’s senior executive vice president of distribution. “We know we surpassed them in all areas, including the ethnic markets.”

Countered Paramount’s Barry London: “In my judgment, there is absolutely no way ‘Ghost’ is not No. 1, ‘First Wives’ No. 2 and [then] ‘Kiss.’ ”

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Overall, results showed a noticeable downslide for action movies since summer--probably the biggest action picture period ever with films like “Twister,” “Independence Day,” “The Rock,” “Mission: Impossible” and “Eraser.” Despite the historical marquee draw of such action stars as Bruce Willis and Steven Seagal, both of the stars’ current action films have faded dramatically after opening week. Willis’ “Last Man Standing opened Sept. 20 and has largely dropped from box office contention.

Seagal’s “The Glimmer Man” was in seventh place over the weekend with an estimated $4 million, a 47% drop from its opening a week earlier. Tom Hanks’ “That Thing You Do!” was in fifth with $5.2 million in its second week, and “D3: The Mighty Ducks” was in sixth with $4.1 million. Columbia’s “Extreme Measures” was in eighth with $1.65 million and the studio’s “Fly Away Home” was in ninth with $1.6 million. 20th Century Fox’s “Independence Day” edged closer to the $300-million mark in 10th, bringing in an estimated $1.35 million. Its 15-week run has accumulated about $297.4 million.

In one of the weekend’s better showings, Warner Bros.’ “Michael Collins,” the epic tale of an Irish hero starring Liam Neeson, had a strong opening in only six theaters, with an estimated average of $34,041 per screen for a total of $204,000. Warners’ distribution head Barry Reardon expects to expand the picture to 750 theaters nationwide on Oct. 25.

One studio source had this observation on the weekend results: “Some people think there’s a trend toward women films now. Well here’s an action movie--’Kiss’--with a woman in the lead, and it still didn’t hit the $10-million mark. None of the action films post-summer have.

“This is telling the industry three things: One, the public is tired of explosions and carnage. Two, they’re worn out on courtroom dramas. . . . Look at ‘The Chamber.’ And three, they’re tired of Steven Seagal. Look at ‘Glimmer Man.’ It’s really falling.”

John Krier, head of the box-office tracking firm Exhibitor Relations agreed in part: “One of the problems is that so many action movies are perceived as formula pictures and the public is responding to that. They are saturated with too many guns and explosions. Plus, we had 16 pictures opening this weekend--just way too many. What the audience wants is a good story with a twist, like a ‘Michael Collins.’ ”