Top Domestic Grosser 2016 (U.S only)
⇒ $498.9 million
Top Global Grosser 2016
⇒ $1.153 billion
|1||Captain America: Civil War||Disney||$1,153,304,495|
|4||The Jungle Book||$966,550,600|
|5||The Secret Life of Pets||Universal||$875,436,077|
|6||Batman v Superman: Dawn of Justice||Warner Bros.||$873,260,194|
|7||Deadpool||20th Century Fox||$783,112,979|
|8||Fantastic Beasts and Where to Find Them||Warner Bros.||$747,475,251|
‘Rogue One,’ and ‘Sing’ Dominate As ‘Passengers,’and ‘Assassin’s Creed’ Struggle At The BO!!!
“Rogue One: A Star Wars Story” and “Sing” carved up the Christmas box office, while newcomers “Assassins Creed” and “Passengers” struggled to get their slice of the ticket sales.
The Star Wars spinoff is projected to rack up $96.1 million over the four day holiday. The space opera’s domestic revenues currently stand at $286.4 million and should cross $300 million on Monday. Globally, the prequel has racked up a mighty $523.8 million.
“Sing,” a family-friendly film about a talent competition for animals, was the de facto choice for moviegoers with kids. It has earned an impressive $76.7 million over its first six days of release. Its success is another win for Illumination and Universal, the producers of “The Secret Life of Pets” and “Despicable Me.” Animation has been a particularly popular genre this year — three of the six highest grossing films and six of the top 20 highest grossing films have been animated offerings.
The tunes may have helped the film resonate with audiences, particularly given that it is an original property hitting at a time of year traditionally dominated by franchises.
Universal distribution chief Nick Carpou says that “Sing’s” appeal was clear during its premiere at last September’s Toronto Film Festival.
“I was sitting in the audience and you could just feel the reaction of people,” he said. Every song had rousing applause. It was as if they were performing them live.” “Sing,” like last summer’s “The Secret Life of Pets,” leaves the story open for more installments, a sign that Illumination and Universal may have a new animated series on their hands.
Sony’s “Passengers,” a science-fiction romance that was hoping to capitalize on the combined drawing power of Chris Pratt and Jennifer Lawrence, struggled to make a mark. All the star wattage wasn’t enough to withstand a critical drubbing. The film earned $30.4 million over the five day period, on the low end of projections. “Passengers” cost $110 million to produce after incentives are taken into account.
Sony executives, however, argue that the film is performing well, and point to the “Passengers’” strong Christmas day grosses of $7.5 million as evidence that “Passengers” is finding its footing. They expect that the film will perform well with older crowds through the holidays.
“This trajectory will show the mettle of our film,” said Rory Bruer, Sony’s worldwide distribution chief, adding, “The chemistry between Chris Pratt and Jennifer Lawrence is really resonating.”
Fox’s “Assassin’s Creed” also failed to make a big impression. The video game adaptation generated $22.5 million over the six day period. With a hefty $125 million production budget, “Assassin’s Creed,” like “Passengers,” will need to get a warmer reception overseas if it wants to fight its way into the black.
Fox domestic distribution chief Chris Aronson noted that the video game of “Assassin’s Creed” has great global resonance and said the studio always saw the film as playing well with foreign ticket buyers. Its cast includes French actress Marion Cotillard, Irish-German actor Michael Fassbender, and English thespian Jeremy Irons.
“This start exceeded our modeling,” he said. “We’ll be the beneficiaries of a strong holiday play period.”
Fox’s “Why Him?” seems better positioned to profit. The R-rated comedy with James Franco and Bryan Cranston earned a solid $16.7 million on a $38 million budget for its first four days in theaters. It opened Friday.
“We believed in this film from its first research screening,” said Aronson. “This film plays like gangbusters with an audience. America loves to laugh and lord knows we need something to laugh about.”
All three major new films will try to make up ground in the coming days, and they’ll get some help from the calendar. Many Americans will take the week between Christmas and New Year’s as vacation, making moviegoing an attractive leisure activity.
Many Oscar-contenders benefited from the holiday. “La La Land” expanded nicely, and is projected to earn $9.7 million for the four day weekend after moving from roughly 200 to 734 locations. The Lionsgate musical will have earned $17.6 million since debuting in limited release earlier this month.
CBS and Lionsgate’s “Patriot’s Day” opened in limited release on Wednesday. The drama about the Boston Marathon bombing earned a healthy $256,718 from seven screens.
Paramount’s “Fences” capitalized on strong reviews and awards buzz, racking up $11.4 million after moving from a few dozen locations to 2,233 venues.
Fox 2000 and Chernin Entertainment’s “Hidden Figures” opened in limited release on Christmas day and is projected to make
$955,000 in its first two days in theaters. The historical drama follows a group of African-American scientists and mathematicians who played a crucial role in the early days of the space program.
|La La Land||$5.7M||$13.6M||3|
|Office Christmas Party||$5.1M||$42.2M||3|
‘Star Wars: Rogue One’ Debuts With Over $290 Million Worldwide, ‘While Collateral Beauty’ Struggles at the BO!!!
Disney and Lucasfilm‘s Rogue One: A Star Wars Story top-lined the fourth largest December three-day weekend ever, delivering the third largest opening of 2016, the twelfth largest opening of all-time and became only the second December opener to debut over $100 million behind last year’s monster opening for Star Wars: The Force Awakens. Fellow new wide release, New Line‘s Collateral Beauty, didn’t fare quite so well, delivering the worst wide opening for a Will Smith-led feature ever, though La La Land continued to impress following last weekend’s strong limited debut as it expanded into 200 theaters this weekend.
Debuting with an estimated $155 million domestically from 4,157 theaters, Rogue One: A Star Wars Story is off to a strong start as it is already the 15th highest grossing release of 2016 after just three days. It will, however, soon find itself competing for audience attention over the upcoming holiday season, which features no fewer than five new wide releases as well as the continued expansion of films contending for Oscar attention. As a result, Rogue One‘s performance will be interesting to track as it is something of an unprecedented release given it’s only the second movie to have ever opened over $100 million in December and yet it won’t likely have the sheer staying power of its predecessor, The Force Awakens.
Films such as The Hunger Games, Catching Fire and The Dark Knight dropped 61.6%, 53.1% and 53.5% respectively after similar openings, but none of them were December releases and none of them faced as much competition as Rogue One will see beginning as early as this Wednesday. To put those second weekends into perspective, after a nearly $250 million opening Force Awakens dropped only 40% in its second weekend in the face of four new wide releases, the limited release of Quentin Tarantino‘s The Hateful Eight and the expansion of The Big Short. By comparison, Rogue One will be up against Passengers, Assassin’s Creed and Sing starting Wednesday.
All that said, this is still a Star Wars film and audience reaction has been strong. The film received an “A” CinemaScore across all demographics as it played to crowds that were 66% male versus 34% female of which 39% were under the age of 25. It also holds an 84% rating on RottenTomatoes and after its initial user rating on IMDb fell from 8.7 to 7.7 leading up to its release date, it saw a strong uptick as it currently holds an 8.3 rating as opening day audiences show their approval.
Of Rogue One’s opening weekend total, only 38% came from 3D showings despite the fact 84% of its 4,157 opening weekend theaters were capable of exhibiting the film in 3-D. Unfortunately, there is no way of telling just how many showings were in 3-D vs. 2-D, which puts that 38% number into some perspective as the theaters capable of showing the film in 3-D most likely also had screens exhibiting the film in 2-D. A further breakdown of the numbers show the film brought in $19 million from over 400 IMAX screens and $17.9 million from 550 premium large format screenings.
Internationally the film made a splash with an estimated $135.5 million from 54 markets, delivering a $290.5 million worldwide release, finishing just outside the top twenty and currently positioned behind The Twilight Saga: Breaking Dawn – Part 1 at $291 million, though that could easily change once actuals are reported.
Of the film’s international opening, it brought in an estimated $21 million in the UK, $12.5 million in Germany, $10.8 million in Australia, $10 million in France, $7.9 million in Russia, $5.3 million in Brazil, $5.1 million in Mexico, $4.5 million in Spain, $3.5 million in Sweden and $3.1 million in Italy. Next weekend sees no new openings for the film, which began its run in ~71% of the international marketplace and still has openings in South Korea (Dec. 28) and China (Jan. 6) to look forward to.
Along with Rogue One, Disney also scored second position at the weekend box office as Moana brought in an estimated $11.6 million, bringing its domestic cume to $161.8 million as it leap frogs Star Trek Beyond to become the 12th highest grossing release of 2016.
Third place belongs to Paramount‘s Office Christmas Party, which dipped 50% compared to its opening weekend as its domestic cume now stands at $31.5 million.
In fourth is where we find the weekend’s other new wide release and compared to Rogue One things weren’t quite so rosy for New Line‘s Collateral Beauty. The debut of the sentimental holiday weeper in 3,028 theaters delivered the worst wide opening for a Will Smith-led feature ever with an estimated $7 million, well below the previous worst opening, which was last year’s $10.5 million debut for Concussion. Opening day audiences gave the film an “A-” CinemaScore as it played to crowds that were 41% male versus 59% female, of which 74% were over the age of 25. Looking ahead, the crowded upcoming marketplace doesn’t paint a very good picture for the film’s future prospects as it would have needed to make a far more impressive impact over its opening weekend to stand out in the crowd.
Collateral Beauty also made its international bow this weekend, pulling in an estimated $4.6 million from 16 markets including a $1.6 million opening in Mexico, $1.4 million debut in Russia and opened with $316,000 in the United Arab Emirates. Additional upcoming major markets include an opening in France on December 21 followed by releases in Spain (Dec 23) and the UK (Dec 26).
Rounding out the top five is WB‘s Fantastic Beasts and Where to Find Them, which brought in an estimated $5 million as its domestic cume now stands at $207.6 million. The film also added another $14.5 million internationally this weekend from 66 markets as its oversees gross-to-date now stands just shy of $510 million for a worldwide total nearing $720 million.
In sixth position Manchester by the Sea was able to narrowly hold off La La Land by just $136,338 based on estimates. Given Manchester was playing in 1,008 theaters more than La La that only makes sense as it brought in an estimated $4.15 million from 1,208 theaters ($3,441 per theater) compared to La La Land’s $4 million from just 200 theaters ($20,100 per theater).
Both films are now playing internationally as well, with La La Land bringing in an estimated $4.7 million from 14 markets for an early $11.3 million international cume. Manchester debuted in just its first international market this weekend, delivering an estimated $505,000 from 162 theaters in France for a ninth place finish.
In limited release this weekend, Paramount debuted Denzel Washington‘s Fences in four theaters in New York and Los Angeles where it brought in an estimated $128,000 for a $32,000 per theater average. The film, which carries a reported budget around $24 million, will expand nationwide on Christmas Day.
Additional limited releases this weekend include The Orchard‘s release of Neruda, which brought in an estimated $28,265 from three theaters on the heels of its recent Golden Globe nomination for Best Foreign Language Film. The film will continue to play in NY & LA through Christmas, then expand to major markets in January.
Overall, the top twelve grossed a combined $204 million this weekend, making it the second largest December three-day weekend ever behind only the same weekend last year.
Looking ahead, next weekend is Christmas weekend and it’s the first time Christmas has fallen on a Sunday since 2011 and it’s going to be a wild time at the box office. Beyond being the second weekend for Rogue One, things get started on Wednesday with the release of Sony‘s Passengers in ~3,300 theaters, the video game adaptation Assassin’s Creed debuts n ~3,000 theaters and Universal and Illumination‘s animated feature Sing arrives in ~4,000 theaters. After that, Fox‘s Why Him? debuts on Friday in ~2,800 theaters while Paramount will deliver expand Fences nationwide on Christmas day along with the limited release of Martin Scorsese‘s Silence.
Other limited releases include Ben Affleck‘s Live by Night, Julieta, Patriots Day, Hidden Figures and A Monster Calls. All that and the continued release of Rogue One makes forecasting how things will turn out incredibly difficult, but we’ll do our best in just a couple days.
|Office Christmas Party||$8.5M||$31.5M||2|
|Fantastic Beasts and Where to Find Them||$5.0M||$207.7M||5|
|Manchester by the Sea||$4.2M||$14.0M||5|
|La La Land||$4.0M||$5.3M||2|
‘Rogue One’ Opening Weekend Box Office Tracking for $120-150 Million!!!
The pre-weekend tracking in for Disney’s second Lucasfilm release, the Star Wars: A New Hope prequel Rogue One: A Star Wars Story, and the numbers are high. This time last year, the studio shattered box office records with the return of the iconic sci-fi fantasy franchise when The Force Awakens slam dunked the all-time biggest opening box office weekend of with $248 million domestic. But Rogue One is a very different circumstance. Not only did The Force Awakens have the extraordinary hype factor of being the first live-action Star Wars film in a decade, it boasted the return of the original trilogy’s beloved leading cast, and promised a continuation of the saga for the first time since 1983.
By contrast, Rogue One introduces an entirely new cast of leading heroes, is led by a cast that’s tremendously talented but by no means household names, and dips back in the timeline once again. All the same, the force is strong with the Star Wars brand and Variety reports that Rogue One is on track to debut with a huge $120-150 million, and to double that internationally for a worldwide opening sum of $250 million to $300 million. Not too shabby for a scrappy band of rogues on a mission to steal the Death Star plans.
Rogue One will have little in the way of competition as studio competitors wisely steered clear of the hotly anticipated launch of the first Star Wars standalone film. Warner Bros.’ Will Smith-led weepie drama Collateral Beauty will seek out the portion of the audience looking from a reprieve from blockbuster entertainment. Paramount will release their August Wilson adaptation Fences in four theaters, which is poised to generate some awards season heat for stars Denzel Washington and Viola Davis. But otherwise, the path is clear for Rogue One to swoop in and dominate.
On top of the proven pull of the Star Wars name, Rogue One is also riding on solid early buzz thanks to good word of mouth out of early screenings and positive critical reviews. And given the quality of this year’s blockbuster output, audiences are probably hungry for a big, spectacle-driven epic that doesn’t suck.
Rogue One stars Felicity Jones, Mads Mikkelsen, Ben Mendelsohn, Diego Luna, Donnie Yen, Forest Whitaker, Alan Tudyk, Wen Jiang, and Riz Ahmed, and arrives in theaters this weekend.
‘Moana’ Repeats No 1 Spot as New Release ‘Incarnate’ Flops at the BO!!
In a repeat of last weekend, Disney‘s Moana finished atop the weekend box office for a second week in a row followed by the third weekend of WB‘s Fantastic Beasts and Where to Find Them. Overall the weekend played pretty much as expected with a few over-performers here and there along with the weekend’s widest new release Incarnate falling short of its meager expectations.
Moana dropped 50% from its three-day opening weekend, finishing #1 with an estimated $28.37 million bringing the animated feature’s domestic cume to just under $120 million. Internationally Moana added another $32 million from 30 territories as its international gross now stands at $57.5 million for a worldwide haul topping $177 million.
Within Moana‘s international performance it debuted in five significant markets including a #1 finish in France with an estimated $5.2 million, a $5.1 million opening in Russia, $2.7 million debut in Mexico and UK, along with an estimated $2 million opening in Spain. The film’s top international market so far is China where it dipped 55% this weekend for an estimated China gross just over $21 million.
In second place, WB‘s Fantastic Beasts and Where To Find Them dropped 59% compared to last weekend, bringing in an estimated $18.5 million for a domestic cume that now totals $183.5 million, tenth largest among all 2016 releases. Added to that, Beasts brought in an impressive $60.4 million internationally this weekend from 67 markets. It’s overseas total now totals $424.4 million for a worldwide gross topping $607 million making it the tenth largest worldwide release of 2016 so far.
Arrival took third place with an estimated $7.3 million, dropping an impressive 36% from last weekend as its domestic cume now totals $73 million. Paramount also found itself in fourth position with Allied, which out-performed Mojo‘s forecast, delivering an estimated $7 million weekend, dropping 44.5% from its three-day opening weekend for a domestic cume that now stands at $28.9 million.
Overseas, Allied added an estimated $12.1 million bringing its international cume to $24.8 million for a worldwide gross topping $53 million. Among the film’s international markets, it opened in China in fourth position with an estimated $3.6 million. It also opened in Russia in second place with $1.7 million, in Portugal with an estimated $381,000 and in Turkey with $223,000.
Disney and Marvel‘s Doctor Strange rounds out the weekend top five with an estimated $6.48 million bringing its domestic gross to $215.3 million. This makes it the ninth largest domestic release in the Marvel Cinematic Universe. Added to that, with a $3.7 million weekend in 51 markets, Strange‘s international cume now climbs to nearly $420 million as it passes Iron Man 2 to become the eighth largest worldwide release in the MCU.
Further down the list we come to BH Tilt‘s Incarnate, a new PG-13 thriller that fell short of its target $4-5 million opening, bringing in an estimated $2.6 million from 1,737 theaters. Also opening this weekend was moderate-sized release of Smith Global Media‘s Believe, which debuted in 639 theaters and finished outside the top ten with an estimated $602,519.
Elsewhere, Roadside Attractions and Amazon‘s Manchester by the Sea finished just outside the top ten as it expanded into 156 theaters (+108) and brought in an estimated $2.6 million ($15,151 per theater average). The film recently won Best Film from the National Board of Review, was nominated for eight Critics Choice Awards and saw Casey Affleck win Best Actor at the Gotham Awards as it is hoping for Oscar glory over the next couple months.
Speaking of Oscar-hopefuls, Fox Searchlight debuted Jackie starring Natalie Portman in three theaters in New York and two in Los Angeles this weekend where the film took in an estimated $275,000 for a solid $55,000 per theater average. On December 9, Jackie will open five more new markets—Washington DC, San Francisco, Boston, Toronto and Phoenix—as well as adding a few theaters in both NY and LA.
Finally, one last international highlight to round out the weekend features Sully, which debuted in 21 additional markets this weekend and brought in an estimated $11.2 million, bringing the international cume to $75.9 million. Of the new markets in release the film opened in third in France with an estimated $2.8 million, first in Italy with an estimated $2.3 million, a third place finish in the UK with an estimated $2.2 million, another third place finish in Mexico with $1 million and a fifth place finish in Germany with an estimated $670,000. Overall, Sully has now topped $200 million worldwide on a $60 million budget.
Overall, the weekend top twelve grossed a combined $88.2 million, which is down just a fraction compared to the same weekend last year when The Hunger Games: Mockingjay – Part 2 finished #1 in its third weekend in release.
Like this weekend, next weekend should be relatively quiet with only one new wide release in the ensemble comedy Office Christmas Party debuting in ~2,800 theaters and the expansion of EuropaCorp’s Miss Sloane into ~1,600 theaters. Next weekend will also feature yet another Oscar-hopeful in the limited release of La La Land, which was just nominated for 12 Critics Choice Awards. Following that, however, we get into the thick of the holiday season with the release of Rogue One: A Star Wars Story.
|Fantastic Beasts and Where to Find Them||$18.5M||$183.5M||3|
|Bad Santa 2||$3.3M||$14.3M||2|
Denis Villeneuve’s ‘Arrival’ Tops $100 Million Worldwide Box Office!!
It’s always good cause to celebrate when a smart sci-fi for adults makes good, so break out the confetti because Denis Villeneuve‘s Arrival has just topped $100 million at the worldwide box office. And it’s only in its third week of release. Based on Ted Chiang‘s stunning short story Stories of Your Life, Arrival stars Amy Adams as a world-class linguist Dr. Louise Brooks who is tasked with forging a with finding a way to communicate with a mysterious new alien race.
The film has grossed $65.8 million in the US and Canada, where it’s heading into its fourth weekend at the box office, and $35.1 million internationally.
It’s a beautiful movie, equal parts cerebral and emotional, and Adams gives one banger of a performance as Brooks, and Arrival is poised to become a major awards contender if word of mouth keeps up and Paramount gives it a big push. Arrival has been a critical hit since it debuted at the Venice Film Festival, and buzz stayed strong as the film worked through the festival circuit. And now that it’s officially the season for annual accolades, Arrival has already started amassing a healthy roster of nominations and year-end list placement. It received 10 nominations
And now that it’s officially the season for annual accolades, Arrival has already started amassing a healthy roster of nominations and year-end list placement. It received 10 nominations on from the Critics Choice Awards, including for Best Picture, Director, Actress and Adapted Screenplay and was recently named one of the National Board of Review’s Top Films of 2016. Amy Adams also took home National Board of Review’s Best Actress award. Looking ahead, the film is on the Oscar shortlist for visual effects, and Adam’s trusty Oscar Beat has it in contention for Best Actress, Best Director, and Best Picture. And let’s be real, if it doesn’t get a Best Adapted Screenplay nod, that would be a downright travesty.
If Paramount opts to give Arrival a big awards push (which is likely, but they’ve also got Fences in contention), the film could be poised to have some serious legs at the box office in the long term. Regardless, the film is already a hit and a sound investment on Paramount’s part (they picked up the North American rights for $20 million back at Cannes 2014), and hopefully the kind of film that inspires studios to put out more intelligent, challenging, non-IP science fiction.
‘Moana’ Scores $81.1M Holiday Opening; ‘Allied’ And ‘Bad Santa 2’ Struggle While Beatty’s ‘Rules’ Flops At The BO!!
Disney‘s Moana topped the extended holiday box office with the second largest five-day Thanksgiving opening of all-time and the third largest three-day Thanksgiving opening of all-time, leading a top twelve that grossed a combined $173 million. Moana was, however, the only real success story among new wide releases as Allied and Bad Santa 2 fell short of expectations and Rules Don’t Apply delivered the worst wide opening of 2016. Other bright spots are to be found, though, in the likes of holdovers such as Fantastic Beasts and Where to Find Them, Doctor Strange and Arrival as well as a solid expansion for Amazon and Roadside‘s Manchester by the Sea.
At the top, Disney‘s latest animated adventure Moana delivered an estimated $55.5 million three-day opening and an estimated $81.1 million five-day opening. As already noted, the five-day opening ranks as the second largest Thanksgiving debut ever behind Disney‘s Frozen ($93.6m five-day) and just ahead of Toy Story 2($80.1m five-day). As a result, Disney now owns nine of the top ten five-day and three-day Thanksgiving weekend openings with New Line‘s Four Christmases as the lone non-Disney feature within the top ten on each respective list. Moana‘s three-day weekend is also the third largest opening for Walt Disney Animation Studios, behind only Zootopia and Big Hero 6, both of which opened on Friday and should Moana‘s three-day gross come in $700,000 higher than estimated it would surpass Big Hero 6 on that list.
Moana‘s demographic breakdown was 45% male vs. 55% female with 34% of the audience coming in 12 years or under, 43% over the age of 25 and 72% of the audience made up of families. Opening day audiences gave the film an “A” CinemaScore.
Internationally, Moana opened in a handful of territories earning an estimated $16.3 million, including an estimated $12.3 million in China, where it opened on November 25, for a global opening totaling $97.4 million. Next weekend sees openings in France, Spain, UK, Russia and Mexico along with Belgium, Netherlands, Switzerland, Hungary, Slovakia, Iceland, South Africa, Philippines, Malaysia, Thailand, India, Paraguay and Peru.
In second position for the weekend is WB‘s Fantastic Beasts and Where to Find Them, which delivered an excellent $45.1 million three-day and a $65.76 million five-day performance bringing the film’s domestic cume to an estimated $156.2 million after ten days in release. Additionally, the film added $132 million internationally this weekend, fueled by openings in China and Japan where it brought in an estimated $41.1 million and $15.5 million respectively. The film’s global cume now stands at $473.7 million ranking thirteenth among all of 2016 releases. The three-day opening in China surpasses the lifetime grosses of all other films in J.K. Rowling‘s Wizarding World franchise in that territory outside of Harry Potter and the Deathly Hallows – Part 2 ($60.8m).
Finishing third is another holdover and another film from Disney, this time Marvel‘s Doctor Strange, which pulled in an estimated $13.36 million three-day weekend and an estimated $18.85 million five-day haul as the film’s domestic cume now stands at $205 million. Strange is now the tenth film in the Marvel Cinematic Universe to gross over $200 million domestically as it has already surpassed the entire domestic run of Thor, Ant-Man, Captain America: The First Avenger and The Incredible Hulk and is just $1.3 million shy of topping Thor: The Dark World.
Additionally, Doctor Strange currently places ninth among all 2016 domestic releases and with an estimated $9.8 million internationally this weekend its global cume now stands at $615.9 million placing it ninth among all 2016 releases worldwide with a January 2017 opening in Japan still in the offing.
Fourth position is where we find Paramount‘s Allied, the second of this weekend’s new wide releases in the top ten, finishing with an estimated $13 million three-day and $18 million five-day opening. While this is within industry expectations heading into the weekend, the fact this one wasn’t able to top $20 million is a disappointment, especially given the $85 million production budget. For director Robert Zemeckis this is the second disappointment in a row on the heels of The Walk last year, which could only muster $10.1 million domestically and $61.1 million worldwide on a $35 million budget. The film played to an audience that was 51% male vs 49% female of which 85% were over the age of 25. Opening day audiences gave it a “B” CinemaScore.
Internationally, Allied opened in 23 markets and brought in an estimated $9.3 million, which includes $2.8 million in France, $1.6 million in the U.K. and $1.3 million in Spain. Fortunately, it still has openings in China (Nov 30), Russia (Dec 1), Germany (Dec 22) and Australia (Dec 26) still in the future to help pad the worldwide gross.
Paramount is enjoying greater success with their sci-fi drama Arrival, which dipped just 7.3% in its third weekend, delivering an estimated $11.25 million over the three-day and $15.6 million for the five day as its domestic gross now totals $62.38 million on a $47 million budget. Internationally Arrival added an estimated $6.2 million this weekend from 36 territories bringing its international total to $30.9 million for a global cume of $93.28 million.
It isn’t until eighth position where we find Broadgreen and Miramax‘s release of Bad Santa 2. The comedy sequel could only manage an estimated $6.1 million for the three-day and $9 million for the five-day opening in 2,920 theaters, but as bad as that may be for the $26 million feature things were worse for Fox‘s Rules Don’t Apply.
Debuting in 2,382 theaters, Rules Don’t Apply delivered an estimated $1.57 million three-day weekend and $2.17 million five-day. The three-day result is the worst wide-opening of 2016, averaging just $661 per theater, and the sixth worst opening all-time for a film debuting in 2,000+ theaters. Truth is, this is just a film that’s out of its element in today’s marketplace and it didn’t have much of a chance in this many theaters. It also doesn’t help critics didn’t embrace it to the point it earned a 57% rating on RottenTomatoes and with a “B-” CinemaScore it won’t be receiving much buzz via word of mouth. The film played to an audience that was 55% female vs 45% male of which 85% were over the age of 25. Additionally, 71% of the audience was Caucasian, 13% Hispanic and 9% African American.
Elsewhere, Universal‘s Almost Christmas enjoyed a nice weekend as the only film in the top ten to show a positive change from last weekend, delivering an estimated $7.6 million three-day, up ~5% from last weekend as its cume now stands at $36.7 million on a $17 million budget.
Finishing ninth, Mel Gibson‘s Hacksaw Ridge dropped 18.3% for an estimated $5.45 million three-day, bringing its domestic cume to $52.2 million.
Outside the top ten, Focus’ Loving brought in an estimated $1.69 million from 421 theaters (+284) bringing the film’s cume to just over $4 million as it continues its expansion. Manchester by the Sea delivered an estimated $1.25 million as it expanded into 48 theaters (+4) for a $26,048 per theater average and a cume that now stands at $1.65 million.
Among new limited releases, The Weinstein Co.’s Lion delivered an estimated $128,368 from four theaters for a $32,092 per theater average; EuropaCorp‘s Miss Sloane brought in an estimated $63,000 from three theaters; and Reliance‘s release of Dear Zindagi brought in an estimated $1 million from 153 theaters over the three-day weekend and $1.5 million for the five-day.
Additionally, IFC‘s Evolution brought in $6,927 from three theaters ($2,309 PTA) and Music Box‘s release of Seasons brought in $26,723 from 13 theaters ($2,056 PTA).
Next weekend features one lone wide release with High Top‘s Incarnate, a new horror from BH Tilt from director Brad Peyton (San Andreas) starring Carice van Houten and Aaron Eckhart. The film is debuting in ~1,500 theaters. Additionally, Fox Searchlight will begin the rollout of the Oscar hopeful Jackie starring Natalie Portmanin five theaters.
|Fantastic Beasts and Where to Find Them||$45.1M||$156.2M||2|
|Bad Santa 2||$6.1M||$9.0M||1|
|The Edge of Seventeen||$3.0M||$10.3M||2|
‘Rogue One’ Box Office Tracking for Stellar $130 Million (or Higher) Opening Weekend!!
The early box office tracking for Rogue One: A Star Wars Story is in, and it is very good news for Lucasfilm. Before we get too deep, however, it’s important to note that tracking is A. Incredibly imprecise, B. Just a starting point, and C. Incredibly imprecise. In recent years box office tracking has become less reliable as films like Deadpool opened to $50 million higher than expected, but it can also sometimes be on the nose, as with Fantastic Beasts and Where to Find Them. So as we proceed, keep in mind this is an early number that could change wildly by the time we hit opening weekend.
But yeah, the early tracking for Rogue One’s opening weekend box office is high. Per THR, the film is expected to hit at least $130 million domestic in its opening weekend on December 16th, with some tracking services even pegging the total as high as $150 million. That would be a phenomenal start for Lucasfilm’s first ever Star Wars spinoff, and would mark the second biggest December opening weekend ever—behind Star Wars: The Force Awakens.
Indeed, Force Awakens defied the odds when it scored $248 million in its opening weekend, which is not just the biggest opening weekend of all time, but a December record as no film previously had ever cracked $100 million during the final month of the year. Of course, Force Awakens had the benefit of the return of Han Solo and a proper sequel to Return of the Jedi while Rogue One is a prequel spinoff and a beast of a different sort, so no one was expecting Gareth Edwards‘ film to come close to that $248 million number.
Just as they did last year with Force Awakens, Lucasfilm has been trying to manage expectations with regards to Rogue One, playing up the fact that this is not a traditional Star Wars movie, and thus is a riskier gamble. If Rogue One succeeds and hits these kinds of box office numbers, Lucasfilm will no doubt feel more assured in proceeding with its standalone Star Wars movies, as they already have a Young Han Solo spinoff scheduled to begin filming in February.
When J.J. Abrams and Kathleen Kennedy lobbied Disney to push the release of Force Awakens back from May 2015 to December, they broke Star Wars tradition and led many to believe the film couldn’t soar as high as big summer blockbusters. However, nostalgia combined with positive audience response and brand recognition made Force Awakens a force to be reckoned with over the holiday season, as families came together and saw the new Star Wars film over and over again throughout December and January. Lucasfilm has already pushed Episode VIII to December 2017, and if Rogue One hits as big as it’s expected to, it makes sense for Lucasfilm and Disney to lean into this new tradition of families going out to see the latest Star Wars movie over the Christmas holiday.
One thing’s for sure—unless Rogue One really falters, it’ll easily surpass The Hobbit: An Unexpected Journey’s $84 million opening to land the second highest December opening weekend of all time. If it cracks $160 million, that’s enough to put it in the Top 10 opening weekends of all time period, but again, tracking can be imprecise and you can bet Disney and Lucasfilm will be doing their best over the next month to lower expectations.
So yeah, it looks like Rogue One is going to start strong. The true test will be if the film is actually good. If audiences and critics respond kindly, we can probably expect similar legs to The Force Awakens and a healthy domestic total once all is said and done.
‘Fantastic Beasts’ Tops Weekend With $75M While Fellow New Releases Struggle At The BO!!
The weekend didn’t quite turn out as Mojo had forecast as the top twelve grossed a combined $149.4 million compared to Mojo‘s forecast, which foresaw the top twelve grossing over $180 million. Part of the blame lay on an over-estimation of the weekend’s top new release, Fantastic Beasts and Where to Find Them, which did deliver a solid #1 opening, but couldn’t match Mojo‘s lofty expectations. To that point, the vast majority of films fell below expectations including the weekend’s two other new wide releases, The Edge of Seventeen and Bleed for This, neither of which managed to top $5 million as well as Sony‘s expansion of Billy Lynn’s Long Halftime Walk, which can’t be looked at as anything more than a flop at this point.
Yet, there were some other notable performances to focus on, particularly in limited release where Amazon and Roadside‘s Manchester by the Sea delivered strong opening results and Moonlight and Loving are still holding court as they continue to expand.
Topping the weekend box office, WB‘s Fantastic Beasts and Where to Find Them delivered an estimated $75 million, matching industry expectations while falling below BoxOfficeMojo‘s lofty projections, which banked too heavily on not only the Harry Potter fanbase, but a new group of younger moviegoers. As it turns out, only 18% of the opening weekend audience was under the age of 18 while 55% was over the age of 35, which suggests previous Harry Potter fans showed up, but the new generation wasn’t quite as inspired.
As have several Harry Potter films before it, Beasts scored an “A” CinemaScore from opening day audiences. That being said, while this is the lowest opening for any film in J.K. Rowling’s Wizarding World series of films, Beasts’s opening is on par with the likes of Harry Potter and the Order of the Phoenix ($77.1m) and Harry Potter and the Half-Blood Prince ($77.8m), which went on to gross $292 million and $301 million respectively. Should Fantastic Beasts follow suit a domestic run anywhere from $284-290 million would be in the offing, though a safe expectation right now would seem to be around $275-280 million.
Looking beyond the domestic performance, and given the $180 million budget for Beasts, eyes now turn to the international market where the film opened on Wednesday and has since grossed $143.3 million for an overall global opening of $218.3 million. The film’s international debut ranks in the all-time top 30, just behind The Hunger Games: Mockingjay – Part 2 and ahead of The Hobbit: An Unexpected Journey.
Among Beasts‘s international highlights, it scored Wizarding World record openings in 11 markets, including South Korea ($14.1m), Russia ($9.8m) and Brazil ($6.4m) to go along with an $18.3 million opening in the UK, $9.9 million in Germany, $9.7 million in France, $7.3 million in Australia, $6.6 million in Italy, $5.8 million in Mexico and $4.5 million in Spain. The film will continue its international rollout in China and Japan next weekend.
Getting back to the domestic side of things, as expected, second and third position are currently something of a toss-up with Disney and Marvel‘s Doctor Strange currently holding the edge with an estimated weekend of $17.67 million, a 59% drop compared to last weekend. Just behind Strange is Fox‘s Trolls with an estimated $17.5 million weekend, a 50% drop.
Mojo‘s weekend projections anticipated ~$20 million weekends for both films, while also attempting to consider what kind of factor last weekend’s inflated box office due to Election Day and Veterans Day may have on all of the weekend’s holdovers. As it turns out, the effect is notable with only a couple of films holding on as expected.
Outside of the Strange‘s domestic performance, however, the film didn’t add any new overseas markets this weekend, but it did add $26 million to its international total which now stands at $390 million for a worldwide tally topping $571.5 million. As a result, Doctor Strange is now the ninth largest worldwide release of 2016. Strange hits theaters in Argentina next weekend.
Fourth place on the domestic chart belongs to Paramount‘s Arrival with an estimated $11.8 million, a 51% second weekend drop as its domestic cume now stands at $43.3 million. The film did add $3.5 million from 22 international markets where Sony is handling the release, but we are still waiting on numbers from the rest of its territories before updating its overall international total.
Rounding out the top five is Universal‘s Almost Christmas, dropping 53.5% for an estimated $7 million second weekend, bringing its domestic cume to $25.4 million.
The best hold of the weekend inside the top ten goes to Hacksaw Ridge, which continues to perform well, dropping just 36.5% for an estimated $6.75 million. The film’s domestic cume now stands at $42.8 million as it’s now looking at a $60+ million domestic run.
In seventh is where we find STX’s The Edge of Seventeen, which fell well below its $8-10 million three-day opening expectations, delivering an estimated $4.8 million from 1,945 theaters ($2,480 PTA). The film did receive an “A-” CinemaScore from opening day audiences to go along with a strong 95% critical rating on RottenTomatoes, it simply just wasn’t able to attract enough moviegoers. The opening weekend audience demographics showed the film played 70% female and 75% was between the ages of 17-34 years of age.
Next is Open Road‘s Bleed for This, which could only muster $2.35 million for the weekend from 1,549 theaters ($1,522 PTA). Bleed for This also received an “A-” CinemaScore.
Rounding out the top ten was Ben Affleck‘s The Accountant with an estimated $2.1 million as its cume has now topped $80 million and stands at $81.2 million.
This weekend also saw the expansion of Ang Lee‘s Billy Lynn’s Long Halftime Walk into 1,176 theaters (+1,174) with expectations for a weekend around $3-4 million. Unfortunately, mixed reviews and a perceived general lack of interest caused the film to struggle, delivering just $930,000 ($791 PTA). The film’s cume now stands at $1.1 million and it would seem most, if not all, of its Oscar chances have been dashed.
More encouraging expansions include A24‘s Moonlight, which is now playing in 650 theaters (+474) where it brought in an estimated $1.58 million. The film’s domestic cume now stands at $6.7 million. Additionally, Focus Features‘ Loving is now playing in 137 theaters (+91) where it brought in an estimated $854,000 ($6,234 PTA) for a $1.7 million domestic cume. The film will expand into 429 theaters (+292) this coming Wednesday.
This weekend also saw the limited release of a pair of new hotly anticipated films. First off is Tom Ford‘s Nocturnal Animals, which brought in an estimated $494,000 from 37 theaters ($13,351 PTA) in Los Angeles, New York City, Chicago, Philadelphia, Dallas, San Francisco, Boston, Washington, DC and Toronto. The film’s audience was 55% female with exit surveys scoring highest with males and females under 35. The film will expand into 200 theaters beginning this Wednesday followed by a nationwide expansion on December 9.
Next is Roadside‘s release of Amazon Studios‘ Sundance pickup Manchester by the Sea, which brought in an estimated $241,230 from four theaters ($60,308 PTA). The opening marks the highest ever per screen average in the 13 year history of Roadside Attractions, topping the $36,772 average for The September Issue in 2009.
Other limited releases this weekend included High Top‘s release of The Take, which brought in $39,000 from 100 theaters; Cleopatra‘s A Street Cat Named Bob opened with $35,070 from 25 theaters; Abramorama‘s Best Worst Thing That Ever Could Have Happened debuted with $22,573 from 25 theaters; Cohen Media‘s re-release of Daughters of the Dust brought in an estimated $10,842 from one theater; and Abramorama‘s Blood on the Mountain opened with $3,443 from two theaters.
Next week things get started early as Disney‘s Moana, Paramount‘s Allied, Broad Green‘s Bad Santa 2 and Fox‘s Rules Don’t Apply will all debut on Wednesday, vying for a piece of the five-day Thanksgiving weekend. On Friday Weinstein will debut Lion in four theaters and EuropaCorp will release the Jessica Chastain thriller Miss Sloane.
|Fantastic Beasts and Where to Find Them||$75.0M||$75.0M||1|
|The Edge of Seventeen||$4.8M||$4.8M||1|
|Bleed for This||$2.4M||$2.4M||1|
‘Doctor Strange’ Repeats Top Position as ‘Arrival’ Debuts with $24M At The BO!!
Disney continued its record-breaking year this weekend as 2016 became the studio’s best year at the domestic box office ever. Contributing to that success, of course, is the studio’s latest Marvel Studios release, Doctor Strange, which led the weekend box office for the second week in a row, contributing to a weekend in which the top twelve was up 56% compared to the same weekend last year. The weekend’s success was a combination of strong holdovers such as Strange and fellow sophomore features Trolls and Hacksaw Ridge, along with newcomers including Arrival and Almost Christmas, all of which helped the top twelve combine for over $150 million.
Dropping only 49% in its second weekend, Disney and Marvel‘s Doctor Strange delivered an impressive $43 million in its second weekend as the film’s domestic gross climbs to over $153 million in just ten days of release. Among Marvel‘s single-character intro features this is the second fastest title to top $150 million domestically, behind only 2008’s Iron Man. Additionally, Strange‘s 49% second weekend drop is the best second weekend hold among the last ten Marvel Cinematic Universe titles.
Strange also added an estimated $60.2 million internationally bringing its overseas total to $339.6 million, passing the lifetime international cumes of The Incredible Hulk ($129m), Captain America: The First Avenger ($194m), Iron Man ($266m), Thor ($268m), Iron Man 2 ($310m) and Ant-Man ($339m). Overall, Strange’s worldwide gross is now just shy of $500 million.
Adding to the success, Disney has now secured its best year on record at the domestic box office with $2.3 billion, surpassing its previous record high of $2.278 billion set in 2015. This is in addition to what is Disney‘s biggest year ever internationally and globally with titles such as Moana and Rogue One: A Star Wars Story still awaiting release.
In second position, Fox‘s release of Dreamworks Animation‘s Trolls dipped just 24.8% in its second weekend for an estimated $35 million. The film’s cume now climbs to $94 million, already surpassing Storks and inching closer to The Angry Birds Movie ($107.5m) after just ten days in release.
Arrival is the first of the weekend’s new releases on the board, delivering a third place finish, coming in just shy of Mojo‘s aggressive forecast with an impressive $24 million. The film received a “B” CinemaScore from opening day audiences and the weekend demographic breakdown was 52% male vs 48% female with 85% of the audience coming in over the age of 25. Looking ahead, Arrival could be looking at a domestic run around $80-85 million or perhaps a little higher if all goes well. For Paramount, the film was acquired at the Cannes Film Festival for $20 million while it carries a $47 million production budget.
Sony is handling Arrival‘s release in Eastern Europe and Latin America where the film opened in 21 markets this weekend, generating an estimated $4.6 million including a #1 release in Russia with an estimated $1.8 million. The film will expand internationally over the coming weeks with dates set in Spain (Nov. 18), Brazil (Nov 24), Germany (Nov 24), France (Dec 7), Italy (Jan 19) and South Korea (Feb 16).
Fourth place belongs to Universal‘s ensemble holiday comedy Almost Christmas, which brought in an estimated $15.5 million from 2,376 theaters. The film played to an audience that was 56% female vs 44% male, of which 60% were 25 or older. The demographic breakdown was 71% African American, 17% Caucasian and 10% Hispanic. There was some difficulty in projecting this film’s opening performance but with this kind of opening, combined with an “A-” CinemaScore, it should continue to play quite well with the holidays just around the corner.
Rounding out the top five is Lionsgate‘s Hacksaw Ridge with an estimated $10.77 million, just a 29% drop from last weekend as the film’s cume now stands at $32.2 million after just ten days in release.
In sixth it was another great weekend for Ben Affleck‘s The Accountant, dropping just 22% for an estimated $4.57 million as the film’s cume now stands at $77.7 million as it continues to shed very few from its audience one week to the next.
In seventh is where we find the last of the weekend’s new wide releases, that being EuropaCorp‘s Shut In, which brought in an estimated $3.7 million from 2,058 theaters.
The last highlight within the top ten is Tyler Perry‘s Boo! A Madea Halloween, which brought in an estimated $3.55 million bringing its domestic cume to $70.4 million. This makes Boo! Perry‘s second highest grossing domestic release ever as a director.
Outside the top ten, Sony debuted Ang Lee‘s Oscar-hopeful Billy Lynn’s Long Halftime Walk in just two theaters where the film pulled in an estimated $120,300 for a $60,150 per theater average. The film had multiple sellouts, but as it expands into over 1,100 theaters nationwide next weekend it will be contending with a lackluster, 49% critical rating on RottenTomatoes, which may hinder the film’s performance outside the New York and Los Angeles corridor.
As for this weekend’s expanding titles, A24′s Moonlight added 93 theaters (176 in total) and brought in an estimated $1.36 million ($7,732 PTA) in its fourth week in limited release. Focus’s Loving is now playing in 46 theaters (+2) and brought in an estimated $532,000 ($11,565 PTA). Next weekend Loving will expand to a total of approximately 100 locations including theaters in Baltimore, Houston, Seattle, St. Louis and Denver.
Additional limited releases included Sony Classics‘ release of French Foreign Language Oscar submission Elle, which opens in two theaters with an estimated $56,012 ($28,006 PTA); Abramorama opened Disturbing the Peace in two theaters with an estimated $9,798 ($4,899 PTA); Oscilloscope debuted The Love Witch with $23,000 in six theaters ($3,833 PTA); and FilmRise opened National Bird in one theater with an estimated $4,000.
Next weekend sees the release of the highly anticipated Fantastic Beasts and Where to Find Them in over 4,000 theaters; Open Road will debut Bleed for This in ~2,000 theaters; and STX will release The Edge of Seventeen in ~1,800 theaters.
|Boo! A Madea Halloween||$3.6M||$70.4M||4|
|Jack Reacher: Never Go Back||$3.3M||$54.6M||4|
‘Doctor Strange’ Has $84.9 Million Opening, While ‘Hacksaw Ridge’ And ‘Trolls’ Open Strong At The BO!!
The domestic box office got a jolt in a very big way as Disney and Marvel‘s Doctor Strange led the weekend with an estimated $84.9 million followed by strong performances by both Fox and DreamWorks Animation‘s Trolls and Lionsgate‘s Hacksaw Ridge. Beyond just the wide releases, the continued expansion of A24‘s Moonlight also contributed to a top twelve that was up a whopping 133.6% compared to last weekend, generating over $182 million collectively and a weekend that was up 20.4% compared to last year.
Finishing atop the weekend box office, Disney and Marvel‘s Doctor Strange delivered as expected, with an estimated $84.9 million from 3,882 theaters. This is the tenth largest opening for a Marvel movie finishing just behind Thor: The Dark World, the only other film from the Marvel Cinematic Universe to open in November.
Compared to over single-character intros in the MCU, Doctor Strange dramatically outperformed Captain America: The First Avenger and Thor, which opened with $65 million and $66 million respectively, last year’s release of Ant-Man, which debuted with $57 million, and The Incredible Hulk, which opened with $55.4 million in June 2008. Only Iron Man, with $98.6 million ($102.1m including previews) back in Summer 2008, had a larger opening.
From here, should Strange finish with a 2.41 multiplier, as did Thor: The Dark World, you’d be looking at a domestic run around $205 million. However, should it perform as Ant-Man did, finishing with a 3.15 multiplier (the third best ever for an MCU film), Strange would find itself grossing nearly $270 million domestically. It’s unlikely it will perform quite that well, likely finishing around $200-215 million thanks to strong critical reviews coupled with an “A” CinemaScore from opening day audiences.
Internationally, Doctor Strange delivered an estimated $118.7 million from 53 territories, bringing the film’s international cume to $240.4 million for a global cume of $325.4 million after 13 days. Of the film’s global box office, $24.2 million was generated from IMAX showings from 1,001 screens in 66 markets and ~45% of the global tally this weekend came from 3D showings.
Among the film’s overseas highlights this weekend, Strange opened in China with an estimated $44.3 million, making it Disney‘s third highest 3-day opening weekend in China for an MCU film, behind only Avengers: Age of Ultron and Captain America: Civil War. In Brazil Strange opened with an estimated $7.9 million in its first five days and in Russia the film went wide after playing in IMAX only last weekend and delivered an estimated $12.4 million, for a cume of $15.4 million. Overall, looking at the same suite of markets, Doctor Strange is showing an overall hold of -38%, ahead of Captain America: Civil War (-41%), Ant-Man (-42%), Guardians of the Galaxy (-44%) and Thor: Dark World (-46%).
Before moving on, it should also be noted that with Doctor Strange‘s impressive performance so far, Walt Disney Studios has surpassed the $6 billion mark at the global box office for the first time ever.
Fox and DreamWorks Animation‘s Trolls brought in an estimated $45.6 million, outperforming the $44.2 million The Peanuts Movie delivered over the same weekend last year before going on to bring in $130 million domestically. Trolls does carry a budget of $125 million compared to the $99 million budget for Peanuts, but where Trolls appears to have a leg up is internationally where it has already grossed $104 million in its first three weeks of international release compared to the $116 million Peanuts finished with overall.
The film’s opening weekend audience played 61% female vs 39% male with 51% of the audience coming in under the age of 25. 57% of the audience was Caucasian compared to 19% Hispanic and 15% African American. It is estimated 72% of opening weekend audiences where made up of families. The film received an “A” CinemaScore from opening day audiences.
Finishing in third is Lionsgate‘s release of Mel Gibson‘s Hacksaw Ridge. The war drama starring Andrew Garfield finished the three-day with an estimated $14.75 million from 2,886 theaters. The film received an “A” CinemaScore from opening day audiences, though audiences over the age of 50 scored it an “A+”. The film played even across gender demographics and 68% of its audience as 35 and older.
Elsewhere in the top ten Tyler Perry‘s Boo! A Madea Halloween finished fourth after topping the weekend box office two weeks in a row. This weekend the film brought in an estimated $7.8 million bringing its cume to $64.9 million as it will soon pass Madea’s Witness Protection to become Perry‘s second highest grossing domestic release of all-time as a director.
Sony‘s Inferno is going down in flames, finishing with with an estimated $6.25 million, a 58% second weekend drop as its cume now stands at $26 million, still $2.6 million shy of The Da Vinci Code’s opening day.
Finishing sixth with the best hold in the top ten is Warner’s The Accountant, dropping a mere 29.8% for a fourth weekend estimated at $5.9 million. The film’s domestic cume now stands at $70.8 million and combined with $38.5 million internationally its global cume is just shy of $110 million.
Continuing its expansion, A24‘s Moonlight continues its stellar performance, delivering an estimated $1.33 million this weekend in only 83 theaters for a $16,053 per theater average. Many theaters playing the film saw box office improving compared to last weekend. Moonlight will continue to expand over the coming weeks.
In limited release this weekend Focus had a strong opening weekend with Loving delivering an estimated $169,000 from four theaters for a $42,250 per theater average. Comparatively, Focus debuted The Theory of Everything over the same weekend in 2014 and it delivered a $41,753 PTA. Exit surveys in New York and LA were very strong, scoring above industry norms, consistently in the 90s across diverse audience segments. The film is poised to continue its roll-out through the holidays and well into awards season.
Also in limited release, Sony Classics‘ The Eagle Huntress brought in an estimated $53,848 from four theaters ($13,462 PTA) after opening on Wednesday. The film’s cume stands at $66,810 after five days in release.
International highlights include more Disney success as Finding Dory added another $1.8 million globally this weekend bringing its worldwide cume to $1.024 billion, making it the second highest grossing worldwide release of 2016.
Elsewhere Bridget Jones’s Baby brought in $5.1 million from 51 territories as the film’s global cume has now climbed to $202.4 million, though that still places it third within the trilogy, $60 million behind Bridget Jones: The Edge of Reason.
Finally, Universal debuted Tom Ford‘s Nocturnal Animals in the UK this weekend where it finished fifth with an estimated $876,000 from 242 theaters.
Next weekend’s wide releases include Paramount‘s highly touted sci-fi feature Arrival from director Denis Villeneuve (Sicario) starring Amy Adams, Jeremy Renner and Forest Whitaker; Universal‘s holiday, ensemble comedy Almost Christmas featuring Gabrielle Union, Jessie T. Usher, Danny Glover and more; and EuropaCorp‘s Shut In starring Naomi Watts. In limited release we’re getting into Oscar season with the limited, two theater release of Ang Lee‘s Billy Lynn’s Long Halftime Walk in New York and Los Angeles as well as Sony Classic‘s release of Paul Verhoeven‘s Elle, which has been selected as France’s entry for Best Foreign Language at the 2017 Oscars.
|Boo! A Madea Halloween||$7.8M||$65.0M||3|
|Jack Reacher: Never Go Back||$5.6M||$49.2M||3|
|Ouija: Origin of Evil||$4.0M||$31.4M||3|
|The Girl on the Train||$2.8M||$70.7M||5|
|Miss Peregrine’s Home for Peculiar Children||$2.1M||$83.3M||6|
‘Madea’ Tops Again As ‘Inferno’ Flops At The BO!!
Sony‘s Inferno experienced an opening weekend meltdown as the third film in the Robert Langdon series fell $10 million shy of expectations. As a result, and thanks to a strong second weekend hold, Tyler Perry’s Boo! A Madea Halloween scored a second weekend atop the box office, dropping just 41% from its opening weekend. Meanwhile, Disney and Marvel‘s Doctor Strange stormed the international box office. The latest entry in the Marvel Cinematic Universe opened in approximately half the overseas markets where it brought in an estimated $86 million ahead of its domestic release next weekend.
With an estimated $16.67 million Boo! A Madea Halloween took the #1 spot at the weekend box office domestically for a second week in a row. The film’s cume has now grown to $52 million as it fell just 41% in its second weekend, a spectacular performance following the film’s $28.5 million opening last weekend.
As noted in our weekend preview, Tyler Perry‘s Madea’s Witness Protection and Madea’s Big Happy Family opened over $25 million and fell around 60% in their second weekends. Additionally, Perry‘s 2013 holiday feature A Madea Christmas dropped 48% in its second weekend, all to suggest Madea’s Halloween would drop around 55% or so, especially given the large opening weekend. Audience enthusiasm for the film, however, held on strong, proving that “A” CinemaScore was no fluke.
Therefore, it’s a second place finish for the dismal opening weekend for Sony‘s Inferno. With an estimated $15 million from 3,576 theaters, Inferno‘s opening weekend was 67.5% off the $46.2 million opening for 2009’s Angels & Demons and a far cry from The Da Vinci Code‘s $77 million opening ten years ago. It will be interesting to see where this one ends up finishing as opening day audiences gave the film a “B+” CinemaScore. At this point it could truly flame out and struggle to reach $40 million.
The seven year gap in release dates between Inferno and Angels & Demons proves the decline in sales from the first film to the second didn’t go unnoticed by the studio. As a result, Inferno was made for a reported $75 million, half the cost of Angels & Demons. As a result, Sony isn’t looking at a complete blood bath on the balance sheet, but it isn’t exactly pretty. Helping ease the pain, the film has already grossed an estimated $132.7 million internationally, including a $13.3 million debut in China this weekend. There’s also the ancillary market where the studio now has a box set trilogy to sell in the future.
Of note, however, is how much director Ron Howard has been struggling as of late with the lackluster results of Rush in 2013, In the Heart of the Sea in 2015 and now Inferno. Most recently Howard was attached to direct a Zelda Fitzgerald biopic with Jennifer Lawrence in the starring role, which could be just what the director needs to get back on track.
Moving on, Paramount‘s Jack Reacher: Never Go Back fell to third position in its second weekend, delivering an estimated $9.55 million for a 58.2% second weekend drop as the film appears to be fading relatively fast. The Accountant, however, held on well yet again, dropping 38% in its third weekend with an estimated $8.47 million as its cume now climbs to $61.2 million.
Rounding out the top five is the only wide release horror film in theaters, Universal‘s Ouija: Origin of Evil, which dipped 50% in its second weekend with an estimated $7 million. The film’s cume now stands at $24.6 million.
Elsewhere in the top ten Fox‘s Miss Peregrine’s Home for Peculiar Children is now just shy of $80 million after taking in an estimated $3.97 million in its fifth weekend and FIP‘s Ae Dil Hai Mushkil delivered a strong $2.1 million from just 302 theaters ($7,070 PTA) for a tenth place finish.
The per theater champ for a second weekend in a row is A24‘s Moonlight, which expanded in to 36 theaters this weekend (+32) and brought in an estimated $900,826 ($25,023 PTA). The film will continue to expand into the top 25 markets next weekend.
In limited release China Lion‘s release of Mr. Donkey delivered an estimated $81,350 from 20 theaters ($4,068 PTA); Magnolia‘s Gimme Danger brought in $44k from three theaters ($14,675 PTA); A24‘s Oasis: Supersonic brought in $16,559 from 14 theaters after its debut on Wednesday; and Bow and Arrow‘s Shangri-La Suite delivered $13,344 from 25 theaters ($534 PTA).
Overall, the top twelve delivered $77 million this weekend, down 32% compared to last weekend. The result is, however, a 23% improvement over the same weekend last year, though one caveat is the fact this weekend last year marked 2015’s worst weekend at the domestic box office.
International highlights start with the release of Disney and Marvel‘s Doctor Strange, which delivered an estimated $86 million in its international debut in 33 territories, comprising 45% of the international marketplace. Compared to previous openings in the Marvel Cinematic Universe this opening is +49% ahead of Ant-Man, +37% ahead of Guardians of the Galaxy, +23% ahead of Captain America: Winter Soldier and +1% ahead of Thor: The Dark World when comparing the same suite of territories and all at today’s exchange rates.
Top territories include South Korea ($18.1m), UK ($11.1m), France ($5.7m), Australia ($4.9m), Germany ($4.8m), Mexico ($4.6m), Taiwan ($4.3m), Hong Kong ($3.2m), Indonesia ($3.1m), Philippines ($2.7m), Italy ($2.5m), Thailand ($2.5m), Russia ($2.5m), Malaysia ($2.4m), Singapore ($2.2m) and Spain ($2.2m).
Doctor Strange will debut domestically next weekend in ~3,800 theaters as well has hit theaters in Russia, Brazil, China, Colombia and several other overseas markets.
In other international news, Illumination and Universal‘s The Secret Life of Pets hit a milestone this past week crossing $500 million internationally. After an estimated $1.6 million overseas this weekend the film’s global cume now stands at $867 million placing it 49th on the all-time worldwide chart as it just passed The Hunger Games: Catching Fire.
As already mentioned, next weekend sees the release of Doctor Strange in ~3,800 theaters. Additional wide releases include Fox’s Trolls in nearly 4,000 theaters and Lionsgate will debut Mel Gibson‘s Hacksaw Ridge in ~2,700 theaters. Focus will be releasing the drama Loving in four theaters.
|Boo! A Madea Halloween||$16.7M||$52.0M||2|
|Jack Reacher: Never Go Back||$9.6M||$39.7M||2|
|Ouija: Origin of Evil||$7.1M||$24.6M||2|
|The Girl on the Train||$4.3M||$65.9M||4|
|Miss Peregrine’s Home for Peculiar Children||$4.0M||$79.9M||5|
|Keeping Up with the Joneses||$3.4M||$10.8M||2|
|Ae Dil Hai Mushkil||$2.1M||$2.1M||1|
‘Fantastic Beasts’ Tracking for $75 Million Box Office Debut!!
Harry Potter fans got a long-distance return (well, except those lucky Londonites privy to West End tickets) to J.K. Rowling‘s world of witchcraft and wizardry with the Jack Thorne-scripted stage play Harry Potter and the Cursed Child, but when Fantastic Beasts and Where to Find Them arrives in theaters next month, fans the world over will get to return to the wizarding world, just in a bit of a different setting than we’re used to.
From a screenplay penned by Rowling herself, Fantastic Beasts heads back in time to Jazz Age New York where Eddie Redmayne‘s Newt Scamander is on the run from Aurors and No-Maj authorities alike when his case full of magical creatures goes missing. The first of five planned films, Fantastic Beasts is a major reentry point into the beloved franchise that earned Warner Bros. more than $10 Billion in global box office, and a hugely anticipated return for Rowling, who is expected to pen all five film scripts.
Naturally, the studio is looking for a big blockbuster debut here, and if early tracking reports are to be believed, they’re going to get it. THR reports that Fantastic Beastsis on track to rake in $75 Million on opening weekend, in the U.S. alone, with some pointing to a slightly more cautious $70M since it’s an “untested property”. The report also notes that the film is tracking especially well with females of across all age groups.
Should the tracking surveys prove accurate, it’s a win for the studio. While those numbers would place Fantastic Beasts well below the biggest openings of the Harry Potter franchise, that’s certainly to be expected considering the film hinges on new characters and a new setting.
Directed by Harry Potter veteran David Yates, Fantastic Beasts and Where to Find Them also stars Katherine Waterston, Alison Sudol, Dan Fogler, Colin Farrell, Ezra Miller, Samantha Morton, Carmen Ejogo, and Ron Perlman, and opens in theaters on November 18th.
|1.||Harry Potter and the Deathly Hallows Part 2||$169,189,427||$381,011,219|
|2.||Harry Potter and the Deathly Hallows Part 1||$125,017,372||$295,983,305|
|3.||Harry Potter and the Half-Blood Prince||$77,835,727||$301,949,197|
|4.||Harry Potter and the Order of the Phoenix||$77,108,414||$292,004,738|
|5.||Harry Potter and the Goblet of Fire||$102,685,961||$290,013,036|
|6.||Harry Potter and the Prizoner of Azkaban||$93,687,367||$249,541,069|
|7.||Harry Potter and the Chamber of Secrets||$88,357,488||$261,988,482|
|8.||Harry Potter and the Sorcerer’s Stone||$90,294,621||$317,575,550|
Here’s the official synopsis for Fantastic Beasts and Where to Find Them:
“Fantastic Beasts and Where to Find Them” is an all-new adventure returning us to the wizarding world created by J.K. Rowling. Academy Award winner Eddie Redmayne stars in the central role of wizarding world magizoologist Newt Scamander, under the direction of David Yates, who helmed the last four “Harry Potter” blockbusters. The film opens in 1926 as Newt Scamander has just completed a global excursion to find and document an extraordinary array of magical creatures. Arriving in New York for a brief stopover, he might have come and gone without incident…were it not for a No-Maj (American for Muggle) named Jacob, a misplaced magical case, and the escape of some of Newt’s fantastic beasts, which could spell trouble for both the wizarding and No-Maj worlds.
‘Madea’ Tops ‘Reacher’ Sequel, ‘Ouija’ sequel and ‘Joneses’ At The BO!!
There is plenty to discuss in a weekend where Lionsgate‘s Boo! A Madea Halloween is crowned champion of the largest three-day weekend the 2016 box office has seen in over two months. Boo!, along with fellow new releases Jack Reacher: Never Go Back, Ouija: Origin of Evil and Keeping Up with the Joneses, generated 61.6% of the top twelve’s overall gross of nearly $114 million, up 28% from last weekend and up 20% from last year. The weekend also saw a stellar opening for A24‘s Moonlight in limited release, delivering the largest opening per theater average of the year, and there are plenty of overseas results to discuss.
Topping the weekend box office, Tyler Perry‘s Boo! A Madea Halloween brought in a stellar $27.6 million from 2,260 theaters ($12,212 PTA), the largest opening for a Madea branded feature and for a Tyler Perry-directed film overall since 2009’s Madea Goes to Jail.
As far as Madea-branded titles are concerned, after a couple of $25 million openings with 2011’s Big Happy Family and 2012’s Witness Protection, A Madea Christmas saw a bit of a drop as it opened in the holiday corridor in 2013 with $16 million and finished its domestic run just over $52.5 million. Madea‘s three year absence from theaters must have been just what the character needed as audiences certainly showed up for this one, and with an “A” CinemaScore from opening day audiences it should hold over quite well with Halloween just a week away. How it plays following the holidays will determine just how much over $50 million it can bank.
In second we find Tom Cruise back as the title character in Paramount‘s Jack Reacher: Never Go Back with an estimated $23 million from 3,780 theaters ($6,085 PTA). The demographic breakdown saw the film play 57% male vs 43% female with 82% of the audience over the age of 25.
Looking ahead, while Never Go Back‘s opening is well above the $15.2 million debut for 2012’s Jack Reacher, the response isn’t nearly the same. After its opening weekend, the first Jack Reacher held on throughout the holidays to finish with $80 million domestically (a 5.26x multiple). That film, however, was bolstered by strong reviews and an “A-” CinemaScore. While Never Go Back‘s CinemaScore is just a notch lower at a “B+” you can look to things such as the film’s 6.7/10 IMDb rating, which is .7 lower than Jack Reacher was the Sunday after its release, to help determine what kind of the buzz the film is receiving. The 40% on RottenTomatoes isn’t helping either, compared to the 62% for the original film. All told, this one may have to scratch and claw its way to $60+ million domestically, but all is not lost as international grosses accounted for 63% of the first film’s worldwide revenue.
Never Go Back brought in an estimated $31 million from over 40 overseas markets this weekend. The opening represents approximately 75% of the film’s ultimate international footprint. The international debut was led by an estimated $5.6 million in China where it opened up against Mechanic: Resurrection and was soundly throttled as early estimates for Mechanic show a China opening around $24 million. The first Reacher debuted with $5.2 million in China over the course of two days as it debuted on a Saturday compared to the first Mechanic film, which brought in $5.9 million in its opening weekend in China back in August 2012.
Elsewhere, Reacher played relatively well, bringing in $3.3m from the UK, $2.8m in France, $2m in Australia, $1.9m in Russia and Indonesia, and $1.5m in Taiwan. Overall the film opened with $54 million worldwide, 28% higher than 2012’s Jack Reacher, which went on to gross over $200 million worldwide. Territories yet to open include Mexico, Germany, Brazil, Japan and Korea.
Third place is a bit of a battleground as Universal‘s Ouija: Origin of Evil narrowly edged out Warner‘s The Accountant in its sophomore session by a mere $35,000. The prequel to 2014’s Ouija brought in an estimated $14 million from 3,168 theaters ($4,438 PTA) on a $9 million budget, but while reviews for the film were glowing (81% on RottenTomatoes) compared to the original (7%), the opening day audience response was the same as both film’s received a “C” CinemaScore. The film’s audience was split 50% female vs. 50% male with 57% of the audience coming in under the age of 25.
The original film debuted with $19.8 million despite those negative reviews and went on to gross just over $50 million with a 2.55x multiple. Should Origin of Evil perform similarly we’re talking about a domestic run around $36 million, which, given the budget, isn’t anything to complain about, especially if the film can deliver internationally where it opened in 20 markets with an estimated $7.9 million this weekend. This includes #1 openings in Argentina, Colombia, Mexico, Panama and Paraguay, all delivering results bigger than the first film. It also brought in $707k in Australia where the first film wasn’t released. The $943k in the UK was, however, a big decline from the first film which opened with $2.19 million and the $754k in Germany is also light compared to the $1.18 million the original opened with.
As already mentioned, The Accountant was in a virtual tie with Ouija for third, bringing in an estimated $14 million in its second weekend, representing a 43.2% drop. This is a strong result given the fact it faced new competition in Jack Reacher as the film’s domestic cume climbs to $47.9 million and $58.1 million worldwide.
Rounding out the top five is Universal‘s The Girl on the Train with an estimated $7.2 million (-40.6%) as it now stands just shy of $60 million domestically. Internationally it added another $6.2 million as the film’s worldwide cume has now topped $100 million on a $45 million budget.
Moving to seventh we find the fourth new wide release of the weekend, Fox‘s ensemble comedy Keeping Up with the Joneses, which didn’t make much of a dent, bringing in an estimated $5.6 million from 3,022 theaters ($1,853 PTA). This is nearly one million less than Relativity‘s Masterminds saw in its opening four weeks ago and that film fell out of over 1,500 theaters this weekend, looking to finish its domestic run with less than $20 million. Joneses may struggle to reach $18 million.
Outside the top ten, Pure Flix’s I’m Not Ashamed didn’t have much of an impact on the weekend, bringing in an estimated $900,000 from 505 theaters for a $1,782 per theater average. And Lionsgate‘s American Pastoral, the directorial debut for Ewan McGregor, opened with $151k from 50 theaters for a $3,020 per theater average, but all was not so quiet in limited release.
Delivering the largest opening per theater average of the year so far, A24‘s Moonlight opened with an estimated $413,174 from just four theaters for a $103,685 per theater average. This ranks as one of the top 25 all-time opening averages as the film rides a wave of positive buzz, which includes a 99% on RottenTomatoes and 99% on Metacritic. The film will open in an additional markets this upcoming weekend before going nationwide November 4.
Also in limited release, Park Chan Wook‘s The Handmaiden, which Magnolia and Amazon Studios released in five theaters, brought in an estimated $91,600 ($18,320 PTA). The film will expand into 25 markets this coming Friday.
Michael Moore is self-distributing his Donald Trump documentary Michael Moore In TrumpLand and the film brought in an estimated $50,200 from two theaters this weekend ($25,100 PTA) after opening on Wednesday, and Janus Films re-released 1985’s Tampopo in one theater this weekend where it brought in an estimated $17,200.
Additionally, Focus World‘s In a Valley of Violence opened with an estimated $30,000 from 33 theaters ($909 PTA); Kino Lorber‘s foreign language Oscar contender Fire at Sea delivered $11,350 from two theaters ($5,675 PTA); IFC‘s King Cobra tallied $9,500 from one theater; Drafthouse‘s We are X opened with $8,300 from one theater; Hannover‘s Spices of Liberty premiered in one theater with $6,625; and Abramorama‘s The Uncondemned opened with an estimated $5,146 from one theater.
International highlights include Miss Peregrine’s Home for Peculiar Children crossing $150 million overseas as its worldwide cume is just shy of $225 million. Fox has also now released Trolls in 14 international markets where it generated an estimated $18 million this weekend, bringing its international cume to $21.1 million ahead of its November 4 domestic release.
Another international highlight includes next weekend’s domestic release of Inferno, which premiered internationally last weekend and has brought in $94.8 million so far overseas. The film is set to premiere in ~3,400 theaters next Friday. It will also be opening day-and-date next weekend in both China and Japan with a November 9 release in France in the future.
|Boo! A Madea Halloween||$27.6M||$27.6M||1|
|Jack Reacher: Never Go Back||$23.0M||$23.0M||1|
|Ouija: Origin of Evil||$14.1M||$14.1M||1|
|The Girl on the Train||$7.3M||$58.9M||3|
|Miss Peregrine’s Home for Peculiar Children||$6.0M||$74.4M||4|
|Keeping Up with the Joneses||$5.6M||$5.6M||1|
|Kevin Hart: What Now?||$4.1M||$18.9M||2|
‘Accountant’ Tops As ‘Max Steel’ Bombs, ‘Inferno’ Opens Well At The Overseas Box Office!!
Warner Bros.‘s The Accountant stormed well ahead of BoxOfficeMojo‘s weekend forecast to finish #1 for the weekend. The Ben Affleck starrer more than than doubled its closest competition, which found a pair of Universal titles competing for second place between the debut of Kevin Hart: What Now? and last weekend’s #1 film, The Girl on the Train. Meanwhile, Open Road‘s Max Steel finished outside the top ten with one of the worst openings ever for a film debuting in over 2,000 theaters. Overall, the top twelve only finished slightly higher than Mojo‘s projections despite The Accountant over-performing, bringing in a combined $88.5 million, which is down 7.4% compared to last weekend and down nearly 21% compared to last year.
At #1, The Accountant rung up an estimated $24.7 million over the weekend, well ahead of not only Mojo’s forecasts but industry expectations that were anticipating an opening anywhere from $15-20 million. While the opening is relatively similar to last weekend’s $24.5 million opening for The Girl on the Train, one big difference is the audience response, which saw The Accountant earn an “A-” CinemaScore from opening day audiences compared to the “B-” Girl on the Train received last week. Neither film scored very well with critics as The Accountant‘s RottenTomatoes score currently stands at 51% compared to Girl‘s 43%, but an “A-” CinemaScore suggests The Accountant could be holding on better next weekend compared to the 51.2% drop Girl experienced this weekend.
The Accountant, however, will have some added competition next weekend in Tom Cruise‘s Jack Reacher: Never Go Back as both films are likely to play toward something of a similar audience. 2012’s Jack Reacher played to an audience that was 60% male and 76% were over the age of 25 while The Accountant played to an audience that was 58% male vs. 42% female and 86% was over the age of 25. There aren’t any early reviews for the Jack Reacher sequel, but the previous film received a 62% rating on RottenTomatoes and opened with $15.2 million. Between The Accountant, Jack Reacher and The Girl on the Train adult audiences have quite a bit to choose from as of late, which could make for a very interesting weekend next week.
Speaking of The Girl on the Train, as already mentioned, it dipped just over 51% in its second weekend, bringing in an estimated $11.97 million, which currently places it in third, just behind fellow Universal release, Kevin Hart‘s third (and reportedly final) concert feature Kevin Hart: What Now?
Debuting in 2,567 theaters, What Now? delivered an estimated $11.98 million, which is the largest opening ever for a stand-up comedy film. Hart‘s previous comedy concert, Let Me Explain, did, however, open on a Wednesday and brought in $17.3 million over its five-day opening from just 876 theaters, which adds some additional perspective to this opening as it was in nearly three-times the number of venues.
What Now? was not only a hit at the box office as well as the best-reviewed film of the comedian’s trio of concert films (78% on RottenTomatoes), but it was also a hit with audiences. The audience breakdown was 49% male vs 51% female, of which gave the film an “A-” CinemaScore. Additional demographics show 46% of the audience was under the age of 25 and 43% was African American, 24% Caucasian and 23% Hispanic. The film’s production budget, which was funded by Hart himself, was just below $10 million.
Rounding out the top five we have a pair of junior releases, both of which carry $110 million budgets. In fourth, Fox‘s Miss Peregrine’s Home for Peculiar Children delivered an estimated $8.9 million as its domestic cume climbs over $65 million and Lionsgate‘s Deepwater Horizon finished fifth with an estimated $6.35 million as its cume now stands just below $50 million. The big difference between these two big budget titles right now, however, is the fact Miss Peregrine is nearing $200 million worldwide while Deepwater currently sits at $77 million worldwide, though we are still awaiting updated international totals for the latter.
CBS and Lionsgate‘s Middle School finished in eighth in its second weekend, dropping 38% and bringing in an estimated $4.2 million and rounding out the top ten we find Fox Searchlight‘s The Birth of a Nation, which dipped a hefty 61% in its second weekend, well below the worst case scenario of 55% we considered on Thursday.
Finishing outside the top ten is the weekend’s other new wide release, Open Road‘s Max Steel, which brought in an estimated $2.16 million from 2,034 theaters. The opening is the thirteenth worst opening for a film debuting in more than 2,000 theaters.
Other new releases include Roadside‘s Priceless, which brought in an estimated $703,200 from 303 theaters ($2,321 PTA) and STX’s Desierto, which delivered an estimated $450,000 from 73 theaters ($6,164 PTA).
As for Desertio, the film from Jonas Cuaron is Mexico’s official entry for Best Foreign Language Film for this year’s Academy Awards and was acquired by STX for roughly $1.5 million, limiting their financial exposure. The studio is looking at expansion opportunities over the coming weeks.
Other limited release titles include IFC‘s Certain Women, which brought in an estimated $65,230 from five theaters ($13,046 PTA); GKIDS‘ Miss Hokusai debuted with $25,042 from two theaters ($12,521 PTA); The Orchard‘s Christine opened with an estimated $14,046 from one theater; and Eammon Films‘ Coming Through the Rye brought in an estimated $4,000 from one theater.
We’re still waiting on overall weekend results for FUNimation’s release of Shin Godzilla. The film, which has delivered $75 million in Japan already, debuted domestically on Tuesday in 488 theaters and finished in the top ten in its first three days of release where it generated just over $1 million domestically. This weekend its theater count was limited on Friday and Sunday, really only getting a larger release on Saturday. We’ll be updating those numbers once they arrive, but may not have them until Monday afternoon.
Among international highlights, Sony‘s Inferno hit theaters overseas a couple weeks ahead of its October 28 domestic release and the film brought in an estimated $50 million from 53 markets. Tom Hanks returns as Robert Langdon with director Ron Howard and top markets include Italy where the film opened with an estimated $5 million, Brazil ($4M), Germany ($4.4M), Russia ($4.4M), UK ($3.8M), Mexico ($2.6M), Spain ($2M), Taiwan ($1.7M), Australia ($1.8M) and India ($1.3M). Upcoming major market releases include South Korea (Oct 19), China (Oct 28), Japan (Oct 28), and France (Nov 9).
Finally, Universal‘s animated feature The Secret Life of Pets brought in an estimated $5.7 million internationally this weekend, bringing its worldwide cume to $857.7 million, moving it ahead of Pixar’s Inside Out and making it one of the top 50 all-time worldwide releases.
Next weekend sees the premiere of four new wide releases including Tom Cruise aforementioned return as the title character in Jack Reacher: Never Go Back in ~3,500 theaters, Tyler Perry is back with Boo! A Madea Halloween, Fox will release the ensemble comedy Keeping Up with the Joneses and Universal has the horror sequel Ouija: Origin of Evil.
|Kevin Hart: What Now?||$12.0M||$12.0M||1|
|The Girl on the Train||$12.0M||$46.6M||2|
|Miss Peregrine’s Home for Peculiar Children||$8.9M||$65.8M||3|
|The Magnificent Seven||$5.2M||$84.8M||4|
|Middle School: The Worst Years of My Life||$4.3M||$13.8M||2|
|The Birth of a Nation||$2.7M||$12.2M||2|
‘Doctor Strange’ Opening Weekend Box Office Tracking at $55 Million—$75 Million!!
Early tracking has arrived for Marvel Studios’ second film of 2016. While the studio had massive success earlier this year with Captain America: Civil War, which opened to a stunning $179 million and grossed over $1.1 billion worldwide, they’re venturing into new territory in November with the release of Doctor Strange. The film has been a long time coming for Marvel, with president Kevin Feige teasing a film adaptation of the comics character years ago, but it finally came together with director Scott Derrickson (Exorcism of Emily Rose) assembling an A-list cast led by Benedict Cumberbatch, and now early box office tracking numbers are in for the new superhero film.
Per Deadline, early tracking has Doctor Strange hitting an opening weekend box office in the range of $55 million to $75 million, although anticipation is expected to grow as the film approaches its November 23rd release date. The film is a brand new entry in the Marvel universe, not a sequel, and it will for the very first time introduce alternate dimensions to the MCU canon. Trailers have focused on the film’s eye-popping visuals, with a stellar cast that includes Tilda Swinton, Chiwetel Ejiofor, Rachel McAdams, and Mads Mikkelsen serving as a bonus. But this is still an unknown quantity, hence the box office numbers on the lower end of the scale in relation to the Marvel output thus far.
Indeed, the last “new” Marvel movie was last summer’s Ant-Man, which bowed to a so-so $57 million before going on to amass a swell $519.4 million worldwide. Doctor Strange will be the last introduction of a new MCU superhero largely unknown to the general public until 2018’s Black Panther, as the film will be followed by the sequel Guardians of the Galaxy, Vol. 2 in May 2017, the reboot Spider-Man: Homecoming in July 2017, and the sequel Thor: Ragnarok in November 2017.
Tracking as of late has been fairly hit or miss, so it’s certainly possible that Doctor Strange debuts to well above $75 million, although it faces stiff competition on the Thanksgiving weekend in the form of Disney’s animated feature Moana. Indeed, Deadpool was tracking for a mid-range opening before scoring a spectacular $132.4 million on opening weekend, and as we well known Marvel Studios films tend to have long legs.
We’ll know more as the release date approaches, but for now you can take a look at how the previous opening weekends for Marvel movies stacked up in the chart below.
|1.||Marvel’s The Avengers||$207,438,708|
|2.||Avengers: Age of Ultron||$191,271,109|
|3.||Captain America: Civil War||$179,139,142|
|4.||Iron Man 3||$174,144,585|
|5.||Iron Man 2||$128,122,480|
|7.||Captain America: The Winter Soldier||$95,023,721|
|8.||Guardians of the Galaxy||$94,320,883|
|9.||Thor: The Dark World||$85,737,841|
|11.||Captain America: The First Avenger||$65,058,524|
|13.||The Incredible Hulk||$55,414,050|
‘Girl on the Train’ Leads Weekend While ‘Finding Dory’ Crosses $1 Billion At The Worldwide Box Office!!
The weekend turned out almost exactly as expected with Universal and DreamWorks‘s The Girl on the Train finishing at #1 and the weekend top twelve coming in ~8.7% behind the same weekend last year, grossing a combined $96.4 million. The weekend’s two other new wide releases—The Birth of a Nation and Middle School: The Worst Years of My Life—are in a fight for sixth place as holdovers mostly ruled the top five. This weekend also saw Disney‘s Finding Dory become the 27th film to ever cross $1 billion worldwide, making it the third Disney release of 2016 to cross that mark.
Finishing at #1, the adaptation of Paula Hawkins‘ bestselling novel, The Girl on the Train, came up just a bit shy of expectations with an estimated $24.7 million from 3,144 theaters. It’s no stretch to assume the film experienced diminishing buzz as the weekend wore on, due mostly to the largely negative reviews (44% on RottenTomatoes) and lackluster, “B-” CinemaScore. Moving forward, it will be interesting to see just how well the film can hold on in the face of such results, especially with another adult-targeted feature in The Accountant hitting theaters next weekend.
Girl on the Train‘s audience breakdown was 68% female vs. 32% male with 45% of the audience coming in under the age of 30 and 55% over the age of 35.
Girl on the Train also opened internationally this weekend in 34 territories, bringing in an estimated $16.5 million. Leading the way, the film opened with an estimated $8.5 million in the UK followed by $4.4 million in Australia. Upcoming releases include Spain (10/21), France (10/26), Germany (10/27), Italy and Denmark in early November and Hong Kong on November 10.
Finishing in second was last weekend’s #1, Fox‘s Miss Peregrine’s Home for Peculiar Children, with an estimated $15 million. This signifies a 48% second weekend drop as the film’s domestic gross now stands at $51 million. In third, Lionsgate‘s Deepwater Horizon dropped 42% in its second weekend as the Mark Wahlberg true life drama brought in an estimated $11.75 million bringing its domestic cume to $38.5 million.
Sony‘s The Magnificent Seven has now topped $75 million domestically as it brought in an estimated $9.15 million in its third weekend and, rounding out the top five, WB‘s Storks, also in its third weekend, finished with an estimated $8.45 million as its domestic cume currently stands at $50.1 million.
It’s looking to be a tight race for sixth place between the weekend’s two other new wide releases beginning with Fox Searchlight‘s The Birth of a Nation, which brought in an estimated $7.1 million from 2,105 theaters. The Sundance darling and Oscar hopeful was mired with controversy heading into its opening weekend, and while we can’t be entirely certain what kind of effect the headlines had on the film, it ultimately opened at the lower end of expectations.
Beyond headlines, however, the film was a hit with critics (79% on RottenTomatoes) and opening day audiences gave it an “A” CinemaScore. Searchlight picked the film up for a Sundance-record $17.5 million.
Currently in seventh place is Lionsgate and CBS‘s Middle School: The Worst Years of My Life, which brought in an estimated $6.9 million from 2,822 theaters and has a shot at moving up a spot once weekend actuals arrive. The film didn’t hold advance screenings for critics, but since the start of the weekend has seen mixed reviews to the tune of a 59% RottenTomatoes score, though opening day audiences seemed to enjoy it scoring it an “A-” CinemaScore. Audience demographics were split 50/50 by gender, with 54% of the overall opening weekend crowd coming in under 18 years-old and 42% was over 25.
In eight position, Warner‘s Sully finished its fifth week in release with an estimated $5.27 million bringing its domestic cume to $113.4 million. The Clint Eastwood-directed feature remains the only fall release to top $100 million domestically so far. Relativity‘s Masterminds held on a little better than expected, dropping 37% after a lackluster opening last weekend, delivering $4.1 million this weekend as its cume now stands at $12.7 million.
Disney‘s Queen of Katwe rounds out the top ten with an estimated $1.6 million, dropping 35% in its second weekend in wide release. Its domestic cume now stands at $5.3 million.
In limited release, ArtAffects‘s Voiceless brought in an estimated $250k from 100 theaters ($2,500 PTA); Film Rise‘s The Greasy Strangler delivered an estimated $25,000 from 11 theaters ($2,273 PTA); Kim A. Snyder‘s Newtown documentary brought in $6,796 from two theaters ($3,398 PTA); Zeitgeist‘s Theo Who Lived opened with $5,539 from one theater; and The Orchard‘s Blue Jay also debuted in one theater and brought in an estimated $5,235.
In other news, Disney‘s Finding Dory has officially crossed $1 billion worldwide with an estimated $485 million domestically and $517 million internationally. Dory is Pixar‘s second billion-dollar release alongside Toy Story 3 and Disney‘s third film to top $1 billion worldwide in 2016 along with Zootopia ($1.023 billion) and Captain America: Civil War ($1.153 billion).
This weekend also saw Suicide Squad‘s international total grow to an estimated $419.6 million as it has now passed Deadpool internationally, though remains behind the R-rated superhero hit by $40.5 million domestically.
Next weekend sees the release of The Accountant starring Ben Affleck and Anna Kendrick in 3,200+ theaters, Kevin Hart‘s latest concert film Kevin Hart: What Now? debuts in ~2,500 theaters and Open Road will premiere Max Steel in approximately 2,000 theaters. On a slightly smaller scale, STX will release Jona Cuaron‘s Desierto into ~74 theaters and Roadside‘s Priceless will premiere in 300+ theaters.
|The Girl on the Train||$24.7M||$24.7M||1|
|Miss Peregrine’s Home for Peculiar Children||$15.0M||$51.1M||2|
|The Magnificent Seven||$9.2M||$75.9M||3|
|The Birth of a Nation||$7.1M||$7.1M||1|
|Middle School: The Worst Years of My Life||$6.9M||$6.9M||1|
|Queen of Katwe||$1.6M||$5.4M||3|
‘Miss Peregrine’ and ‘Deepwater’ Open Well, While ‘Masterminds’ Stumbles At The BO!!
This weekend ultimately turned out very much as expected with Fox‘s Miss Peregrine’s Home for Peculiar Children and Lionsgate‘s Deepwater Horizon debuting in the #1 and #2 spots respectively. Fellow new opener, Relativity‘s Masterminds, was unable to score in the double-digit millions in its debut and Disney‘s Queen of Katwe fell short in its expansion. Overall the weekend saw an uptick from last weekend, but was still down compared to last year with the top twelve generating an estimated $106.4 million compared to last year’s $142.7 million, which was led by The Martian‘s $54.3 million debut.
Finishing #1, Tim Burton‘s Miss Peregrine’s Home for Peculiar Children delivered an estimated $28.5 million in its opening weekend from 3,522 theaters. The film received a “B+” CinemaScore and currently holds a so-so 64% on RottenTomatoes, both of which may have contributed to the film being unable to quite reach $30 million for its opening weekend.
Looking ahead, audiences under the age of 25 gave the film an “A-” CinemaScore with the overall audience breakdown coming in at 41% male vs 59% female and 51% of all audience members were under the age of 25. All things considered, a run that ends around $75 million or so seems most likely, though if it’s able to deliver a strong hold next weekend that number could increase.
Internationally, the film premiered with an estimated $36.5 million from 59 markets delivering a $65 million worldwide debut. This opening includes an estimated $5.19 million in South Korea, $4.5 million in the UK, $3.8 million in Mexico, $3.1 million in Australia and $1.7 million in the Philippines. Miss Peregrine expands into 20 new markets next weekend including top markets France, Russia, Germany and India.
Coming in second, Deepwater Horizon grossed an estimated $20.6 million from 3,259 theaters. The film also earned an “A-” CinemaScore from opening day audiences and holds an 82%, “Certified Fresh” rating on RottenTomatoes. Based on this opening a domestic run around $70-75 million seems likely.
Deepwater Horizon also debuted with $12.4 million internationally from 52 markets, only three of which were major markets. The opening was led by the UK where it took in an estimated $2.6 million. Territories in the Middle East opened to an estimated $1.5 million, followed by Russia where it brought in an estimated $1.2 million, finishing second behind local title The Duelist ($2.4m). Deepwater expands further next weekend including openings in Australia and Italy on October 6.
Third and fourth place belong to a pair of holdovers beginning with Sony‘s The Magnificent Seven, which dropped a little more than expected, falling 54.8% and bringing in an estimated $15.7 million. The film’s cume now stands at $61.6 million. WB‘s animated feature Storks finished in fourth, dropping 35% and delivering an estimated $13.8 million as its cume now stands at $38.8 million.
Rounding out the top five, WB‘s Sully dropped only 38% in its fourth weekend, bringing in an estimated $8.4 million as its cume now stands at $105.3 million. This marks the 14th live action film Tom Hanks has starred in to gross over $100 million domestically and the fifth film Clint Eastwood has directed to top the century mark domestically.
Getting back to the week’s new releases, Relativity‘s long-delayed ensemble comedy Masterminds finished outside the top five with an estimated $6.6 million from 3,042 theaters. The sixth place finish for Masterminds places it just ahead of Disney‘s Queen of Katwe, which expanded into 1,242 theaters (+1,190) and delivered an estimated $2.6 million.
In limited release, Fox International‘s release of M.S. Dhoni: The Untold Story debuted in 256 theaters with an estimated $1.2 million, which is right on par with 2014’s Bang Bang, which opened with $1.27 million from 271 theaters and finished with $2.54 million. Dhoni also brought in $14.5 million internationally, 98% of which comes from its release in India where it brought in an estimated $14.25 million.
China Lion‘s I Belonged to You brought in an estimated $325,000 from 50 theaters ($6,500 PTA); Bleecker Street‘s Denial debuted in five theaters with an estimated $102,101 ($20,420 PTA); A24‘s American Honey opened with $75,370 in four theaters ($18,843 PTA); Music Box‘s A Man Called Ove brought in an estimated $61,000 from nine theaters ($6,777 PTA) ; Harry & Snowman brought in an estimated $55,000 from 18 theaters ($3,056 PTA); and Do Not Resist opened with an estimated $7,150 from one theater.
Finally, Disney is about to have its third $1 billion worldwide earner as Finding Dory now ranks 27th all-time worldwide and has passed Despicable Me 2 to become the fifth highest grossing animated title of all-time globally. Disney currently holds the top four worldwide releases of 2016, two of which—Captain America: Civil War and Zootopia—have already topped $1 billion.
Next weekend Fox Searchlight will debut the Oscar hopeful The Birth of a Nation into ~2,000 theaters, Universal will debut The Girl on the Train in 3,000+ theaters and Lionsgate will release Middle School: The Worst Years of My Life in 2,600 theaters.
|Miss Peregrine’s Home for Peculiar Children||$28.5M||$28.5M||1|
|The Magnificent Seven||$15.7M||$61.6M||2|
|Queen of Katwe||$2.6M||$3.0M||2|
|Bridget Jones’s Baby||$2.3M||$21.0M||3|
‘Magnificent Seven’ and ‘Storks’ Open Modestly at the BO!!!
It wasn’t quite the weekend we forecasted on Thursday afternoon as Sony‘s The Magnificent Seven remake and WB‘s animated Storks both fell short of Mojo‘s lofty expectations. The weekend overall didn’t look much better as the top twelve failed to combine for $100 million for the fifth weekend in a row and the weekend itself was down 25% compared to the same weekend last year.
At the top, Sony and MGM‘s The Magnificent Seven turned in an estimated $35 million opening from 3,674 theaters, just a few thousand behind the opening of Sully two weeks ago and just ahead of Denzel Washington‘s The Equalizer from 2014, which was also directed by Antoine Fuqua. It’s tough to say exactly where this one will go from here as Westerns aren’t your typical blockbuster for the modern era and films such as The Lone Ranger and Django Unchained began their runs on Wednesday and Tuesday respectively.
One could look at 2011’s Cowboys & Aliens, which opened with $36.4 million and finished its domestic run at $100.2 million, but audience and critical opinion on that one doesn’t compare as Magnificent Seven delivered an “A-” from opening day audiences and currently holds a 63% RottenTomatoes score. A run over $100 million is inevitable, but can it reach $125-130 million when not many films that open in this range tend to climb that high unless they are animated films or comedies? The Equalizer petered out at $101.5 million, but the R-rating limited its audience reach suggesting a run anywhere from $115-125 million could be within reach.
For Storks it was a second place finish with an opening weekend estimated at $21.8 million, just over half of Hotel Transylvania‘s 2012 opening, which was then a September record. It’s also behind the $30.4 million opening for Cloudy with a Chance of Meatballs from September 2009, which carried a $100 million budget ($30 million more than Storks) and enjoyed a leggy run, finishing just shy of $125 million domestically and spawned a sequel. Whether Storks will also be the start of an animated fall franchise depends entirely on how it holds over. Initial impressions would suggest a sequel would be unlikely, but an “A-” CinemaScore (A+ from those 25 and under), which is on par with all four Hotel Transylvania and Cloudy films, suggests audiences liked it. Will they like it enough for it to see a second weekend drop similar to the first Cloudy film, which dipped only 17%? That’s the big test, not to mention its international prospects.
Storks debuted in 33 international markets this weekend and brought in an estimated $18.3 million. This opening included key territories such as China, Mexico, Russia, Brazil and Australia. In China Storks finished second with an estimated $5.2 million, just a half million behind Hotel Transylvania. In Mexico it opened with an estimated $2.4 million, which is $1.2 million behind Transylvania, but $1 million ahead of Cloudy. Storks finished #1 in Russia with an estimated $1.9m, #1 in Brazil with an estimated $1.5m and fourth in Australia with $931,000. A strong holdover in all of these territories next weekend will be key as well as its opening in Spain and mid-October release in France and UK.
Beyond the week’s new wide releases, finishing in third place is Clint Eastwood‘s Sully with an estimated $13.8 million, just a 36% drop in its third weekend as the film climbs to an estimated $92.3 million domestically.
Fourth through sixth is where we find all three of last weekend’s new releases beginning with Universal‘s Bridget Jones’s Baby, which dropped 47% for an estimated $4.5 million as its domestic cume now stands at $16.4 million. Internationally is where this one is strongest as it brought in an estimated $21.9 million from 47 territories, bringing its overseas cume to $67.1 million for a worldwide total of $83.6 million. Included in those results is a second weekend at #1 in the U.K. and Ireland where it accounted for 50% of the overall market share, dropping only 19% for an estimated $8.4 million.
Open Road‘s Snowden dropped 48%, bringing in an estimated $4.1 million as its cume climbs to $15.1 million and Lionsgate‘s Blair Witch was pretty much right on average for films that scored a “D+” CinemaScore. As noted in our weekend preview, films that score a “D+” CinemaScore tend to drop around 56% in their second weekend* and with Blair Witch that average is going to get a little bump in the wrong direction as it dropped 59% for an estimated $3.95 million.
Finishing in seventh and eighth positions were Don’t Breathe and Suicide Squad, both dropping right around 33% as their domestic cumes now stand at $81.1 million and $318.1 million respectively.
It should be mentioned that Suicide Squad is now the 14th highest grossing superhero release domestically having just passed Iron Man 2. With this weekend’s estimates in place it is now just $278,758 behind Iron Man as it is likely to end its run in 13th position on the chart behind Batman v Superman: Dawn of Justice, which finished its domestic run at $330.4 million.
In limited release, Disney‘s Queen of Katwe brought in an estimated $305,000 from 52 theaters ($5,865 PTA). Directed by Mira Nair and starring Madina Nalwanga, Lupita Nyong’o and David Oyelowo, the film will expand next weekend into approximately 1,500 theaters. The film scored an “A+” CinemaScore and played to an audience of which 77% were over the age of 25.
Additionally, Broadgreen‘s release of The Dressmaker, starring Kate Winslet, brought in an estimated $180,500 from 36 theaters ($5,015 PTA); Cinema Libre‘s The Best Democracy Money Can Buy brought in an estimated $10,000 from one theater; Generation Startup finished with an estimated $6,032 from one theater; Oscilloscope‘s Girl Asleep debuted in one theater with an estimated $2,700; and Monument‘s release of Chronic, which won Best Director at the 2015 Cannes Film Festival, brought in an estimated $1,912 from two theaters.
Elsewhere, Finding Dory‘s domestic run may be coming to an end, but it isn’t done internationally. This weekend the forgetful fish brought in an estimated $5.3 million internationally as its worldwide cume now stands at $969.8 million. Dory is now the third highest grossing worldwide release of 2016 having just passed The Jungle Book ($965m) and the sixth highest grossing animated movie of all-time worldwide, having passed The Lion King ($968.5m) and only $1 million behind Despicable Me 2. Certain to help matters will be next weekend’s release in Germany and Austria and a continued expansion in Switzerland as a worldwide cume over one billion looks almost inevitable at this point.
Next weekend’s wide releases include Lionsgate and Summit‘s Deepwater Horizon in 3,000+ theaters, Fox will debut Tim Burton‘s Miss Peregrine’s Home for Peculiar Children in ~3,400 theaters and Relativity will debut the ensemble comedy Masterminds in ~2,800 theaters.
|The Magnificent Seven||$35.0M||$35.0M||1|
|Bridget Jones’s Baby||$4.5M||$16.5M||2|
|When the Bough Breaks||$2.5M||$26.6M||3|
|Kubo and the Two Strings||$1.1M||$46.0M||6|
‘Sully’ Still On Top As ‘Blair Witch’, ‘Bridget Jones’ and ‘Snowden’ Open Low At The BO!!
As expected, Clint Eastwood‘s Sully enjoyed a second straight weekend atop the box office and it wasn’t much of a competition. Not one of the weekend’s three new widest releases managed to even top ten million as Blair Witch and Bridget Jones’s Baby fell well short of expectations and Open Road‘s Snowden pretty much delivered as expected depending on whom you asked. Overall, the weekend’s top twelve was down 11.6% compared to last week and down 24.3% compared to last year with the top twelve generating an estimated $74.6 million, just $136k shy of the worst weekend of the year so far.
With an estimated $22 million, Sully dropped only 37% in its second weekend as the film’s domestic cume now stands at $70.5 million, just $1.8 million shy of the entire run of Tom Hanks‘ Bridge of Spies, which went on to earn six Oscar nominations last year including a win for Supporting Actor. The film also expanded its international footprint, adding five markets grossing an estimated $7 million outside the United States bringing its international cume to $23.4 million for a worldwide cume just shy of $94 million.
Taking second place, with less than half of Mojo‘s forecasted weekend, is Lionsgate‘s Blair Witch with an estimated $9.65 million. Heading into the weekend, industry expectations pegged it for an opening in the mid to high teens while Mojo and many others expected an opening at, or north of, $20 million. Fortunately the production budget was a mere $5 million, but this was certainly expected to perform much better than it did.
Marketing certainly wasn’t the issue as the studio roused excitement at Comic Con this year where the film was screened for audiences that only knew the film as The Woods, only to learn they were sitting down for a new installment in the Blair Witch franchise, which began with the industry-changing original 17 years ago. However, heading into the weekend reviews weren’t glowing as the RottenTomatoes score has since dipped to 37% and opening day audiences gave the film a dismal “D+” CinemaScore, which doesn’t bode well for its future prospects. The audience breakdown was 56% male vs. 44% female with 61% of the opening weekend audience coming in over the age of 25.
Internationally, Blair Witch opened in 27 markets and brought in an estimated $4.9 million for a $14.5 million global opening. The UK and Brazil led the way with $1.5 million and $1.2 million debuts respectively. The next major territories where the film will be released include France, Italy and Belgium on Thursday, September 21.
Pulling in third, and also delivering a disappointing domestic opening, is Universal‘s Bridget Jones’s Baby with an estimated $8.2 million. Heading into the weekend the expectation was for this one to deliver the largest opening of the franchise, somewhere in the low to mid-teens. Instead it finished with the worst opening of the franchise despite opening in 1,316 more theaters than the 2001 original, which opened with $10.7 million, and nearly 2,400 more theaters than 2004’s Bridget Jones: The Edge of Reason, which opened with $8.6 million.
From a quality perspective, following the much-loved original, Edge of Reason was dismissed by critics and audiences alike, yet reviews for Bridget Jones’s Baby were strong heading into the weekend, scoring a “Certified Fresh” rating at RottenTomatoes followed by a “B+” CinemaScore from opening day audiences. Perhaps the film will be able to eke out some decent holds in the future, despite the lackluster domestic start. Opening day demographics saw a breakdown of 79% female vs. 21% male with 72% of the audience coming in over the age of 35.
Fortunately, Bridget Jones isn’t just a domestic play. The 2001 original grossed over $210 million internationally while the sequel generated over $222 million outside the United States. Bridget Jones’s Baby is hoping to keep that traditional alive as the film finished #1 in 24 of the 39 international markets it opened in this weekend with an estimated $29.9 million. This includes a #1 opening in the UK and Ireland with $11.3 million, the largest opening for a romantic comedy ever in the UK and the biggest September opening weekend ever in the market. It also opened #1 in Australia with $4.2m, the Netherlands with $1.9m, Spain with $1.7m and a #2 finish in Russia with $1.4m. Next weekend the film opens in Egypt, Iceland, India, Italy, New Zealand, Switzerland, Thailand and Trinidad.
Finishing in fourth position just behind Bridge Jones is Open Road‘s Snowden with an estimated $8 million. The film was expected to have a tough time topping $10 million and it met those expectations. The film did, however, have an impact on opening day audiences, receiving an “A” CinemaScore, the best score among the weekend’s three widest new releases.
Rounding out the top five, and likely a contributing factor to Blair Witch‘s opening weekend struggles, is the continued strong performance of Don’t Breathe, which dropped only 32% in its fourth weekend for an estimated $5.6 million. The film’s domestic cume now stands at $75.3 million and has now topped $107 million worldwide on a budget under $10 million.
Elsewhere in the top ten, Suicide Squad dropped only 17.7% in its seventh weekend, hauling in an estimated $4.7 million as its domestic cume now climbs to $313.7 million. It also grossed an additional $5.8 million internationally this weekend where its cume has now climbed to $405.1 million for a worldwide total of $718.8 million.
Finishing outside the top twelve was Pure Flix‘s Hillsong: Let Hope Rise with an estimated $1.3 million from 816 theaters. It was thought, heading into the weekend, this one could find its way into the top ten with an opening around $2.5 million and while the target audience clearly took to the film, awarding it an “A” CinemaScore, it just didn’t expand far enough outside its target demographic.
In limited release, Ron Howard‘s documentary The Beatles: Eight Days a Week – The Touring Years brought in an estimated $615,632 from 84 theaters this weekend while Freestyle‘s release of Mr. Church, Eddie Murphy‘s first film in four years, could only manage an estimated $407,151 from 354 theaters ($1,150 PTA).
Additional limited releases find China Lion‘s Cock and Bull bringing in an estimated $35,000 from 12 theaters ($2,917 PTA); A23‘s Is That a Gun in Your Pocket? brought in an estimated $9,600 from two theaters ($4,800 PTA); The Orchard‘s Miss Stevens brought in an estimated $3,005 from two theaters ($1,503 PTA); FilmRise‘s Silicon Cowboys debuted with $5,250 from 12 theaters ($438 PTA); and Weinstein and Dimension‘s Wild Oatss linked to an estimated $18,700 from 100 theaters for a measly $187 per theater average.
One last weekend highlight finds Illumination Entertainment and Universal Pictures‘ The Secret Life of Pet scrossing $800 million at the worldwide box office today. The film has grossed an estimated $363.4 million domestically and $441.6 million internationally. With an estimated $805 million, it is currently the sixth-highest-grossing film of 2016 at the worldwide box office.
Next weekend sees the release of Sony‘s ensemble Western The Magnificent Seven into ~3,600 theaters and Warner Bros‘ animated feature Storks into 3,800+ theaters.
|Bridget Jones’s Baby||$8.2M||$8.2M||1|
|When the Bough Breaks||$5.5M||$22.7M||2|
|Kubo and the Two Strings||$2.5M||$44.2M||5|
‘Sully’ Opens Big With $35.5 Million At The BO!!
It has been seven years since Tom Hanks starred in a live action film that opened atop the weekend box office, but Sully changes all that as the true life feature delivered one of the five best September openings of all-time. Finishing in second was another one of the weekend’s new wide releases, Sony and Screen Gems‘ When the Bough Breaks, while Lionsgate‘s The Wild Life and Relativity‘s The Disappointments Room failed to make much of an impression. Overall, this weekend’s top twelve delivered nearly $86 million, a small uptick from the same weekend last year with nearly 60% of the top twelve cumulative gross coming from the top two new releases.
Directed by Clint Eastwood and starring Tom Hanks as Captain Chesley “Sully” Sullenberger,0o opened at #1 with an estimated $35.5 million, the fifth largest September opening of all-time, largest September opening for Warner Bros. by nearly $12 million (The Town / $23.8m) and largest post-Labor Day opening of all-time. Add to that, this is the first time since 2009’s Angels & Demons that Tom Hanks has starred in a live-action film that opened #1 at the box office. The film, which was the first Hollywood feature film to ever be shot 100% with IMAX cameras, was also the largest September IMAX opening for a wide release, pulling in an estimated $4 million from 375 IMAX locations.
Sully received an “A” CinemaScore from opening day audiences which were split 44% male vs. 56% female and 80% of the overall audience was over the age of 35. It will be interesting to see where the film goes from here as a domestic haul around $105-110 million would typically be the safest bet for an opening of this sort, but given this is a well-received, adult-targeted feature, it could climb to $130+ million and not be the least bit surprising.
Internationally, Sully debuted in 39 international markets and brought in an estimated $9.5 million. This includes $2.3 million from Australia, $925,000 in Russia and $929,000 from the United Arab Emirates. It will open in Japan in two weeks on September 24.
Finishing in second is Screen Gems‘ When the Bough Breaks with an estimated $15 million for its opening weekend. This is a pretty steep drop compared to previous Screen Gems releases targeting the same audience, such as last year’s The Perfect Guy which opened with $25.8 and No Good Deed, which opened one year earlier with $24.2 million. The fact the budget was only $10 million helps the overall picture, but given Bough received a 0% RottenTomatoes score and a “B” CinemaScore you can look for this one to fall sharply next weekend by 60% or more.
Next is Lionsgate‘s P&A pickup, the animated feature The Wild Life, which delivered an estimated $3.4 million, just managing to sneak into the top five. The film fell a bit short of its $5 million expectations and won’t likely be hanging around the weekend top ten for much longer. The film scored a “B-” CinemaScore.
The last of the weekend’s new wide releases brings us to Relativity‘s The Disappointments Room which delivered on its title and failed to find a spot within the top 15, serving up an estimated $1.4 million. This is an even worse per theater average ($901 PTA from 1,554 theaters) than last weekend’s flop, Morgan. The film received a “D” CinemaScore from opening day audiences and, like When the Bough Breaks, currently holds a 0% on RottenTomatoes.
Coming off Labor Day weekend it was to be expected that weekend drops would be a little heftier than normal, but a lot of films held on quite nicely beginning with the recent horror hit Don’t Breathe, which dropped only 48.1% and brought in an estimated $8.2 million. The film is now up to $66.8 million domestically.
Finishing behind Don’t Breathe in fourth position is WB‘s Suicide Squad, which brought in an estimated $5.65 million as its domestic cume now sits at $307.4 million. Suicide Squad also brought in another $10.1 million internationally this weekend including an estimated $3.6 million from its debut in Japan as its international cume now sits at $392 million for a worldwide total of $699.4 million, though keep an eye out as domestic and international actuals tomorrow afternoon could very well push it over the $700 million mark.
Elsewhere, Disney‘s Pete’s Dragon cracked $70 million at the domestic box office after adding an estimated $2.9 million this weekend. STX‘s Bad Moms continues its impressive run, dropping only 40.6% this weekend and delivering an estimated $2.8 million as its domestic cume climbs to $107.5 million. After seven weekends in release Bad Moms has so far delivered a 4.51 multiplier based on its $23.8 million opening and it’s still delivering solid numbers within the weekend top ten.
In limited release Focus World‘s Kicks brought in an estimated $32,000 from three theaters for a $10,667 PTA and Janus‘ Cameraperson finished with an estimated $12,897 from one theater. Additionally, Other People brought in an estimated $38,000 from 12 theaters; The Orchard‘s Demon finished with $13,560 from three theaters; Cohen Media‘s Come What May brought in an estimated $10,656 from two theaters; and IFC’s Dancer brought in $7,000 from one theater.
Next weekend sees the release of Lionsgate‘s Blair Witch in ~2,850 theaters, Universal and Renee Zellweger will bring Bridget Jones back to theaters after a 12 year hiatus with Bridget Jones’s Baby in 2,900+ theaters, Open Road delivers Oliver Stone‘s Snowden and Pure Flix will be releasing Hillsong – Let Hope Rise.
|When the Bough Breaks||$15.0M||$15.0M||1|
|Kubo and the Two Strings||$3.2M||$40.8M||4|
|Hell or High Water||$2.6M||$19.8M||5|
‘Don’t Breathe’ Stays At Top As ‘Light Between Oceans’ And ‘Morgan’ Open Low At The BO!!
Labor Day weekend is sending the Summer 2016 movie season out with more of a whimper than a bang, but that isn’t to say there aren’t performances that stand out. While the weekend’s two new wide releases—The Light Between Oceans and Morgan—failed to have much of an impact on the overall weekend, Sony‘s horror/thriller Don’t Breathe became only the second horror film to top the weekend box office two weekends in a row since 2014. On top of that, Bad Moms has now crossed the $100 million mark domestically, Suicide Squad will soon top $300 million and The Secret Life of Pets moved up another notch on the all-time animated list while Finding Dory continued to pad its lead.
With an estimated $15.7 million three-day weekend Screen Gems‘ Don’t Breathe finished atop the box office for a second weekend in a row with a drop of just 41% as its cume now sits just over $51 million after ten days in release. The film, which carries a budget just under $10 million, is looking to add another $3.7 million on Monday for a four-day haul of nearly $20 million and a cume approaching $55 million.
Dropping just 18% in its fifth weekend in release, Suicide Squad scored a second place finish with an estimated $10 million three-day weekend. The film is now looking to pull in another $3+ million on Monday as its domestic cume should cross $300 million by the end of the day Monday or early on Tuesday, becoming the eighth release of 2016 to cross that mark and making it the 15th highest grossing superhero release of all-time domestically, pushing ahead of Man of Steel ($291m).
Internationally Suicide Squad added another $11.8 million this weekend from 65 territories, pushing its overseas gross to $375.5 million and its worldwide gross to $672.9 million. The film is set to open in Japan this weekend.
A pair of family films came in third and fourth with Pete’s Dragon dropping a mere 13% in its fourth weekend in release for an estimated $6.47 million three-day and Kubo and the Two Strings fell just 17.6% for an estimated $6.46 million. Rounding out the top five was Sony‘s R-rated animated feature Sausage Party with an estimated $5.3 million as its cume now stands at $88.4 million.
Sixth position is where we find the first of the weekend’s new releases, that being Disney‘s release of the Dreamworks drama The Light Between Oceans. With an estimated $4.9 million three-day from 1,500 theaters the film came in well below expectations and is looking to finish around $6.3 million for the four-day weekend. The film received a “B+” CinemaScore from opening day audiences and the demographic breakdown for the weekend was 66% female vs. 34% male with 91% of the audience coming in over the age of 26. The Light Between Oceans stars Michael Fassbender and Alicia Vikander and carries a reported budget of $20 million.
The other new wide release of the weekend was Fox‘s sci-fi thriller Morgan. Directed by Luke Scott, son of Ridley Scott, the R-rated feature finished in 17th position with an estimated $1.96 million opening weekend from 2,020 theaters. This is the seventh worst opening all-time for a film opening in more than 2,000 theaters, just behind last year’s box office bust We are Your Friends. Budgeted at just $8 million, expectation heading into the weekend was for a four-day haul around $6 million, right now it’s looking to finish around $2.4 million at best. Demographic information was not immediately available, but opening day audiences didn’t seem to take to it, scoring the film with a “C+” CinemaScore, which doesn’t bode well for its future prospects.
Moving back into the top ten, with an estimated $4.7 million for the three-day weekend, STX‘s Bad Moms is now the 19th 2016 release to cross $100 million domestically. This is STX‘s first $100 million domestic earner since the company started distributing movies just over a year ago with the release of The Gift last August.
In ninth position, CBS Films and Lionsgate‘s Hell or High Water continues to pave its own way as it delivered an impressive $4.5 million over the three-day weekend from 1,303 theaters and is expected to finish around $5.8 million for the four-day holiday. This is the film’s first time in the weekend top ten after finishing just outside over the last couple weekends, but strong reviews and word of mouth have helped as it has now shown improvement over all four weeks of its release. The film debuted in just 32 theaters back in mid-August and has now grossed $14.6 million domestically.
Finishing just outside the top ten with an estimated $3.65 million was Lionsgate‘s release of No Manches Frida. The Spanish-language release debuted in just 362 theaters and received an “A” CinemaScore. This marks the second largest release for Lionsgate’s Pantelion label, behind only Instructions Not Included, which debuted with $7.8 million from 348 theaters back in 2013.
Elsewhere, with an estimated $3.5 million, Illumination‘s The Secret Life of Pets has now grossed over $358.5 million domestically, making it the eighth largest animated release of all-time, moving ahead of Pixar‘s Inside Out. Internationally the film is has brought in $403 million for a $761.5 million worldwide gross-to-date.
Speaking of animated films, Disney brought Finding Dory back into wide release and the film delivered an estimated $1.9 million three-day weekend and is expected to add another $700k tomorrow as its domestic cume climbs to over $482 million, widening its lead as the #1 animated film of all-time domestically.
Internationally, Star Trek Beyond debuted in China on Friday and hauled in an estimated $31.3 million over the three-day. By comparison, 2013’s Star Trek Into Darkness debuted on a Tuesday and brought in just $25.8 million in its first week of release. Beyond still has some work to do internationally as its current overseas cume sits at $131.1 million compared to the lifetime overseas cume of $238.6 million for Into Darkeness. It has, however, now passed grossed more than Star Trek internationally, but it’s still more than $100 million behind the 2009 reboot’s domestic total.
In limited release Fox International debuted Naam Hai Akira in 71 theaters where it grossed an estimated $140,000; FilmRise’s White Girl brought in an estimated $36,000 from three theaters; and Paladin‘s release of Max Rose, Jerry Lewis‘s first starring role in 20 years, opened with an estimated $4,000 from one screen in New York. Max Rose expands next weekend in Los Angeles while also expanding throughout the Tri-state area.
Overall, the top twelve grossed just under $75 million this weekend, down 24% compared to last weekend and down 13% compared to the same weekend last year.
Next weekend sees the release of Clint Eastwood‘s Sully, which stars Tom Hanks and just received a standing ovation at the Telluride Film Festival along with the release of the delayed horror The Disappointments Room starring Kate Beckinsale, When the Bough Breaks with Morris Chestnut and Regina Hall and Lionsgate‘s animated feature The Wild Life.
|Kubo and the Two Strings||$6.5M||$34.3M||3|
|The Light Between Oceans||$5.0M||$5.0M||1|
|Hell or High Water||$4.5M||$14.7M||4|
‘Don’t Breathe’ Opens Big With $26M, While ‘Mechanic’, ‘Southside’ and ‘Hands’ Do Modestly At The BO!!
Led by a fantastic opening for Screen Gems‘ new thriller Don’t Breathe, this weekend over performed expectations with the top twelve delivering a 43.5% improvement over the same weekend last year, just barely coming up shy of a combined $100 million. Along with the stellar opening for Don’t Breathe, Mechanic: Resurrection had a solid opening for Lionsgate & Co., the moderate release of Southside with You performed well, the expansion of Hell or High Water continues to impress and Bad Moms has another great hold as the R-rated comedy approaches $100 million domestically.
At the top, Don’t Breathe delivered an estimated $26.1 million besting Mojo‘s projections, which were nearly double the studio’s conservative expectations, by $5.6 million. The film, which was made for just under $10 million, delivered 2.6 times its budget domestically and received a “B+” CinemaScore from opening day audiences. The opening compares favorably to last year’s The Visit, which opened with $25.4 million and a “B-” CinemaScore and went on to gross over $65 million. Director Fede Alvarez‘s last film, the 2013 remake of Evil Dead opened with $25.7 million and went on to gross nearly $55 million domestically. Depending on next weekend’s holdover, a range of $55-65 million domestically seems reasonable given the film’s strong opening and 87% rating on RottenTomatoes.
In addition to its domestic premiere, Don’t Breathe also brought in an estimated $1.9 million from seven international markets including Russia ($915k), Malaysia ($420k) and a #1 opening in Singapore with an estimated $200k. The film will hit theaters in Australia and Spain next week followed by releases in Brazil, Germany, Italy and the UK the following week with Mexico (Sep 16), France (Oct 5) and South Korea (Oct 6) in the near future.
The weekend’s other new wide release within the top ten is Mechanic: Resurrection, which is the first wide release from Lionsgate‘s specialty arm Lionsgate Premiere, which has typically delivered limited and On Demand releases, in conjunction with Lionsgate-owned Summit Entertainment. Resurrection received a “B+” CinemaScore from opening day audiences and finished fifth with an estimated $7.5 million weekend, which is on the higher end of weekend expectations.
Lionsgate acquired domestic and UK rights for the film for single-digit millions and marketing costs were in the mid-teens. This is the 11th film Lionsgate has distributed starring Jason Statham and the opening is being looked at as a success as Statham films not only perform well in the UK, but do extremely well on home entertainment, delivering returns from 150-200% of their box office receipts.
This weekend also featured two moderate releases opening in just over 800 theaters each. First off, Roadside and Miramax‘s story of Barack and Michelle Obama‘s first date in Southside with You delivered an estimated $3 million from 813 theaters. The film was one of the hot acquisitions from the 2016 Sundance Film Festival and has the distinction of having the largest opening weekend so far when compared to the rest of 2016’s Sundance acquisitions.
The Weinstein‘s release of Hands of Stone into 810 theaters delivered an estimated $1.7 million. The film was original slated to go wide in approximately 2,000 theaters this weekend, but the plan now is to expand this coming Wednesday, adding approximately 1,500 theaters ahead of the long Labor Day weekend.
Looking at the week’s holdovers, Suicide Squad dropped only 42% for a second place finish with an estimated $12.1 million bringing its domestic cume to $282.9 million. Internationally the film added another $19.6 million this weekend bringing its international cume to $353.1 million and a worldwide gross-to-date of $636 million, ranking eighth amongst all 2016 releases.
Focus and Laika‘s Kubo and the Two Strings dropped only 37% in its second weekend for an estimated $7.9 million and Sony‘s Sausage Party brought in another $7.66 million for a fourth place finish in its third weekend as the R-rated animated feature’s domestic cume now sits just over $80 million.
Other sophomore sessions include a 51% drop for WB‘s War Dogs, which finished seventh with an estimated $7.25 million for a cume totaling $27.7 million and Paramount and MGM‘s Ben-Hur dropped even more than projected, falling nearly 60% for an estimated $4.5 million and a tenth place finish.
Elsewhere in the top ten, STX‘s Bad Moms continues its impressive domestic run, dropping a mere 27.5% in its fifth weekend, bringing in an estimated $5.76 million as its domestic cume now stands at $95.4 million with $100 million firmly in its sights.
Bad Moms also added 13 new markets internationally this weekend including the UK, Mexico and New Zealand as it brought in an estimated $6.3 million from 46 total markets now in release bringing its international cume to $28.7 million for a worldwide gross-to-date of $124.15 million.
Just outside the top ten we find CBS Films and Lionsgate‘s slowly expanding release of Hell or High Water, which is now playing in 909 theaters (+437) and brought in an estimated $3.7 million. The film will continue its expansion next week.
In limited release it was Cohen Media‘s re-release of Howards End that topped the per theater charts as it brought in an estimated $24,822 from two theaters for a $12,411 PTA. Just behind it Sony Classics’ release of The Hollars brought in an estimated $46,068 from four theaters for a $11,517 PTA.
Well Go‘s release of the hit South Korean disaster film Tunnel grossed an estimated $180,465 in 36 theaters ($5,013 PTA); Music Box released Nanni Moretti‘s Mia Madre in six theaters where it grossed an estimated $35,000 ($5,833 PTA); IFC debuted Complete Unknown starring Rachel Weisz and Michael Shannon into two theaters where it brought in an estimated $15,680 ($7,840 PTA); and Kino Lorber‘s release of the Cesar-winning film Fatima brought in an estimated $6,400 from one theater.
One international highlight includes the release of Jason Bourne in China where it has brought in an estimated $50 million since its release on Tuesday. The release wasn’t all roses, however, as Universal released an exclusive 3-D version of the film in China, which has reportedly received its share of complaints and demands for refunds. Universal is said to have responded by “working with Chinese distribution companies China Film Group and Huaxia Film Distribution to arrange more 2D screenings”. Jason Bourne is now up to $198.5 million internationally, which, combined with its nearly $150 million domestic cume, puts the film’s worldwide total at $347.8 million, making it the second largest film in the Bourne franchise.
Finally, with an estimated $271,000 this weekend, Disney‘s The Jungle Book has now passed Deadpool to become the third largest domestic release of 2016 with $363.5 million. Disney now holds the top three positions at the 2016 domestic box office and the top four positions at the 2016 worldwide box office.
Next weekend is a long Labor Day weekend and it will see the release of the sci-fi thriller Morgan in approximately 2,000 theaters and the Dreamworks and Touchstone release of The Light Between Oceans in approximately 1,500 theaters.
|Kubo and the Two Strings||$7.9M||$24.9M||2|
‘Suicide Squad’ Repeats No 1 Spot, While ‘Ben-Hur’ Is A Big Flop At The BO!!!
It’s a repeat at the top of the domestic box office as Suicide Squad and Sausage Party finished one and two respectively for a second weekend in a row and serving as the third straight weekend at number one for the DC Comics adaptation. The rest of the top five is made up of the weekend’s three new wide releases—War Dogs, Kubo and the Two Strings and Ben-Hur—as this weekend’s top twelve was down 25% from last weekend, though, compared to last year, the top twelve is up nearly 30% with a combined gross of just over $118 million.
As already mentioned, with an estimated $20.7 million Suicide Squad took the number one spot at the weekend box office. The film’s domestic cume is now up to $262.28 million, ranking fifth among all DC Comics adaptations. Internationally the film added another $38 million this weekend bringing its international total to $310.4 million for a worldwide cume totaling $572.68 million, ranking eighth among all 2016 releases.
In second, Sony‘s R-rated animated feature Sausage Party dropped 55% and delivered an estimated $15.3 million in its second weekend, bringing its domestic cume to $65.3 million. The film added another $2.1 million internationally this weekend from just 13 markets as its worldwide cume currently stands at $71.3 million on a $19 million budget.
Leading the weekend’s newcomers, Warner‘s War Dogs finished third with an estimated $14.3 million and earned a lackluster “B” CinemaScore from opening day audiences suggesting this one might top out around $35 million or so domestically. The audience breakdown was 56% male vs. 44% female with 51% of the overall audience coming in under the age of 35.
Internationally, War Dogs came in at an estimated $6.5 million from 2,700 screens in 31 markets. This includes Russia where it debuted in second with an estimated $1.9 million and Australia where it opened with $1.1 million. The film releases in the UK next weekend followed by releases in Mexico (Sep 2), Brazil (Sep 8), Spain (Sep 9), France (Sep 14), Italy (Sep 15) and Germany (Sep 29).
Finishing fourth with an estimated $12.6 million is Focus and Laika‘s Kubo and the Two Strings, which also received a strong, “A” CinemaScore from opening day audiences. While Laika is pretty much always guaranteed an Oscar nomination at the end of the year, this is the lowest wide opening release for any of the studio’s five feature films, which have shown dwindling multipliers over the course of their last three releases.
While 2009’s Coraline opened with $16.8 million and went on to deliver a 4.5 multiplier, finishing its domestic run with $75.2 million, 2014’s The Boxtrolls opened with $17.27 million, but only finished with just over $50 million. Should Kubo follow the Boxtrolls‘ path it would mean a domestic haul somewhere around $37 million.
Kubo also opened in eight international territories this weekend, bringing in an estimated $900,000. The film releases around the world over the next few months.
Narrowly finishing in fifth place, Paramount and MGM‘s $100 million budgeted remake Ben-Hur proved a box office bust, delivering an estimated $11.35 million. While being savaged by the majority of critics the film did score an “A-” CinemaScore with opening day audiences, though an opening number that small is unlikely to translate into any kind of long legs. The film’s opening weekend demographic was 51% female vs. 49% male with 94% of the overall audience coming in over the age of 25.
Ben-Hur also launched in 23 international markets this weekend where it brought in an estimated $10.7 million. The opening includes a #1 finish in Mexico with $2.8 million, a #2 finish in Brazil with $2.5 million and $817k in Venezuela and $598k in Phillippines. The film will be released in Australia, Argentina and Netherlands next weekend and expand throughout September including releases in Germany, Austria and Spain on Sept 1; France, Russia and the UK a week later; Korea on Sept 14; Italy on Sept 29; and, finally, Japan on January 13, 2017.
Back at the domestic box office, finishing just $19,000 behind Ben-Hur in sixth position is Disney‘s Pete’s Dragon, which dropped 47.3% in its second weekend for an estimated $11.3 million. We’ll have to wait until actuals surface tomorrow afternoon to see if Ben-Hur can hold on to its narrow lead or if it will end up falling out of the weekend top five.
In seventh is another strong weekend for STX‘s Bad Moms, which followed up its stellar third weekend in which it dropped a mere 19% with a fourth weekend drop of only 29%. The R-rated comedy delivered an estimated $8 million this weekend as its domestic cume is now up to $85.8 million, pushing toward $100 million and a 4x multiplier.
Finishing just outside the top ten is the strong performance of CBS Films and Lionsgate‘s Hell or High Water. After opening in 32 theaters last weekend the film has made use of spectacular reviews (98% on RottenTomatoes) and expanded into 472 total theaters this weekend where it generated an estimated $2.65 million. The film will continue expanding into new markets in the weeks ahead, though no official theater counts have yet been revealed.
Elsewhere, New Line‘s Lights Out added $1.6 million domestically this weekend and another $7.3 million internationally as the James Wan-produced thriller has now generated over $110 million worldwide on a $4.9 million budget. Among the film’s international weekend it debuted in the UK with $1.4 million, Spain with $1.1 million and in Brazil with $793k.
In limited release, Kingsglaive: Final Fantasy XV debuted in 24 theaters and delivered an estimated $114,000; Natalie Portman‘s A Tale of Love and Darkness brought in $36,000 from two theaters; The People vs. Fritz Bauer delivered $33,781 from six theaters; and, after 30 days on DirecTV, A24‘s Morris from America brought in an estimated $16,000 from two theaters.
Next weekend sees the release of Fede Alvarez‘s SXSW standout Don’t Breathe into ~2,900 theaters, Summit will release Mechanic: Resurrection into ~2,200 theaters and The Weinstein Co. delivers the boxing drama Hands of Stone starring Edgar Ramirez and Robert De Niro into ~2,000 theaters.
|Kubo and the Two Strings||$12.6M||$12.6M||1|
|The Secret Life of Pets||$5.8M||$346.7M||7|
|Florence Foster Jenkins||$4.3M||$14.4M||2|
‘Ben-Hur’ Remake May Become Summer’s Biggest Box Office Bomb!!!
Paramount and MGM’s big-budget biblical-era epic “Ben-Hur” is expected to land in theaters this weekend with a Roman armor-plated thud.
Produced for a reported $100 million (which doesn’t count the presumed tens of millions of dollars spent on marketing), multiple trackers are currently setting its opening weekend gross at a paltry $12 million on average.
The studio has more faith, saying its estimates are closer to $20 million — still not great.
Timur Bekmambetov‘s remake of the 1959 hit starring Charlton Heston is the latest in a perplexingly large number of decades-old stories getting dusted off, repackaged and unleashed by Hollywood.
Some of the year’s biggest misfires include Fox’s “Independence Day: Resurgence,” out 20 years after the original; Disney’s six-years-later sequel “Alice Through the Looking Glass” sequel; Sony’s “Ghostbusters,” a reboot of a 1980s franchise; and Warner Bros.’ new take on the oft remade “The Legend of Tarzan.”
“Reboots have been a dirty little trend in Hollywood of late and audiences have given them the boot at nearly every opportunity,” Jeff Bock, senior analyst at Exhibitor Relations, told TheWrap.
Of course there are outlier hits, like Disney-Pixar’s 13-years-later sequel “Finding Dory” and also Disney’s “The Jungle Book” — a CG-heavy live-action version released nearly 50 years after the studio’s animated classic.
“For years, sequels, remakes, reboots and movies based on nonoriginal intellectual property have been the bread and butter of the movie industry,” com Score senior analyst Paul Dergarabedian told TheWrap. “In any given year, the list of the Top 10 performing movies is always dominated by the comfortably familiar, the previously branded and the safest bets on the slate.”
But “Ben-Hur,” which is being released in both 2D and 3D, is widely seen as an odd choice to reboot. Not only is Heston’s version a classic to film buffs, but it’s not widely known to younger audiences. “It took a lot of guts to put that kind of money toward a movie like this, which, on the face of it, is not very commercial,” admitted Dergarabedian.
The opening estimates of “Ben-Hur” are worse than Universal’s “Warcraft,” which was widely considered one of the summer’s biggest bombs, opening to $24.2 million domestically against a hefty $160 million budget.
Of course, the video game-based movie went on to do bang-up business overseas, where it netted $386.3 million, nearly 90 percent of its global take.
The same may not happen for “Ben-Hur,” which stars Jack Huston as the prince Judah Ben-Hur who seeks revenge on his adopted brother, a Roman army officer played by Toby Kebbell, after being falsely accused of treason and forced to spend years at sea. Still, Paramount expects the movie to open strongly in Mexico and Brazil this weekend — two of the 19 markets overseas that will be releasing the movie.
“‘Ben-Hur’ enters the fray as one of the costlier reboots in recent history and doesn’t look to have much upside either,” Bock said. “Unless church groups somehow jump on board, this looks like it may crash and burn and end up being one of the biggest misfires of the summer season.”
The 1959 epic starring Heston was a remake of a 1925 silent film of the same name. Based on the 1880 novel “Ben-Hur: A Tale of the Christ” by Lew Wallace, it was first adapted for the screen in 1907.
In other words, the new movie is based on really old material.
The Heston remake was a huge hit for its time. Adjusted for inflation, 1959’s “Ben-Hur” is the 14th highest grossing film of all time. But what suited 1950s-era audiences does not reflect what moviegoers are flocking to now.
“Classic films are among the most challenging to remake and duplicate commercial success because they captured a rare magic to begin with,” said Shawn Robbins of BoxOffice.com.
With only 7.2 percent of the current market share among all studios, Paramount isn’t having the best year. The studio’s biggest hit this year, “Star Trek Beyond,” has grossed only $211.7 million worldwide on a whopping $185 million budget.
Although it still has more foreign markets to hit, including China, the movie needs to be a hit in each one in order to get into the black.
“After ‘Ben-Hur’ and what happened with ‘Ghostbusters’ this summer, hopefully studios will realize reboots are for the birds… namely the buzzards,” Bock said.
He points to Sony — not Paramount — as one of the most frequent offenders. “They scored decently with ‘Annie,’ but flailed with ‘Total Recall,’” he said. “Next summer they have ‘Flatliners.’ That title says it all.”
‘Suicide Squad’ Drops, While ‘Sausage Party’ Opens Big At the Box Office!!!
Despite Suicide Squad‘s large, to-be-expected second weekend drop, the film pulled in more than enough to hold off all newcomers for a second weekend at number one at the box office as it now totals more than $465 million worldwide. Meanwhile, Sony‘s R-rated animated comedy Sausage Party scored a strong second place finish, ahead of fellow new releases including Disney‘s reboot of Pete’s Dragon and Paramount‘s release of Florence Foster Jenkins. Overall the top twelve totaled $157.8 million, up 16% from last year.
At the top of the chart, Suicide Squad dropped 67.3% for an estimated $43.7 million, almost spot on what we were expecting after its opening weekend seven days ago. The film’s domestic cume is now up to $222.8 million while it added another $58.7 million in its second weekend internationally, bringing its global cume to $465.3 million after 12 days in worldwide release. Suicide Squad ranks eleventh worldwide among all 2016 releases and seventh among live action releases.
In second place Sony‘s Sausage Party delivered a solid $33.6 million opening (including $3.25m from Thursday night) from 3,103 theaters. Heading into the weekend studio expectations were a very conservative low-to-mid teens for the R-rated animated feature, which went into the weekend with an impressive RottenTomatoes score that now stands at 82%. Despite the low studio expectations, the film’s opening weekend shouldn’t come as too much of a surprise as it is right in line with Ted 2‘s $33.5 million opening last year, which went on to gross just another of $81 million. The glaring difference between the two films, however, is the $68 million budget for Ted 2 while the reported budget for Sausage Party is only $19 million.
Looking ahead, while Sausage Party scored with critics, opening day audiences gave the film a so-so “B” CinemaScore compared to a “B+” for Ted 2. It’s tough to say how exactly this will play out next weekend as a comparison to Ted 2 suggests a 65% second weekend drop, which seems steep, but given the strong opening and the number of this year’s openers that have suffered steep second weekend drops it doesn’t seem altogether unlikely.
Finishing third is Disney‘s Pete’s Dragon, a remake of the 1977 classic that also played well with critics but it wasn’t able to overwhelm at the box office. Scoring an estimated $21.5 million from 3,702 theaters, the film’s performance is reminiscent of Disney‘s July release The BFG, which also carried strong reviews into the weekend only to deliver $18.7 million in its first three days.
Pete’s Dragon‘s audience breakdown was very similar to BFG‘s, playing 47% male vs 53% female, though it did skew a little younger as 33% of the audience was 12 and under, a six percent jump compared to BFG. The film did score an “A” CinemaScore, which is a slight improvement over the “A-” for The BFG, but judging by current IMDb page view data, Pete’s Dragon is actually performing behind BFG at the same point in the release cycle and unless we see some kind of surge in the coming days, Pete’s Dragon could be looking at a domestic total right around the film’s $65 million budget.
Internationally Pete’s Dragon debuted in twelve territories, delivering an estimated $5.1 million including $1.5 million from Russia, $1.4 million from Italy and $1.1 million from the UK. Next weekend sees openings in France and Spain along with Iceland, Hungary, India and Trinidad.
The weekend’s final new wide release is Paramount‘s Florence Foster Jenkins starring Meryl Streep, which debuted with an estimated $6.58 million from 1,528 theaters. This almost lines up exactly with Streep‘s Ricki and the Flash, which debuted in early August last year with $6.6 million from 1,603 theaters before going on to gross $26.8 million. The film scored an “A-” CinemaScore (much better than Ricki‘s “B”) and played to an audience that was 61% female vs 39% male and a whopping 97% of the audience was over the age of 25. Like the weekend’s two other wide releases, it too carried a strong RottenTomatoes rating into the weekend as it currently sits at 86%.
Elsewhere in the top ten Jason Bourne dropped only 39.2% in its third weekend after that hefty 62% sophomore dip as its cume is now up to $126.7 million. More impressive, however, is Bad Moms, which only dropped 18.2% in its third weekend as the R-rated comedy is now up to an impressive $71.4 million domestically on a $20 million budget.
Bad Moms also continued its roll-out internationally, adding another nine markets this weekend as it pulled in an estimated $6.2 million from 30 total markets for an international cume of $13.6 million and a worldwide gross that stands at $85 million.
Among the weekend’s limited releases, Bleecker Street‘s # brought in an estimated $1.2 million from 452 theaters while Lionsgate‘s Hell or High Water brought in an estimated $592,000 from 32 theaters for a $18,500 per theater average, the best of the weekend.
Other limited releases include 26 Aries‘ The Lost Arcade, which debuted with an estimated $7,500 from one theater; IFC‘s Disorder opened with an estimated $12,000 from two theaters; and The Orchard‘s Ghost Team was hardly a blip on the spectrometer, opening with a mere $9,205 from ten theaters, for a $921 per theater average.
In other news, Finding Dory climbed another notch on the all-time domestic chart as it has passed Star Wars: Episode I – The Phantom Menace to become the seventh highest grossing domestic release of all-time with $476.8 million. Additionally, Disney‘s The Jungle Book opened in Japan this weekend, its final international market, and grossed an estimated $6.2 million as its international cume is now up to $584.8 million for a worldwide total just shy of $1 billion at $947.8 million.
Fox‘s X-Men: Apocalypse also opened in Japan this weekend, scoring half of what The Jungle Book delivered at an estimated $3.1 million as the film’s global cume now sits at $539.7 million, more than $200 million less than 2014’s X-Men: Days of Future Past.
Finally, Universal Pictures International crossed the $1 billion mark this weekend for the tenth consecutive year. Adding to the cume this weekend was The Secret Life of Pets, which opened in six new markets this weekend and grossed an estimated $40 million as its international cume is now up to $256.7 million for a worldwide cume just shy of $600 million at $592.6 million. Additionally, Jason Bourne is now over $100 million internationally as it added another $18.6 million this weekend from 59 territories for an international total of $119.4 million and a worldwide total just shy of $250 million at 246.2 million.
Next weekend sees the release of Paramount‘s Ben-Hur into ~3,000 theaters, Warner Bros. will release War Dogs into 3,100+ theaters and Focus will debut the latest Laika feature, Kubo and the Two Strings into ~3,200 theaters.
|The Secret Life of Pets||$8.8M||$335.9M||6|
|Star Trek Beyond||$6.8M||$139.7M||4|
|Florence Foster Jenkins||$6.6M||$6.6M||1|
‘Suicide Squad’ Shoots Down August Record with $135 Million Opening at the BO!!
For the third time this year a superhero movie has broken an opening weekend record and with it a continuing trend that finds the previous week’s box office champion suffering a hefty second weekend drop. This time around it’s Warner Bros‘ Suicide Squad decimating the previous August opening weekend record by more than $40 million while Universal’s Jason Bourne experiences a 62% drop in its sophomore session. That said, with the top twelve totaling a massive $223.9 million, this weekend’s top twelve was up a whopping 87% compared to the same weekend last year. In fact, this is the first time this calendar weekend has ever grossed over $190 million, let alone cracked the $200 million mark.
Finishing in first place with an estimated $135.1 million, Warner Bros. and DC Comics’ Suicide Squad now holds the largest August opening weekend, topping Guardians of the Galaxy‘s $94.3 million from 2014. The film also had the largest August opening day with $65.2 million, which included the largest August Thursday preview total of $20.5 million. Combined with a $132 million international opening from 57 territories, the film’s global opening haul ranks 24th all-time with $267.1 million, topping Deadpool‘s worldwide opening of $264.7 million earlier this year, which opened in 63 international markets.
Budgeted at $175 million, the film’s theatrical longevity now comes into question as it holds a mere 26% rating on RottenTomatoes and could be looking at a steep, 65+% drop next weekend. Earlier this year, fellow DC Extended Universe release Batman v Superman: Dawn of Justice opened with a record-breaking $166 million only to end up dropping 69.1% in its second weekend and ultimately only delivering $330.3 million domestically, a 1.99 multiplier, the worst multiplier for a film opening over $100 million ever.
Suicide Squad did score a “B+” CinemaScore, which is slightly higher than Batman v Superman‘s “B”, but that’s hardly enough to make much of a difference. It’s current 7.1 rating on IMDb is, however, lower than the 7.5 Batman v Superman had at the same point in its release cycle as audiences seem to be having a similar reaction to the film as they did its DC predecessor. From an audience perspective, the audience was 54% male vs. 46% female with women rating the film an “A-” on the CinemaScore scale versus a “B+” from the men. Interestingly enough, IMDb‘s user voting currently shows a similar trend with females scoring the film 7.3 vs. males scoring it with a 6.9. Additionally, 54% of the audience was under the age of 25 and 76% of the audience was under the age of 35.
Of the film’s opening weekend haul, $11 million came from 382 IMAX screens, $13 million from Premium Large Format (PLF) screens and another $3.2 million from Extreme Digital (XD) theaters.
Looking ahead, in all likelihood it seems safe to expect a drop around 67% or more next weekend with a strong possibility Suicide Squad may finish with a multiplier right around 2.22, pushing hard for a $300 million domestic run, perhaps coming up a bit short.
Finishing in second place, and dropping 61.6% after taking the top spot at last weekend’s box office, Universal‘s Jason Bourne finished second with an estimated $22.7 million. While the latest installment in the Bourne franchise had a strong opening, including an “A-” CinemaScore, it was obviously affected by the release of Suicide Squad.
There just doesn’t seem to be enough room on the release schedule as Bourne may have been better off had it waited until the last weekend of August. In fact, had Bourne waited a few weeks to release it may have also helped Star Trek Beyond, which dropped another 59% this weekend after dropping 58% in its second weekend when it faced Bourne‘s debut. The final month of Summer 2016 has certainly had its share of strong openers and anticipated features, but by sharing a large portion of the audience they are cannibalizing each other.
One holdover from last weekend that wasn’t relying heavily on the male demographic was Bad Moms and it certainly helped the film its second weekend as it dropped only 40.4% for an estimated $14.2 million. The cume for the $20 million feature has now climbed to $51 million domestically.
The weekend’s other new wide release was EuropaCorp‘s Nine Lives, which featured Kevin Spacey as a talking cat. The family feature delivered an estimated $6.5 million from 2,264 theaters and may struggle next weekend as Pete’s Dragon is likely to steal the majority of any remaining audience next weekend. The film scored a “B+” CinemaScore and currently sports a dismal 4% rating on RottenTomatoes.
Elsewhere in the top ten, Warner Bros. and New Line‘s Lights Out has now crossed $54.7 million domestically and $85.7 million worldwide on a budget right around $5 million. Additionally, Illumination Entertainment and Universal Pictures‘ The Secret Life of Pets took in another $11.5 million for a fourth place finish domestically and added another $68.6 million internationally as the film’s global cume has now topped $500 million and stands at an impressive $502.2 million.
Speaking of animated films, while this past week saw the end of the domestic run for Disney‘s Zootopia with $341.3 million, the studio still has Finidng Dory in worldwide release and, with a global cume of $870 million, it is about to pass Batman v Superman and become the fourth highest grossing release of 2016 at the worldwide box office. With $473.8 million, Dory currently ranks as the eighth highest grossing domestic release of all-timeand will be passing Star Wars: Episode I – The Phantom Menace in the next couple of days for the seventh slot.
Next weekend sees the release of Disney‘s Pete’s Dragon in 3,400 theaters, Sony will release the R-rated animated feature Sausage Party into 2,800+ theaters and Paramount will release the Meryl Streep-led Florence Foster Jenkins into 1,500 theaters.
|The Secret Life of Pets||$11.6M||$319.6M||5|
|Star Trek Beyond||$10.2M||$127.9M||3|
|Ice Age: Collision Course||$4.3M||$53.5M||3|
‘Jason Bourne’ Opens Big with $60M, ‘Mom’ and ‘Nerve’ are Alright, while ‘Star Trek’ Dips at the BO!!
With the second largest opening for a film in the Bourne franchise, Jason Bourne topped the weekend box office as audiences came out in support of Matt Damon‘s return to the title role nine years after The Bourne Ultimatum. STX’s ensemble comedy Bad Moms delivered a third place finish and the fifth largest R-rated opening of the year while Lionsgate’s Nerve fell a bit below expectations, finishing in eighth place for the weekend, which was down a fraction from last weekend, but up nearly 27% compared to last year.
With an estimated $60 million, Jason Bourne delivered the second largest domestic opening in the Bourne franchise behind only The Bourne Ultimatum, which opened with $69.2 million back in 2007. Additionally, this debut is almost $22 million more than what The Bourne Legacy brought in back in 2012 when Universal attempted to keep the franchise alive with Jeremy Renner stepping in as the lead character. While the domestic opening may be down, the 13.4% drop compared to Ultimatum is just a fraction off the average 2016 sequel performance, which now has films opening 14.4% below their predecessors (excluding My Big Fat Greek Wedding 2).
Heading into the weekend we noted the average performance for a 2016 sequel was to open 14.5% below their predecessor (again, excluding My Big Fat Greek Wedding 2), which would have put Jason Bourne right around $59 million. Based on some rival estimates, that’s a number Bourne could still end up finishing with depending on Monday’s actuals.
Bourne scored an “A-” CinemaScore from opening day audiences, the same as Mission: Impossible – Rogue Nation earned over the same weekend last year before going on to open with $55.5 million. In those terms, the Bourne opening compares favorably to Rogue Nation, which went on to gross just over $195 million domestically. Where Bourne may run into trouble is when you compare the critical and audience responses for the two films beyond the opening day CinemaScore. Taking those matters into consideration, a likely result for Jason Bourne is to find it falling short of Rogue Nation, ending its run around $160+ million, or, if you again base it on the yearly averages for sequel performances, right around $155.5 million.
Internationally, Jason Bourne brought in additional $50.1 million from 46 overseas markets giving the film a $110.1 million worldwide debut. The film opened #1 in 27 of those territories including a $5.7 million opening in Australia as well as Taiwan ($2.1m), Spain ($1.8m), Indonesia ($1.6m), Philippines ($1.5m) and Netherlands ($1.4m), Next weekend, the film begins playing in Argentina, Egypt, India and Slovenia with an opening in China set for August 23 followed by Mexico on Aug. 26 and Russia on Sept. 1.
While the film’s performance is being touted as the largest international opening in the Bourne series, as noted on Thursday, previous Bourne films didn’t open nearly as wide overseas, taking as many as six weeks to reach 45+ territories, which makes for a hazy comparison to previous installments. Rogue Nation, however, did open in 40 territories last July and brought in $65 million in its debut, which should clear a bit of the fog.
Before moving on to the rest of the weekend’s new wide releases, squeaking into second place is last weekend’s box office champion, Star Trek Beyond, with an estimated $24 million. While this does push the third installment in the new Star Trek franchise over $105 million, it represents a nearly 60% second weekend drop, a significant decline when compared to the last two films, both of which saw their domestic cumes climb over $146 million by the end of their second weekends. Paramount has already announced a fourth Star Trek film is on the way, but it will be interesting to see if the budget climbs as high as the $185 million spent on Beyond or if they dial it back to make up for what appears to be a declining interest from the audience at large.
Getting back to the newcomers, STX’s Bad Moms brought in an estimated $23.4 million along with an “A” CinemaScore from opening day audiences. As was to be expected, the Bad Moms audience was predominantly female (82%) with 48% of the film’s overall audience coming in over the age of 34.
The Bad Moms opening is a bit below Mojo’s $25 million forecast and wasn’t quite able to break out as some were expecting as a $30 million weekend seemed possible early on. Looking ahead, it’s tough to say just what exactly this means for the film’s future as one obvious comparison is to 2011’s Bridesmaids, which delivered a 6.44 multiplier after opening with $26.2 million. On the other end of the spectrum you have Universal’s The Boss from earlier this year, which opened with $23.5 million and went on to gross $63 million, a 2.67 multiplier. While lightning would have to strike for Bad Moms to match the Bridesmaids performance, a run around $60-65 million seems entirely reasonable and a solid performance overall given the film’s $20 million production budget after tax credits.
The weekend’s final new wide release was Lionsgate’s Nerve, which dipped below expectations, bringing in an estimated $9 million over the three-day for a five-day total of $15 million after opening on Wednesday. Like Bad Moms this is below Mojo’s forecast of $12.5 million and even below Lionsgate’s expectations. As we said on Thursday evening, this is a tough film to comp given the Wednesday opening and genre, but from a performance perspective it’s playing somewhat similarly to 2015’s Entourage, which brought in $17.6 million after its first five days of release and went on to gross just over $32 million. Like Entourage, Nerve brought in an “A-” CinemaScore so look for something around $30 million to be the ceiling for this film’s domestic run.
Lionsgate’s weekend wasn’t done there, however, as they expanded Woody Allen‘s Cafe Society into 565 theaters (+515) where it brought in an estimated $2.25 million for a $3,982 per theater average. This is a much better performance than Allen’s last two films—Irrational Man and Magic in the Moonlight—saw in their expanded releases. The possibility for further expansion, however, has not yet been made clear.
In limited release, Open Road’s Gleason delivered an estimated $129,223 from nine theaters ($14,358 PTA) while IFC’s The Land and Starz Digital’s Miss Sharon Jones brought in an estimated $12,000 each. Sony Classics’ Equity opened with an estimated $80,729 from four theaters for a $20,182 per theater average and Roadside’s Indignation, which opened with an estimated $89,072 from four theaters for a $22,268 per theater average.
The weekend’s per theater champion, for the second weekend in a row, is The Film Arcade’s Don’t Think Twice, which brought in an estimated $261,523 from five theaters for a $30,084 per theater average.
Finally, The Legend of Tarzan and Now You See Me 2 both crossed $300 million worldwide this weekend becoming the sixteenth and seventeenth 2016 releases to do so.
Next weekend sees the release of Suicide Squad into over 4,150 theaters. It’s going to be the widest August release of all-time and is looking to become the first August release to open over $100 million. In fact, don’t be surprised if this one opens above Deadpool‘s $132.4 million and could very easily top $145 million. Also opening is Kevin Spacey‘s talking cat movie, Nine Lives, which is currently looking at a soft opening around $4-5 million.
|Star Trek Beyond||$24.8M||$106.5M||2|
|The Secret Life of Pets||$18.9M||$296.9M||4|
|Ice Age: Collision Course||$11.0M||$42.6M||2|
|The Legend of Tarzan||$2.5M||$121.9M||5|
‘Star Trek Beyond’ Debuts at #1, ‘Lights Out’ Opens Strong and ‘Ice Age 5’ Bombs At The BO!!
Topped by Star Trek Beyond, five films grossed over $20 million this weekend for the first time since May 24, 2015 and for only the sixth time ever*. In the five previous instances $45.6 million was the largest gross for the #1 film when Monsters University topped the weekend back on June 30, 2013, which separates this weekend from the rest thanks to the estimated $59.6 million Beyond delivered in its debut performance. Also opening this weekend, and topping the $20 million threshold, was the impressive performance from New Line and Warner’s Lights Out along with the rather disappointing opening for Ice Age: Collision Course. Overall, the top twelve grossed over $183 million, up 29.4% when compared to the same weekend last year.
The estimated $59.6 million opening for Star Trek Beyond is enough to take #1 for the weekend, but that’s a 15% drop compared to the $70.1 million opening for Star Trek Into Darkness, and that’s not including the $13.5 million it carried into the weekend after opening on a Thursday. Beyond has received strong reviews and opening day audiences gave it an “A-” CinemaScore, which is just off from the “A” both of the previous Trek installments received. The audience saw a demographic breakdown that was 57% male vs. 43% female and 73% of the audience was over the age of 25.
As for projecting an overall domestic performance, Star Trek Beyond is probably looking at a domestic haul around $180-190 million, a continued decline when compared to the $228.7 million Into Darkness delivered and $257.7 million 2009’s Trek took in domestically. However, given Beyond‘s $185 million budget, all eyes will now turn toward the film’s international performance.
In the end, Into Darkness came in below 2009’s Star Trek reboot domestically, but outperformed the 2009 film internationally by $110 million. By comparison, with an estimated $30 million international debut in 37 overseas markets, Beyond is playing 35% above Star Trek, but 14% below Into Darkness.
In the UK it opened at #2 with an estimated $6.1 million, which is 15% below Star Trek and 37% below Into Darkness. In Germany the film opened in first with $4.5 million, 31% above Star Trek and 29% below Into Darkness and in Russia it opened #1 with $3.3 million, a 240% improvement over Star Trek and 13% above Into Darkness. It opened with $3 million in Australia as well as with $1 million in Taiwan, $932,000 in Italy, $912,000 in Thailand and $766,000 in Philippines. Upcoming key releases include France and Korea on August 18, Spain (Aug 19), Brazil (Sep 1), China and Mexico on September 2 and Japan on October 21.
Taking second this weekend was Illumination and Universal’s The Secret Life of Pets with an estimated $29.3 million, a strong third weekend performance as the film has now grossed over $260 million domestically. The 42% drop for the animated feature, along with the estimated $7.2 million for Finding Dory, as it became the ninth highest grossing domestic release of all-time, all took a chunk out of the debut of Fox’s Ice Age: Collision Course, which could only muster a $21 million opening and a fifth place finish for the weekend. Until now, no Ice Age film had opened with less than $41 million and the $21 million debut for the latest feature is a 55% drop compared to the $46.6 million opening for Ice Age: Continental Drift in 2012.
Ice Age: Collision Course, however, is more of an international play than domestic as it has now grossed over $178 million overseas after opening in seven markets in early July. The film is now playing in 60 markets and still has 17 releases yet to come, including Italy (8/22) and China (8/23). It’s also of note the Ice Age franchise is now the biggest animated franchise globally, grossing over $3 billion at the worldwide box office.
Getting back to the domestic charts, topping the fifth Ice Age installment this weekend with a stellar debut performance is the James Wan-produced PG-13 thriller Lights Out, which brought in an estimated $21.6 million after scoring well with critics and earning a “B” CinemaScore from opening day audiences. The film’s demographic breakdown was almost in complete contrast to Star Trek Beyond with males making up 46% of the audience versus 54% female and 74% of the audience was under the age of 35. Depending on how it holds on, its domestic run should end up around $50-55 million.
Finishing in what is currently a tie for third place with Lights Out was Sony’s Ghostbusters reboot, which dropped 53% for an estimated $21.6 million. The drop is just a step above the 51.4% average when you compare to other films that had similar opening weekends and also scored a “B+” CinemaScore, but for director Paul Feig and star Melissa McCarthy this is a much larger drop than they are used to. The duo’s three previous films together saw an average 34.4% second weekend drop. Ghostbusters carries a $144 million budget and has grossed $86.8 million so far domestically and just over $120 million worldwide.
Also finishing in the top ten is Dinesh D’Souza‘s Hillary’s America: The Secret History of the Democratic Party, which expanded into 1,216 theaters this weekend and brought in an estimated $3.7 million. D’Souza’s films tend to hold on rather well after their initial nationwide expansion so it will be interesting to see how Hillary’s America performs next weekend now that it has taken advantage of its well-timed expansion following the Republican National Convention and as the Democratic Convention gets underway this week.
Finishing outside the top ten we find CineGalaxy’s release of Kabali, which entered the weekend with $1.9 million from Thursday alone and ended up adding an estimated $2.15 million from 236 theaters for a 13th place finish over the weekend. The film’s four-day cume stands at just over $4 million.
Just behind Kabali with an estimated $1.88 million from 313 theaters is Fox Searchlight’s debut of Absolutely Fabulous: The Movie. Directed by Mandie Fletcher, the film has now brought in over $20 million internationally after debuting in the UK on July 1 and will now expand into additional North American theaters next weekend, though just how many is yet to be decided.
Also opening in limited release was Well Go’s Train to Busan, which delivered an estimated $285,900 from 27 theaters for a $10,589 per theater average and Film Movement’s The Seventh Fire, which brought in $8,418 from one theater.
The limited release to discuss this weekend, however, is Mike Birbiglia‘s Don’t Think Twice, which grossed an impressive $90,126 from New York’s Landmark Sunshine theater alone. This gives the film the highest per screen average of 2016 and one of the highest exclusive opening weekend per screen averages of all-time. Birbiglia wrote, directed and stars in the film alongside Keegan-Michael Key, Gillian Jacobs, Kate Micucci, Tami Sagher and Chris Gethard. Don’t Think Twice expands to Los Angeles and Chicago on July 29 and nationwide in August.
Next weekend sees the release of Jason Bourne into more than 3,900 theaters, the R-rated comedy Bad Moms from STX will debut in approximately 3,000 theaters and Lionsgate will debut Nerve on Wednesday in approximately 2,600 theaters.
|Star Trek Beyond||$59.6M||$59.6M||1|
|The Secret Life of Pets||$29.3M||$260.7M||3|
|Ice Age: Collision Course||$21.0M||$21.0M||1|
|The Legend of Tarzan||$6.4M||$115.8M||4|
|Mike and Dave Need Wedding Dates||$4.4M||$40.4M||3|
|Hillary’s America: The Secret History of the Democratic Party||$3.7M||$3.8M||2|
‘Pets’ Holds On To Top Spot while ‘Ghostbusters’ Opens Well At The BO!!
For a fifth straight weekend in a row an animated film has taken the #1 spot at the box office as Illumination and Universal‘s The Secret Life of Pets followed up its record-breaking opening with a chart-topping sophomore session, pushing the launch of Sony‘s Ghostbusters reboot to second. Meanwhile, Finding Dory has now become the highest grossing animated release of all-time domestically as Warner Bros. adds two new films to 2016’s century club with The Legend of Tarzan and The Conjuring 2. The weekend was down 26% from last week and ~17% compared to last year, yet there is still plenty to highlight.
The Secret Life of Pets finished #1 for a second weekend in a row with an estimated $50.5 million (51.5% drop), bringing its domestic cume to an impressive $203.1 million after just ten days in release. This already places the animated hit higher than Disney‘s Tangled and just behind Pixar‘s Ratatouille on the all-time animated chart.
Finishing second was Sony’s Ghostbusters, which matched Mojo‘s weekend forecast with an estimated $46 million. This is the largest domestic opening for both director Paul Feig and Melissa McCarthy. Attention will now turn to the film’s future prospects, mostly due to how well Feig and McCarthy‘s films have performed beyond their opening weekend.
A look at Feig’s last three films—Spy, The Heat and Bridesmaids—we find them performing, on average, with a 4.778 multiple. Should Ghostbusters enjoy such a performance it would result in a domestic run right around $220 million.
Performing a similar evaluation of McCarthy‘s last six wide release comedies in which she plays the starring role we find, on average, a 4.136 multiplier. Should Ghostbusters perform similarly we’re looking at a $190 million domestic performance once all is said and done. Of course, with the larger opening weekend, Ghostbusters isn’t likely to deliver such high multiples, so, for the sake of comparison, here’s a look at the multipliers for McCarthy‘s last six wide release comedies in which she played a starring role and what kind of domestic run Ghostbusters would be looking at if it performed similarly to any of them:
- The Boss (2.674 multiplier) – $123 M
- Spy* (3.810 multiplier) – $175.3 M
- Tammy (3.917 multiplier) – $180.2 M
- The Heat* (4.080 multiplier) – $187.7 M
- Identity Thief (3.893 multiplier) – $179.1 M
- Bridesmaids* (6.443 multiplier) – $296.4 M
* Directed by Paul Feig
More realistically, we’re probably looking at a domestic run around $135-145 million. Ghostbusters carries a $144 million budget (net after tax incentives and rebates) and received an “A-” CinemaScore for the under 25 crowd, and an overall “B+”, on par with Bridesmaids and Spy and just behind The Heat‘s “A-“.
Internationally, Ghostbusters delivered $19.1 million from three major territories along with a few smaller markets. The opening included $6.1 million from the UK where the film opened on July 11 along with $3.7 million from Australia and $2.2 million in Brazil. Key upcoming releases include Russia and Italy on July 28, Germany (Aug 4), France (Aug 10), Mexico and Spain on August 12 and Japan on August 19.
The weekend’s other new wide release was Broad Green‘s The Infiltrator starring Bryan Cranston. The film opened on Wednesday and carried just under $1.5 million into the weekend where it grossed an estimated $5.28 million from 1,601 theaters, bringing its cume to $6.7 million. The performance resulted in an eighth place finish and the film scored a solid “A-” CinemaScore.
Moving back up the top ten, Warner Bros‘ The Legend of Tarzan continues to perform admirably, dropping 47% in its third weekend, resulting in an estimated $11.1 million as its domestic cume now climbs to just over $103 million. Warner Bros also saw The Conjuring 2 add another $860k to its domestic total as it became the 13th film released in 2016 to cross the century mark with an estimated $101.1 million.
As alluded to in the opening paragraph, Disney and Pixar‘s Finding Dory is now the highest grossing animated release of all-time domestically as it added an estimated $11 million to its domestic total, which now stands at $445.5 million. Here’s the top five animated films of all-time domestically (not adjusted for inflation):
- Finding Dory (2016) – $445.5 million
- Shrek 2 (2004) – $441.2 million
- The Lion King (1994) – $422.7 million
- Toy Story 3 (2010) – $415 million
- Frozen (2013) – $400.7 million
The weekend’s per theater champ is Lionsgate‘s limited release of Woody Allen‘s Cafe Society. The film starring Jesse Eisenberg and Kristen Stewart brought in an estimated $355,000 from five theaters in New York and Los Angeles for a $71,000 per theater average, the largest PTA of 2016 and the 52nd largest of all-time.
Also in limited release, Dinesh D’Souza‘s documentary Hillary’s America: The Secret History of the Democratic Party is looking at a weekend anywhere from $75,000-$82,500 from three theaters for a per theater average around $26,000. The film is timed to release as the Republican National Convention gets underway this week as it will expand nationwide next weekend into 1,200+ theaters. Also, GKIDs released Phantom Boy into one theater this weekend where it brought in an estimated $4,804.
Next weekend sees the release of Star Trek Beyond into 3,500 theaters, Warner Bros will deliver the PG-13 horror Lights Out and Fox will release the fifth film in the Ice Age franchise, Ice Age: Collision Course, into 3,800 theaters. On a smaller scale, Fox Searchlight will release Absolutely Fabulous: The Movie into 250 theaters.
|The Secret Life of Pets||$50.6M||$203.1M||2|
|The Legend of Tarzan||$11.1M||$103.1M||3|
|Mike and Dave Need Wedding Dates||$7.5M||$31.3M||2|
|The Purge: Election Year||$6.1M||$71.0M||3|
|Independence Day: Resurgence||$3.5M||$98.5M||4|
‘Pets’ Opens with Massive $103M, ‘Tarzan’ Holds Well, ‘Mike’ and ‘Sultan’ Open Strong At The BO!!!
Illumination and Universal‘s The Secret Life of Pets delivered a record opening for an original animated property as it led a strong, post-holiday weekend where the top twelve grossed an estimated $206 million, down only a fraction of a percentage compared to last year when Minions scorched the box office with a $115.7 million opening. The weekend’s other wide release, Fox‘s Mike and Dave Need Wedding Dates, also performed well as did Yash Raj‘s Bollywood release Sultan, which secured a top ten finish after opening on Wednesday and playing in a mere 283 theaters.
Heading into the weekend, the largest opening for an original, animated property was the $90.4 million Inside Out brought in last year followed by the $75 million opening for Zootopia just a few months ago. Thus, the $103.17 million opening for The Secret Life of Pets handily tops those openings while also becoming only the sixth animated film to ever open with more than $100 million.
Pets also delivered a solid “A-” CinemaScore as it premiered in 4,370 theaters, the widest opening ever for an animated film, earning the film a $23,609 per theater average. With Pets‘ performance it also becomes the sixth film in 2016 to open with more than $100 million, tying the record for the number of films that opened above the century mark, which was set just last year as 2016 is currently 2.9% ahead of 2015 year-to-date.
Internationally, Secret Life of Pets continued its slow roll out as it is only playing in nine territories so far with an international total of $42.6 million. The film will release in 57 more territories over the next three months, including Argentina, Chile and Colombia on July 21 followed by France on July 27, Germany (July 28), Mexico (July 29) and China on August 2.
Coming in second with a solid sophomore hold is WB‘s The Legend of Tarzan, dropping only 46% for an estimated $20.6 million. Considering it was coming off a holiday opening, expectation heading into the weekend was for a 50+% drop proving the film’s “A-” CinemaScore is no fluke as some good word of mouth appears to be spreading for the film. Unfortunately, the monster $180 million production budget still puts the film at a disadvantage from a financial perspective as attention turns toward its international prospects where it grossed $27 million this weekend from 47 markets, bringing its international total to $54 million and its global cume to $135.4 million so far. Openings in Italy (Jul 14), China (Jul 19), Brazil (Jul 21) and Spain (Jul 22) are on the horizon.
The second place finish for Tarzan means Disney and Pixar‘s Finding Dory will have to settle for third after three weeks atop the box office. The film, however, has something to celebrate as its $20.3 million weekend pushes its domestic cume to $422.5 million, making it the highest grossing domestic release of 2016 and the third highest grossing animated release of all-time, less than $19 million shy of topping Shrek 2 ($441.2m).
Internationally, Finding Dory climbed above $200 million as its overseas total now stands at $220.2 million for a global cume of $642.8 million. The film still has plenty of markets where it has yet to open including Mexico, Japan, UK, Italy, and Germany. Dory’s performance contributes to a massive year for Disney so far as the studio has now topped $5 billion worldwide and is nearing $2 billion domestically.
Meanwhile, the weekend’s other new wide release was Fox’s R-rated comedy Mike and Dave Need Wedding Dates, which was expected to open around $12 million or so, scored a solid $16.6 million, fourth place debut. The film played to an audience that was 48% male vs. 52% female and split right down the middle in age demographic, playing 50% under the age of 25. It scored a satisfactory “B” CinemaScore and should be looking at a domestic run somewhere around $35-42 million.
Finishing in sixth place for a second weekend in a row is the continuing, strong performance of the Dwayne Johnson and Kevin Hart action-comedy Central Intelligence. After topping $100 million domestically heading into the weekend, the film continues to show strong legs as it dropped only 35% this weekend for an estimated $8.1 million, bringing its domestic cume to $108.3 million. WB‘s The Conjuring 2 is also looking to become a $100+ million earner, but it looks as if it will have to wait until Monday as its estimated $1.7 million weekend brings its domestic total to $99.37 million.
Rounding out the top ten is a stellar opening for Yash Raj‘s Sultan starring Salman Khan. The film delivered a top ten finish from just 283 theaters, bringing in an estimated $2.2 million, the largest Bollywood opening of 2016 and already the top-grossing Bollywood film overall this year.
The weekend’s per theater crown, should estimates hold, won’t actually go to Secret Life of Pets, but to Bleecker Street‘s limited release of Captain Fantastic, which scored an estimated $98,451 from four theaters for a $24,613 per theater average. The film, which stars Viggo Mortensen, recently won the Golden Space Needle Award at the Seattle Film Festival and earned writer/director Matt Ross the Un Certain Regard – Best Director award at the Cannes Film Festival.
Other limited openings included Well Go‘s Cold War 2, which brought in $165,500 from 22 theaters; Sony Classics‘ Our Little Sister delivered $27,070 from three theaters and Music Box‘s Norman Lear: Just Another Version of You opened with an estimated $20,000 from two New York theaters.
Finally, Me Before You made a little noise this weekend as it added another $10.5 million to its international total which now stands at $103 million for a global cume of $157.8 million. Also, with a $3.8 million opening in the UK, Lionsgate‘s Now You See Me 2 added another $10.1 million this weekend, bringing its international cume to over $175 million and a global gross-to-date of $238.3 million with an opening in South Korea set for this coming Wednesday.
Next weekend sees the release of Sony‘s remake of Ghostbusters directed by Paul Feig and starring Melissa McCarthy, Kristen Wiig, Leslie Jones and Kate McKinnon. The film has been something of a lightning rod for online conversation ever since it was first announced and as it makes its way to opening in over 3,700 theaters next weekend its performance will be one to watch. Also opening is Broad Green‘s The Infiltrator, which begins its release on Wednesday, and Lionsgate will release Woody Allen‘s Cafe Society into five theaters.
|The Secret Life of Pets||$103.2M||$103.2M||1|
|The Legend of Tarzan||$20.6M||$81.4M||2|
|Mike and Dave Need Wedding Dates||$16.6M||$16.6M||1|
|The Purge: Election Year||$11.7M||$58.1M||2|
|Independence Day: Resurgence||$7.7M||$91.5M||3|
Dory Still Dominates as Tarzan and Purge 3 Open Well while The BFG Bombs at the BO!!
Another weekend in release and another weekend on top of the box office for Pixar‘s Finding Dory. However, while the forgetful little fish enjoys its third weekend in the number one spot, it had stiffer competition than expected from one of the weekend’s newcomers. Finishing strong in second position was WB‘s The Legend of Tarzan while Universal‘s The Purge: Election Year also over-performed, tripling its budget in its first three days of release. Meanwhile, Disney‘s The BFG couldn’t find much of an audience as it finished in fourth position. Nevertheless, the top twelve films for this 27th weekend of the year saw a 41% uptick compared to last year as films are taking advantage of the Fourth of July, holiday weekend.
Finding Dory brought in an estimated $41.9 million for the three-day weekend and is tracking toward a four day around $51 million. As of now the film’s domestic cume stands at just over $372 million and should top $380 million by the end of Monday, most likely topping its predecessor, Finding Nemo, as the fifth highest grossing animated release of all-time. Internationally, Dory added an estimated $34.4 million this weekend bringing its global cume to just over $538 million.
Next we come to Legend of Tarzan, which finished in second position with an estimated $38.1 million three-day opening, decimating Mojo‘s weekend forecast and much higher than industry expectations. As of now the film is looking at a four-day around $43+ million, nearly $20 million more than Mojo‘s projections. Given the film’s $180 million budget, however, it’s going to need some help over the coming weeks, and internationally, to justify such a massive spend. That said, working in the film’s favor is an “A-“ CinemaScore with moviegoers under the age of 18 scoring it an A+. The audience breakdown was 49% male vs 51% female and 55% over the age of 35.
Looking ahead and comparing to other July releases opening in the same range, Tarzan‘s opening is just a shade above the $37.2 million opening for Pacific Rim three years ago and just a bit below the $40.3 million opening for The Last Airbender. Pacific Rim went on to gross just over $101 million while Airbender totaled over $131 million. Given the audience score and opening it would stand to reason Tarzan could pop a bit higher than both films, but could it possibly reach $150 million domestically?
Internationally, Tarzan delivered an estimated $18.8 million from 19 markets for a $56.9 million global opening. It brought in $4 million in Korea and in Russia it finished #1 with an estimated $3 million. Next weekend it expands further into the UK, France (Jul 6), Australia (Jul 7) and Mexico (Jul 8).
Coming in third is Universal‘s The Purge: Election Year with a very strong $30.8 million three-day, heading toward a four-day weekend that could top $35 million. The three-day performance is just a hair over the $29.8 million brought in by The Purge: Anarchy two years ago as the franchise is showing zero signs of decay now that it has three films under its belt. Given the $10 million production budget and the fact Election Year scored the highest CinemaScore of all three Purge films it almost goes without saying a fourth film is likely in the works.
Finishing in fourth position is the weekend’s final new wide release, Steven Spielberg‘s The BFG, which brought in an estimated $19.58 million over the three-day and is expected to finish right around $23-24 million for the four-day weekend. Directed by Spielberg and budgeted at $140 million this is a rather disappointing result. The film did, however, receive a “A-” CinemaScore from opening day audiences. The audience breakdown was 54% female vs 46% male with the age of the audience rather evenly spread out—12 & Under (27%), 13-16 (10%), 17-25 (13%), 26-34 (22%), 35-49 (18%) and 50+ (9%).
As for July comparisons that opened in a similar range, Disney‘s The Sorcerer’s Apprentice opened with $17.6 million back in 2010 and went on to gross $63 million while Sony‘s Zookeeper open with $20 million in 2011 and went on to gross just over $80 million. Spielberg‘s The Terminal opened with $19 million back in 2004 and went on to gross $77.8 million and Bridge of Spies opened with $15.3 million last year and grossed $72.3 million.
Internationally, The BFG opened in Russia and Australia this weekend where it brought in an estimated $3.9 million. Next weekend the film will open in New Zealand and Thailand followed by Brazil in late July, Korea and Mexico in August and Japan in September.
Elsewhere in the top ten, Independence Day: Resurgence dropped nearly 60% in its second weekend, bringing in an estimated $16.5 million and is expected to finish the four-day weekend around $20 million. Sony‘s The Shallows dropped 46.4% in its second weekend, bringing in an estimated $9 million and STX‘s Free State of Jones dropped 45.4% and brought in an estimated $4.1 million over the three-day.
Finishing just outside the top ten, A24‘s Swiss Army Man expanded into 636 theaters (+633) this weekend and brought in an estimated $1.4 million ($2,276 per theater).
As for the weekend’s limited releases, freshman titles begin with Roadside‘s Our Kind of Traitor, which was the widest of the lot, opening in 373 theaters and bringing in an estimated $1 million ($2,685 PTA). Music Box released The Innocents into three theaters where it brought in a strong, $31,500 for a $10,500 PTA and The Orchard‘s Life, Animated brought in an estimated $26,547 from three theaters for a $8,849 per theater average.
Next weekend sees the release of Illumination‘s The Secret Life of Pets, arriving in over 4,100 theaters, along with the R-rated comedy Mike and Dave Need Wedding Dates starring Zac Efron, Anna Kendrick, Adam DeVine and Aubrey Plaza. Pets opened in two territories internationally last weekend and added four more this weekend as its international cume currently stands at $29.6 million. The film will hit theaters in 60 more territories over the next three months and, along with domestic theaters next weekend, it will also be opening in India.
|The Legend of Tarzan||$38.1M||$38.1M||1|
|The Purge: Election Year||$30.9M||$30.9M||1|
|Independence Day: Resurgence||$16.5M||$72.7M||2|
|Free State of Jones||$4.1M||$15.2M||2|
|The Conjuring 2||$3.9M||$95.3M||4|
|Now You See Me 2||$3.0M||$58.7M||4|
‘Finding Dory’ Tops ‘Independence Day’ And Other Releases At The BO!!
Twenty six weeks into 2016 and Disney‘s year continues to impress as the studio has the #1 film at the weekend box office for the twelfth time. Finding Dory topped the weekend chart with one of the ten best second weekends of all-time as the animated feature has now grossed over $286 million domestically and nearly $400 million worldwide. As for the weekend’s new wide releases, the results weren’t quite as pretty as three out of the four struggled in a competitive marketplace. Independence Day: Resurgence was unable to match the opening weekend of its 20-year-old predecessor, Free State of Jones didn’t capture the attention of its target audience and The Neon Demon wasn’t able to come close to expectations. The only bright spot among the weekend’s new wide releases was the “terror in the water” thriller The Shallows, which scored well with audiences and critics, all on a meager budget.
Taking the number one spot for a second weekend in a row is Disney‘s Finding Dory with an estimated $73.2 million, only a 45.8% drop from the film’s record breaking opening weekend. This also marks the largest second weekend for an animated film and the eighth largest second weekend of all-time, ahead of the $72.6 million brought in by Captain America: Civil War earlier this year.
Dory is now up to $286.5 million domestically, already making it the 13th highest grossing animated release of all-time after just ten days in release.
Taking second was Fox’s Independence Day: Resurgence, which carries a reported budget of $165 million and opened with an estimated $41.6 million. Coupled with negative reviews and a so-so “B” CinemaScore this one may have a tough time doing anything more than $100-110 million domestically. Demographically, Resurgence played to an audience that was 58% male vs 42% female, with 64% over the age of 25.
Similar to Universal‘s Warcraft, another $160+ million production that has struggled domestically, Resurgence will now be looking to international territories to sop up some of the red ink on the balance sheets. That said, the film did get off to a strong start this weekend, pulling in an estimated $101.4 million from 57 international markets for a $143 million global opening. China led the way with $37.3 million from 6,047 screens followed by Korea ($7.4m), UK ($7.3m), Mexico ($6.8m), Taiwan ($3.7m) and India ($3.5m).
The one film among this weekend’s new releases that managed to impress was Sony‘s shark thriller The Shallows. Taking advantage of heavy buzz on social media and scoring the best reviews of the weekend’s new releases, the Blake Lively starrer finished fourth with an estimated $16.7 million this weekend, nearly matching the film’s reported $17 million budget. The audience breakdown was 46% male vs 54% female, with 50% under the age of 25. With opening day audiences awarding the film a “B+” CinemaScore, it could push toward a $42-45 million domestic run if not more.
Then we move to STX‘s Free State of Jones, a historical epic starring Matthew McConaughey carrying a reported budget of $50 million. The studio was looking for an opening in the low teens, but all the film was able to muster was an estimated $7.7 million from 2,815 theaters. For McConaughey this is the worst wide release opening he’s seen since 2006’s We Are Marshall, which opened with $6.1 million, but is a bit of a tough comparison given its Christmas weekend opening.
Next weekend will be a big test for Free State as the holiday weekend could aid its overall longevity. The film’s audience was evenly split 50% male vs. female with 67% of opening weekend moviegoers over the age of 35. How it performs next weekend could prove the difference between an overall run that ends around $25-30 million or something that could potentially climb over $35 million. A summer release date is something of an anomaly for a film of this nature so we’ll be keeping a close eye on its overall performance.
The last of the weekend’s new wide releases is another disappointment as Broad Green‘s The Neon Demon was expected by some to open around $2-3 million from 783 theaters. Unfortunately, the Nicolas Winding Refn-directed feature was hardly able to top a half-million, pulling in an estimated $606,594. There’s no other way to interpret these numbers than to say they are disappointing and move on.
Elsewhere, X-Men: Apocalypse topped $150 million domestically this weekend, making it the seventh highest grossing film in the X-Men franchise as it still lags behind the 2000 original. Also, Warcraft is now over $410 million worldwide and Lionsgate‘s Now You See Me 2 is now over $100 million internationally for a global cume of $159.7 million, though it still has a long way if it wants to match the original’s $351.7 million worldwide haul.
A24‘s Swiss Army Man, which opened in three theaters this weekend and stars Paul Dano, Daniel Radcliffe and Mary Elizabeth Winstead, was the weekend’s per theater champion, bringing in $114,000 for a $38,000 PTA.
Other limited openings this weekend include The Orchard‘s Hunt for the Wilderpeople which brought in $85,336 from five theaters ($17,067 PTA) and Well Go‘s release of Johnnie To‘s Three in 18 theaters where it grossed $65,500 ($3,639 PTA).
Also, IFC released Todd Solondz‘s Wiener-Dog into two theaters where it brought in $27,020 ($13,510 PTA); Sony Classics‘ Eat that Question brought in $18,002 from two theaters ($9,001 PTA); and Cohen Media‘s Les Cowboys opened in four theaters with $14,283 ($3,571 PTA).
Next weekend Disney will be looking for another pot of gold at the end of the rainbow when they release Steven Spielberg‘s The BFG into over 3,200 theaters. The widest new release next weekend will be Warner Bros‘ The Legend of Tarzan, opening in over 3,450 theaters, and Universal will deliver The Purge: Election Year into 2,700 theaters.
|Independence Day: Resurgence||$41.6M||$41.6M||1|
|Free State of Jones||$7.8M||$7.8M||1|
|The Conjuring 2||$7.7M||$86.9M||3|
|Now You See Me 2||$5.7M||$52.1M||3|
|Teenage Mutant Ninja Turtles: Out of the Shadows||$2.4M||$77.1M||4|
|Alice Through the Looking Glass||$2.1M||$74.6M||5|
‘Finding Dory’ Breaks Animated Records With $136 Million Opening At The Box Office!!
Disney finds itself atop the weekend box office for the eleventh time this year, this time it’s the Pixar brand coming up big with Finding Dory. The release is another 2016 animated hit for the studio on the heels of Zootopia, as Dory broke its share of box office records this weekend including the largest opening weekend for an animated feature. It was also a good weekend for the week’s other new wide release, the action-comedy Central Intelligence starring Dwayne Johnson and Kevin Hart, which could be looking at a $100+ million domestic run after its opening weekend. Meanwhile, last weekend’s new releases didn’t exactly deliver the goods in their sophomore sessions.
Scoring a number one finish for the weekend and a record opening for an animated feature, Disney and Pixar‘s Finding Dory brought in an estimated $136.2 million this weekend from 4,305 theaters for a $31,634 per theater average. It’s an opening comparable to the 90+% bumps both sequels in the Toy Story franchise saw over their predecessors with Dory‘s opening weekend serving as a 93.8% bump over Finding Nemo‘s $70.2 million opening back in 2003.
Dory also scored an “A” CinemaScore and played to an audience that was 45% male vs. 55% female. The age breakdown saw 65% of the audience being made up by families and 32% of the overall audience made up of children 12 and under.
On the record front, on top of the animated opening weekend record, Dory broke the record for the largest single day and opening day for an animated film with its opening day totaling an estimated $54.9 million. Included in that opening day total is $9.2 million in Thursday previews, also a record for an animated feature. Of course, it’s a bit of a conflict to call both items “records” when you consider Dory wouldn’t hold the single day record over Shrek the Third‘s $47 million if you don’t include the additional $9.2 million. Also going down was the record for the largest per theater average for a wide opening animated release, topping Shrek the Third’s $29,507 average after it opened to a then record of $121.6 million from 4,122 theaters.
Dory also opened in 29 international territories this weekend scoring an estimated $50 million for a global opening gross of $186.2 million. Its international roll-out includes the largest Pixar opening ever in China ($17.5M) and the biggest Disney/Pixar opening weekend ever in Australia ($7.6M). The release, so far, makes up 32% of the international marketplace with openings in France and Spain taking place next weekend along with the rest of Europe in the coming weeks.
Finishing in second, the Warner Bros. release of Central Intelligence starring Dwayne Johnson and Kevin Hart scored an estimated $34.5 million for the three-day weekend, a solid start for the comedy. In terms of demographics, the audience was pretty much split down the middle, 49% male vs. 51% female, and it received a solid, “A-” CinemaScore from opening day audiences. The CinemaScore is an improvement over the “B” Get Hard received, while opening with $33.8 million and finishing its domestic run just over $90 million. The score is closer to the “A” received by the first Ride Along, which managed a 3+ multiplier suggesting Central Intelligence could be looking at a domestic run over $100 million.
Looking at the sophomore session for last weekend’s new openers isn’t quite as pretty as this weekend’s new releases. The Conjuring 2 dipped 61.5% after its #1 finish, bringing in an estimated $15.5 million. That’s a much larger drop than The Conjuring (46.9%) and even Annabelle (57.3%).
Now You See Me 2 fell 56.9% for an estimated $9.6 million, much steeper than the first film’s 35% drop, but nothing on the board really compares to Warcraft‘s second weekend.
After a rather dismal opening weekend for the video game adaptation, Warcraft fell 73% on its second weekend, bringing in just $6.5 million, drawing a close comparison to 2005’s Doom, which fell 72.7% after an equally disappointing opening. Warcraft’s drop is the third largest second weekend drop for a film playing in over 3,000 theaters behind 2009’s Friday the 13th (80.4%) and Fifty Shades of Grey (73.9%). The big difference here, however, is Warcraft only opened with $24.1 million while those two other films opened with $40.5 million and $85.1 million respectively, giving them both much further to fall.
Warcraft did, however, bring in another $41.2 million internationally this weekend as its global cume now climbs to $377.6 million, more than $200 million of which comes from China.
Elsewhere in the top ten, Captain America: Civil War finally topped $400 million domestically this weekend, making it the 23rd film to cross that mark and the fourth film in the Marvel Cinematic Universe.
Finally, in limited release, Dimension‘s Clown could only muster $27,000 from 100 theaters for a measly $270 per theater average. Wonder Vision‘s Seoul Searching brought in $6,779 from one theater and Tugg‘s Range 15 brought in $1,044 from one theater after opening on Wednesday. We’re still waiting on official weekend totals for Gaatri Media‘s release of Gentleman, but rival studio reports peg the film’s opening around $500,000 from 126 theaters.
Looking forward, next weekend will be one to watch as Finding Dory rolls into its second weekend and could easily take the #1 spot once again. Should the film drop similarly to Toy Story 3, which dipped 46.2% in its second weekend after a $110.3 million opening, we’re looking at a $70+ million second weekend. The big title opening next weekend, however, like Dory, is a sequel and it’s a sequel to a massive hit that could hold a measure of nostalgia for a healthy portion of the audience.
Independence Day: Resurgence is set to open in more than 3,900 theaters next weekend, but as much as the original Independence Day from 1996 may hold a measure of nostalgia, it isn’t on par with something such as the Jurassic Park franchise. Prior to the release of Jurassic World last year, the franchise had years of sequels and merchandising to keep the franchise fresh not only in the minds of those that saw the original, but audiences that may not have even been alive to see the original. A forecast for Resurgence is a tough one to make as an argument could be made for an opening anywhere from $45-90 million, but that obviously opens the possibility for a second weekend atop the box office for Pixar and Dory.
Also opening next weekend is the Matthew McConaughey-led historical action drama Free State of Jones, the Blake Lively shark thriller The Shallows and Broad Green’s release of Nicolas Winding Refn‘s The Neon Demon, which is expected to open in over 1,000 theaters.
|The Conjuring 2||$15.6M||$71.7M||2|
|Now You See Me 2||$9.7M||$41.4M||2|
|Teenage Mutant Ninja Turtles: Out of the Shadows||$5.2M||$71.9M||3|
|Me Before You||$4.2M||$46.4M||3|
|Alice Through the Looking Glass||$3.6M||$69.3M||4|
|Captain America: Civil War||$2.3M||$401.3M||7|
‘The Conjuring 2’ Scares Up #1 Finish Domestically; ‘Warcraft’ Goes Big At The International Box Office!!
The Conjuring 2 led the weekend at the domestic box office followed by fellow newcomers Warcraft and Now You See Me 2. At a time where sequels are under a microscope, as several have recently underperformed compared to their original releases, The Conjuring 2 nearly matched the first film’s opening weekend gross while pulling in more than $90 million in its worldwide opening. Meanwhile, Warcraft put new meaning to global release as the big budget feature was unable to capture the attention of North American moviegoers on a large scale, but more than made up for it in China.
Finishing #1 with an estimated $40.35 million, the weekend box office was led by The Conjuring 2, as it nearly matched the $41.8 million its predecessor opened with back in July 2013. As already alluded to, sequels have had a hard time in 2016 keeping up with their predecessors, making The Conjuring 2‘s performance all the more significant. Add to that, it more than doubled its $40 million production budget with over $90 million worldwide in its opening weekend as director James Wan continues to deliver what audiences want.
Wan‘s feature film debut was Saw back in 2004 and he has since delivered the Insidious and Conjuring franchises as well as directed the global blockbuster Furious 7. Following this weekend’s success of Conjuring 2, he now turns his attention toward Aquaman for Warner Bros. as his films have now grossed over $750 million domestically and more than $2.3 billion worldwide.
Looking into the future, The Conjuring 2 also scored well with opening day audiences, matching the “A-” CinemaScore put up by the original before it went on to gross over $130 million domestically and over $300 million worldwide.
Finishing second at the domestic box office was Universal‘s Warcraft, which outperformed Mojo‘s forecast, but underperformed based on what is expected from a film carrying a $160 million production budget. With an estimated $24.35 million weekend, the video game adaptation only managed $7,164 per theater and saw a 27.1% drop from its $10.7 million opening day (which included $3.1 million from Thursday previews) to Saturday. The flip-side to its domestic performance, however, is the more than $285 million it has already grossed worldwide, including the estimated $156 million haul it brought in from China after only five days of release. With that performance, Warcraft topped Furious 7 to become the fastest imported film to reach the RMB1 billion mark (114 hours) in China by a reported six hours.
With China currently on track to surpass North America as the world’s largest movie market by the end of 2017, Warcraft serves as the most recent example of just how important it is for studios to think globally when it comes to their high-priced blockbusters. In fact, just last year Paramount’s Terminator: Genisys brought into only $89.7 million domestically before bringing in over $113 million from China alone. Additionally, this past February, China saw its monthly gross top a record $1 billion, far more than the $798.9 million earned at the domestic box office during the same period of time.
The weekend’s third new wide release was Lionsgate and Summit‘s Now You See Me 2, which finished in third position with an estimated $23 million. The budget for the sequel is reported to be $15-25 million above the $75 million spent on the original, which opened three years ago with $29.3 million before finishing with over $117 million domestically and over $350 million worldwide. From a global perspective, Now You See Me 2 debuted in Australia last weekend and expanded to 30 international markets this weekend, bringing in an estimated $20.1 million as its global cume currently stands at $45.8 million.
In fourth position is last weekend’s #1 film, Teenage Mutant Ninja Turtles: Out of the Shadows, which dipped 58.1% in its second weekend for an estimated $14.8 million this weekend as its cume climbs to just over $61 million. Rounding out the top five is X-Men: Apocalypse, which has now amassed $136.3 million domestically, enough to climb ahead of The Wolverine and become the eight highest grossing X-Men release of all-time… out of nine.
Behind the chart-topping $12,070 per theater average (PTA) for The Conjuring 2, A24’s aptly named Brian De Palma documentary, De Palma, opened this weekend with an estimated $30,856 from three theaters for a $10,285 PTA. De Palma was followed closely by The Orchard‘s release of The Music of Strangers, which brought in $30,083, also from three theaters, for a $10.028 PTA.
In all, this weekend’s top twelve saw a 13.8% improvement compared to last weekend, though it was a dramatic step backward compared to last year when Jurassic World opened with a record-breaking $208.8 million. By this time next weekend, however, we should be talking about at least one significant performance.
Next weekend sees the release of Disney and Pixar‘s Finding Dory, which is expected to generate an opening weekend over $100 million, continuing Disney‘s 2016 box office dominance. Also opening next weekend is the action comedy Central Intelligence starring Dwayne Johnson and Kevin Hart, which could generate a significant amount of revenue on its own.
|The Conjuring 2||$40.4M||$40.4M||1|
|Now You See Me 2||$23.0M||$23.0M||1|
|Teenage Mutant Ninja Turtles: Out of the Shadows||$14.8M||$61.0M||2|
|Me Before You||$9.2M||$36.8M||2|
|Alice Through the Looking Glass||$5.5M||$62.4M||3|
|Captain America: Civil War||$4.3M||$396.9M||6|
|The Jungle Book||$2.7M||$352.6M||9|
‘Warcraft’ Invades International Box Office, Sets Records in China!!
While poor reviews have some analysts convinced that Duncan Jones’ Warcraft adaptation will fail to rise above $30 million in its opening weekend here at home, the fantasy video game film is invading international box offices with gusto. In fact, the film is already setting records in one of the world’s biggest markets: China, where an estimated 10 million “World of Warcraft” fans are expected to turn out to see this big-screen spectacle.
Warcraft might not win the opening frame in the States this weekend, since New Line’s The Conjuring 2 and Lionsgate’s Now You See Me 2 opening, along with a second frame for Paramount’s Teenage Mutant Ninja Turtles: Out of the Shadows, but perhaps a round of sequelitis will hit movie-going audiences, making them more eager to seek out the big, bold fantasy epic. That’s certainly the hope, but with China clearing the way for a big box office performance, the domestic performance might not be the end all, be all.
As THR reports, Warcraft already nabbed over $20 million worth of advance tickets by Monday night, beating Avengers: Age of Ultron and nearing Furious 7’s numbers. Interestingly enough, the movie’s Tuesday midnight screenings took in $8.4 million, which topped Furious 7’s all-time midnight record. And let’s keep in mind that China is just one of 37 more territories that Warcraft will be invading this weekend.
Other international territory box office performances include $17.3 million from Russia, Germany contributing $10 million to go along with France’s $7.8 million, and Universal’s U.K. titling of Warcraft: The Beginning, which won the week and brought in an additional $5.5 million, rising above the Turtles sequel, but just barely. International totals place the box office take around $70 million, without China. Overall estimates there could see Warcraft bringing in $120 to 150 million. That should replenish a healthy bit of that $160 million budget.
Ninja Turtles 2 Opens Mildly At The Top, While Me Before You Performs Well At The BO!!
The first weekend in June 2016 played out mostly as expected, with Teenage Mutant Ninja Turtles: Out of the Shadows taking the #1 spot followed by last weekend’s first place finisher, X-Men: Apocalypse. Warner‘s Me Before You, however, did manage to break out well above expectations while Universal‘s Popstar: Never Stop Never Stopping may have received great reviews, but couldn’t find much of an audience. Overall, the weekend was a wash compared to last year with estimates for the top twelve coming in just $56,118 higher than last year’s actuals, but there are still some highlights to discuss despite something of a slow start to a sequel driven June.
Paramount‘s Ninja Turtles 2 brought in an estimated $35.25 million, which, as discussed in our weekend preview, puts the film pretty much right on the average for so many of today’s sequels based on the original film’s performance. In the case of Ninja Turtles, this is a 46% drop from the 2014 film’s $65.5 million opening. Considering the $135 million budget for Turtles 2 is $10 million more than was spent on the original, that’s not exactly what the studio was hoping for when they flipped the green light.
The sequel is now looking to bring in $90 million or so domestically, which is around $100 million less than the original. Of course, box office grosses are just half the story with a film like this as ancillary merchandise is a big revenue driver for a film of this sort. From a demographics perspective, the film did score an “A-” CinemaScore and audience members under the age of 18 made up 40% of the audience and scored the film with an “A”. In all, 52% of the audience was under 25 and 54% male vs. 48% female.
In addition to its domestic total, Ninja Turtles 2 also opened in 40 international markets and earned an estimated $34 million. The UK delivered the highest returns with an estimated $5.3 million followed by Russia ($4.8m), Mexico ($4.5m), Indonesia ($2.3m) and Malaysia ($2.2m). The movie will continue to expand throughout the month and will release in China on July 2 where the first film brought in over $62 million.
X-Men: Apocalypse finished in second with an estimated $22.3 million, a 66% drop from its opening weekend, much steeper than expected and is now likely to find the film finishing somewhere in the range of $160-165 million domestically. For some perspective, that’s just over where the first X-Men film finished back in 2000, is right around where X-Men: Days of Future Past was after just ten days in release, where Deadpool was at after just five days and less than Batman v Superman: Dawn of Justice made in its opening weekend.
Internationally, however, X-Men: Apocalypse is delivering. The film brought in an estimated $84.4 million this weekend, which includes an estimated $59 million in China, the second largest Fox opening in China behind only the Titanic re-release and $20 million more than Days of Future Past opened with. The film’s international total is now up to $286 million, bringing its global cume to just over $400 million, currently placing it within the top ten for 2016. Should this trend continue, Apocalypse would end somewhere around $650 million globally, which is about $100 million less than Days of Future Past.
Getting back to the domestic chart, Me Before You finished in third with an exceptional opening, bringing in an estimated $18.27 million domestically from 2,704 theaters plus another $7.7 million internationally from 16 overseas markets. An “A” CinemaScore is also going to work in the film’s favor, pushing it toward what could be a $45-50 million domestic gross on a $20 million budget.
Finishing fourth was last weekend’s other new “big” release, that being Disney‘s Alice Through the Looking Glass, which already suffered a disastrous opening weekend and didn’t fair much better this weekend, dropping 60% for an estimated $10.69 million. The film did add an additional $42 million internationally this weekend, resulting in a global cume of just over $176 million. From a domestic perspective, it’s beginning to look as if the sequel may have a hard time matching the $85 million 2010’s Alice in Wonderland made in its first two days.
Outside the top five we find the weekend’s third new wide release, Universal‘s Popstar: Never Stop Never Stopping from The Lonely Island trio. The film made an impression on critics, scoring a 78% rating on RottenTomatoes, but it wasn’t enough to get audiences out to see it. The film scored a meager $4.63 million this weekend from 2,311 theaters. It did manage to reach its core audience of young males, making up 60% of overall ticket sales, but that same audience had far too much to choose from this weekend and the R-rating almost certainly contributed to the lower box office in this case.
In other news, Disney‘s Zootopia has finally crossed the $1 billion mark worldwide, becoming only the fourth animated film to reach that milestone. It’s also the second film of the year to hit that mark behind Disney‘s Captain America: Civil War and the 26th film to have ever done so. Looking into the near future, will Finding Dory become the fifth animated film to cross $1 billion and the third of the year for Disney?
Also, Deadpool opened in Japan this weekend and brought in an estimated $6.48 million, the largest opening for an X-Men movie in the market as the film’s cume now stands at an estimated $409 million. If you’re wondering, X-Men: Apocalypse doesn’t open in Japan until August 11.
Next weekend the box office will be hoping for a bump from a pair of sequels in The Conjuring 2 and Now You See Me 2 along with Universal‘s Warcraft, which has now been in release for two weeks internationally and brought in $70 million so far from 28 territories. The big question is to wonder if all of these sequels and big budget features will simply cannibalize one another or if one of them will be able to break out of the pack.
Of the lot, The Conjuring 2 is looking like a strong contender for a big performance as we haven’t had a horror film released in this many theaters, targeting this wide an audience, since The Boy back in late January and even it topped out at 2,671 theaters. The first Conjuring opened with rave reviews (the sequel is already following suit), an “A-” CinemaScore and $41.85 million. Bucking the recent trend, should expect the sequel, which is opening in 3,100+ theaters, to go even higher?
|Teenage Mutant Ninja Turtles: Out of the Shadows||$35.3M||$35.3M||1|
|Me Before You||$18.3M||$18.3M||1|
|Alice Through the Looking Glass||$10.7M||$50.8M||2|
|Captain America: Civil War||$7.6M||$388.9M||5|
|Neighbors 2: Sorority Rising||$4.7M||$48.6M||3|
|Popstar: Never Stop Never Stopping||$4.6M||$4.6M||1|
|The Jungle Book||$4.2M||$347.5M||8|
|The Nice Guys||$3.5M||$29.1M||3|
Warcraft Is Doing Better Than Expected At The Overseas Box Office!!
Though American audiences have to wait until June 10 to see the first movie based on the global sensation that is Warcraft, key international markets were able to start screening the blockbuster over our Memorial Day weekend, leading to a healthy head start for Universal’s possible tentpole, and a shot in the arm for director Duncan Jones.
Numbers will continue to filter in as Monday ticks along, but with the weekend concluding, BoxOfficeMojo reports that Duncan Jones’ Warcraft has earned an impressive $31.6 million. The video game adaptation is testing the waters in 20 international markets, and according to Deadline, it was trending at No. 1 in 19 of those regions, with Russia and Germany being particularly productive for Warcraft. Russia, as of this printing, had contributed $4.9M to the Warcraft war chest, while Germany had kicked in $3.5M.
Warcraft loosely translates the story from the ongoing Warcraft video game series, as well as the novels that are set in the world of Azeroth. In this narrative, the orc Gul’dan (Daniel Wu) opens a portal between his dying world, and the human world of Azeroth. Faced with the possibility of extinction, the humans, led by Sir Anduin Lothar (Travis Fimmel), must decide whether to assist the orcs – and figure out how the portal operates – while risking losing everything in a sustained war.
Warcraft is just the latest Hollywood blockbuster to begin earning back some of its budget with an overseas push. Disney has employed this game plan with both its Marvel and its Star Wars properties, while major franchises from Star Trek to Transformers regularly open in foreign markets before U.S. audiences are able to get a ticket to a screening. Piracy becomes a concern. Once a movie is open overseas, it become easier for a version to get ripped on the Web. But there’s no doubt that strong international box office and powerful word of mouth can help a blockbuster as it spreads into the overcrowded U.S. theatrical marketplace.
Duncan Jones’ movie will need the help. The reviews have not been kind to the movie early on, with Rotten Tomatoes collecting a 19% Fresh grade for the film (with 21 reviews filed). Still, it’s understandable that Warcraft has a built in global audience, as the role-playing video has been around – in various forms – since 1994. It has taken a long time for Warcraft to reach the big screen, and I’m sure there are curious gamers who will be checking out the movie to see if it was worth the wait.
‘X-Men: Apocalypse’ Tops with $65 Million; ‘Alice Through the Looking Glass’ Bombs at the BO!!
Three-day Memorial Day weekend results are in and while the numbers at the top are soft compared to franchise predecessors, the weekend was an overall improvement compared to 2015 when Memorial Day took place one week earlier. X-Men:Apocalypse led the weekend charge, matching the studio’s expectations, followed by Disney‘s Alice Through the Looking Glass, which fell well short of what the studio was hoping for. That said, Disney‘s coffers aren’t exactly barren as the studio is expected to pass $4 billion at the global box office by the end of the day as three of its films currently rank as the highest grossing worldwide releases of 2016.
Beginning with the weekend #1, X-Men: Apocalypse brought in an estimated $65 million three-day and is looking at anything from $77-80 million for the four-day holiday. The result is pretty much what the studio was anticipating heading into the weekend, but still has to be looked at as something of a disappointment. The four-day total is approximately $30 million less than 2014’s X-Men: Days of Future Past with a three-day that ranks sixth when compared to the rest of the films in the X-Men franchise.
Looking ahead, outside of X-Men Origins: Wolverine, Apocalypse received the worst RottenTomatoes scorecompared to any film in the X-Men franchise. However, opening day audiences seemed to like it well enough, scoring it with an “A-” CinemaScore, which is just below Days of Future Past‘s “A” and ahead of the “B+” for X-Men: First Class. In fact, First Class is a solid comparison domestically as it opened with $55.1 million back in 2011 and went on to gross $145.4 million domestically and just over $200 million internationally.
Speaking of international results Apocalypse is already encroaching on First Class‘ overseas total as the film brought in another $55.3 million this weekend from 79 markets, bringing its international cume to $185.8 million. The film added four territories this weekend, most notably South Korea where it finished #1 in the market with an estimated $12 million. The film retained its #1 position from last weekend in Brazil where it dropped only 17% as well as in the UK and Australia. Apocalypse arrives in China, where First Class was not even released and Days of Future Past brought in $116 million, on June 3 and won’t be released in Japan until August 11.
Securing a second place finish is Disney‘s Alice Through the Looking Glass, which brought in an estimated $28.1 million for the three day and is expected to post a $35+ million four-day total. Reviews for the film were brutal and the four-day performance is approximately $25 million less than tracking suggested and $17 million less than Mojo‘s weekend predictions.
In attempting to figure just how much of a miss Looking Glass is for the studio, it would have been unreasonable to expect a repeat performance of 2010’s Alice in Wonderland as it landed in the sweet spot of 3D and visual effects. This becomes even more evident once you consider 59% of the opening weekend audience saw Looking Glass in 2D despite more than 82% of the film’s 3,763 opening weekend theaters premiered the film in 3D.
That said, the best comparison for Alice isn’t exactly a flattering one as last year’s $190 million disappointment Tomorrowland comes to the forefront. Tomorrowland brought in $42.6 million over the four-day Memorial Day weekend before going on to finish with $93.4 million domestically. Alice should finish with $90-100 million domestically if not a bit more, but given the $170 million budget, and the success Disney has seen with its live-action fairy tale features as of late, this isn’t the result the studio was hoping for.
Internationally, Alice brought in an estimated $65 million as it opened day and date across 72% of the international market. The top performing market was China where the film brought in an estimated $27.1 million followed by Mexico ($5.0m), Russia ($4.6m), Brazil ($4.1m), UK ($3.2m), Germany ($2.5m), Australia ($2.4m), Italy ($2.2m), Spain ($1.6m) and Argentina ($1.6M). It still has yet to open in France (June 1), Japan (July 1) and Korea (Sept. 8).
In its second weekend, Sony‘s The Angry Birds Movie dropped 51% for an estimated $18.7 million three-day with the studio expecting a Monday bump and a four-day total to rise to $24.5 million. Angry Birds also brought in $31.8 million internationally this weekend as its international cume now sits at $157.2 million with a global gross-to-date of $223.5 million.
Disney‘s Captain America: Civil War took fourth position with an estimated $15.1 million three-day and an anticipated $19.4 million four-day weekend. Universal‘s Neighbors 2: Sorority Rising rounded out the top five though it dropped a steep 58.2% for an estimated $9.1 million three-day and an anticipated $11.19 millionfour-day.
One bright spot in this weekend’s top ten is Amazon and Roadside‘s Love & Friendship, which expanded into 493 theaters (+446) and brought in an estimated $2.49 million. The film will continue to expand next weekend as it continues to take advantage of strong word of mouth and a 99% rating on RottenTomatoes.
Rounding out the top ten is Disney‘s fourth film in release and fourth film in the top ten, that being Zootopia, which crossed $335 million domestically this weekend and has now made over $990 million globally to become the 26th highest grossing worldwide release of all-time.
As a brief aside, some may have also noticed Zootopia passed The Lion King at the worldwide box office. Elsewhere in the international marketplace, Universal released Warcraft in twenty territories this past weekend where it finished #1 in 19 of them with an estimated $31.6 million. Russia delivered the largest result where the film brought in an estimated $10 million followed by Germany ($5.9m) and Sweden ($1.2m) along with number one openings in Austria, Denmark, Egypt, Hungary, Iceland, Indonesia, Latvia, Lebanon, Middle East, Norway, Pakistan, Slovenia, Switzerland, Thailand and United Arab Emirates. Next weekend, it opens in Belgium, Brazil, Italy, Netherlands, Serbia and Montenegro, Spain and the U.K. and Ireland. The film doesn’t hit US theaters until June 10.
As far as next weekend’s domestic releases are concerned, the widest new release will be Paramount‘s Teenage Mutant Ninja Turtles: Out of the Shadows arriving in 3,800+ theaters followed by Warner‘s romantic drama Me Before You in 2,500+ theaters and Universal‘s Popstar: Never Stop Never Stopping in 2,200 theaters.
via Box Office Mojo
|Alice Through the Looking Glass||$28.1M||$28.1M||1|
|The Angry Birds Movie||$18.7M||$66.4M||2|
|Captain America: Civil War||$15.1M||$372.6M||4|
|Neighbors 2: Sorority Rising||$9.1M||$38.3M||2|
|The Jungle Book||$7.0M||$338.5M||7|
|The Nice Guys||$6.4M||$21.7M||2|
|Love & Friendship||$2.5M||$3.5M||3|
Angry Birds Opens Big, Captain America Still Strong, Neighbors 2 Solid at the Box Office!!
“The Angry Birds Movie” has flown to victory at the U.S. box office with a $39 million opening weekend at 3,932 locations, handily topping “Captain America: Civil War” and “Neighbors 2: Sorority Rising.”
The launch for Sony’s animated avian tale performed in line with forecasts as did the third weekend of Disney-Marvel’s “Captain America” with $33.1 million at 4,266 sites for a 54% decline. Universal’s “Neighbors 2” finished in third with a solid $21.8 million at 3,384 screens — although the sequel was off 55% from the 2014 launch of the original “Neighbors.”
Warner Bros.’ opening of action-comedy “The Nice Guys” reeled in a moderate $11.3 million at 2,865 screens, or about half the “Neighbors 2” number as both battled for the attention of comedy fans.
“Angry Birds,” based on Rovio’s popular video game app, generated an A+ CinemaScore among the core under 25 audience. Josh Greenstein, Sony’s president of worldwide marketing and distribution, pointed to a strong international performance with a $94 million weekend worldwide with 47 first-place finishes.
“Rovio and Sony Imageworks were able to translate video game characters into a globally branded film, which was a major challenge,” he added.
The massive marketing campaign featured tie-ins with more than 100 partners. Greenstein noted that “Angry Birds” should be able to hold well in coming weeks, with no other major competition in the family market until Disney opens “Finding Dory” on June 17.
The film, directed by Fergal Reilly and Clay Kaytis, is set on an island populated entirely by happy, flightless birds – except for Red (voiced by Jason Sudeikis), speedy Chuck (Josh Gad) and Bomb (Danny McBride). Its worldwide total has hit $150 million with a launch last weekend in most foreign markets.
“Captain America” held impressively from its second weekend, which saw the eighth-highest of all time at $72.6 million. Should the $33.1 million estimate hold, “Captain America” will wind up tied with 2012’s “The Hunger Games” as the 17th highest-grosser in its third weekend.
“Captain America” crossed the $1 billion mark on Friday to become the 25th film to hit the milestone. It’s finishing the weekend with $1.05 billion and now stands in 19th place; its domestic total has reached $347.4 million in 17 days, good enough for 35th on the all-time list.
“Neighbors 2,” which saw Seth Rogen, Rose Byrne and Zac Efron return, wound up with a B Cinemascore and played well to younger audiences with 61% of attendees under 25 and 51% female. Domestic distribution chief Nick Carpou said the new storyline — centering on a renegade sorority led by Chloe Moretz’ party-obsessed character — resonated among attendees.
“Seth and Zac are big draws and the movie is very funny so we’ll do well in the coming weeks,” he added.
“The Nice Guys,” starring Ryan Gosling as a bumbling detective and Russell Crowe as an enforcer in 1977 Los Angeles, generated a B- Cinemascore with its strongest traction among those under 18 and over 35 as the $11.3 million launch matched muted expectations. On the positive side, the film has strong critical support with a 90% Rotten Tomatoes rating and Warner Bros.’ exposure is limited since it acquired the film as a pick-up for domestic distribution.
Disney’s seventh weekend of its surprise blockbuster “The Jungle Book” finished a close fifth with $11 million at 3,460 sites, down only 36%, for a U.S. total of $327.5 million. It should top “Batman v Superman: Dawn of Justice” at $328.4 million this week as the 44th highest domestic grosser of all time.
So far this year, five films have topped $300 million, led by Fox’s “Deadpool” at $362 million, followed by “Captain America” at $347 million, Disney’s “Zootopia” at $334 million, “Batman v Superman” and “The Jungle Book.” As a result, the total box office is up 5.8% compared to the same point last year — even though the current weekend was down 25% from the year-ago frame, when “Pitch Perfect 2” opened with $69 million and “Mad Max: Fury Road”grossed $45 million.
Year-to-date is $4.24 billion, including the current overall weekend of $136.5 million. Paul Dergarabedian, senior media analyst with ComScore, said next weekend will be strong.
“The upcoming Memorial Weekend will boast two solid wide release newcomers with ‘X-Men: Apocalypse’ and ‘Alice Through the Looking Glass’ each expected to perform well and in combination with the abundance of widely different content should be a big draw over the extended period that last year saw the debut of Tomorrowland”, he noted.
In limited release, Sony Classics is bringing Maggie’s Plan to five theaters while expanding the release of The Meddler to 464 theaters. The latter of those two films offers audiences a double dose of Rose Byrne this weekend along with her return as Kelly Radner in Neighbors 2. As a matter of fact, by next weekend you will be able to do a Rose Byrne triple feature as X-Men: Apocalypse will be arriving in over 4,000 theaters.
Elsewhere, Fox Searchlight is adding over 100 theaters to A Bigger Splash’s rollout is it will be in 128 North American theaters as of this Friday while A24 expands the release of The Lobster to 24 theaters and Roadside adds 43 theaters to the release of Love & Friendship.
|Captain America: Civil War||$33.1M||$347.4M||3|
|Neighbors 2: Sorority Rising||$21.8M||$21.8M||1|
|The Nice Guys||$11.3M||$11.3M||1|
|The Jungle Book||$11.0M||$327.5M||6|
|The Huntsman: Winter’s War||$1.2M||$46.7M||5|
‘Captain America’ Holds Top Spot as Money Monster and The Darkness open low at the BO!!
Disney secured the top two spots at the box office for a second straight weekend as Captain America: Civil War and The Jungle Book had repeat performances at #1 and #2 respectively. The weekend’s new wide releases, Money Monster and The Darkness, both performed above expectations and, in limited release, A24‘s The Lobster scored the best specialty opening of the year.
Repeating at number one, Disney and Marvel’s Captain America: Civil War brought in an estimated $72.5 million, enough to make it one of the top ten second weekend results of all-time. The 59% drop is on par with last year’s Avengers: Age of Ultron and if it continues on this trajectory it will be looking at a domestic cume at or around $430 million. As of now, the domestic total is just shy of $300 million.
Internationally the film continues the push toward becoming the year’s first $1 billion earner worldwide as it brought in $84.2 million, bringing the international cume to $645 million and the global total to $940.89 million. The film’s performance also pushes the cumulative, worldwide total for the thirteen films that currently make up the Marvel Cinematic Universe to over $10 billion with Civil War ranking fourth on the worldwide list (seventh domestically) among all films in the MCU.
Finishing second, Disney‘s The Jungle Book brought in an estimated $17.7 million, pushing the film’s cume over $310 million. This is the second Disney release in 2016 to top $300 million domestically after Zootopia and they’ll soon be joined by Civil War.
The Jungle Book also continues to find success internationally as it brought in another $15.2 million overseas bringing its international cume to $516.3 million and its global total to $828 million. Disney now holds three of the top five spots on both the worldwide and domestic charts for 2016. Of those three, The Jungle Book is the only one that has not yet opened in all international markets as it still has yet to be released in Korea and Japan.
The first newcomer on the chart is TriStar‘s Money Monster, which opened in third with an estimated $15 million. Expectations heading into the weekend were muted, especially for a film headlined by George Clooney and Julia Roberts, and, while the film technically over-performed, star power such as this used to be a much bigger draw.
As for the film’s trajectory, looking at the filmography for the two actors, should Money Monster perform similar to Clooney’s Monuments Men it would end up with a domestic run around $50 million. However, a run in a range closer to Roberts‘ Larry Crowne or Duplicity, seems more likely. Both opened around $13 million with Duplicity having slightly longer legs and, by comparison to Money Monster, offer a range of $35-45 million for the film’s domestic run.
Finishing in fourth was BH Tilt‘s The Darkness, which brought in an estimated $5.18 million, just a hair over the studio’s expectation. The micro-budgeted feature opened in 1,755 theaters and took advantage of targeted digital marketing to bring in the core demographic. The move appears to have worked, though how it holds on next weekend will tell us a bit more about these targeted releases.
The Darkness scored a “C” CinemaScore from opening day audiences and holds a 0% rating at RottenTomatoes. Last year BH Tilt scored a good opening for Eli Roth‘s The Green Inferno, but it wasn’t able to hold on to much of its audience as it quickly plummeted 62.7% in its second weekend. Will The Darkness suffer a similar fate?
Rounding out the weekend top five is Mother’s Day, which skyrocketed last weekend thanks to its holiday timing, but fell off a cliff this weekend. Nosediving over 70%, the film brought in an estimated $3.25 million this weekend.
The weekend’s top “per theater” performer was A24‘s release of The Lobster, which brought in an estimated $188,095 from four theaters for a solid, $47,024 per theater average, the best we’ve seen this year when it comes to specialty releases. The film will expand further next weekend before going wide on May 27.
Performing well just behind The Lobster was Roadside‘s release of the Amazon Studios feature Love & Friendship, which brought in an estimated $132,750 from four theaters for a $33,188 per theater average.
Next weekend sees the release of Neighbors 2: Sorority Rising, which has already brought in $19.7 million after two weeks in international release, along with The Angry Birds Movie and The Nice Guys. Meanwhile, overseas markets will begin watching X-Men: Apocalypse as the film is hitting international markets (except for China and Japan) one week before it arrives in theaters domestically.
via Box Office Mojo
|Captain America: Civil War||$72.6M||$295.9M||2|
|The Jungle Book||$17.8M||$311.8M||5|
|The Huntsman: Winter’s War||$2.6M||$44.5M||4|
|Barbershop: The Next Cut||$1.7M||$51.4M||5|
‘Captain America: Civil War’ Blasts Off to $181.8 Million Weekend at the BO!!
“Captain America: Civil War” is making U.S. box office history, blasting to the fifth-best opening weekend ever with an estimated $181.8 million.
Marvel-Disney’s tentpole launched the summer moviegoing season on Friday with a spectacular $75.3 million at 4,226 locations — the eighth-highest opening day of all time. That figure includes $25 million from Thursday night preview showings.
“Captain America: Civil War” should finish the weekend in elite company behind only four other films: “Star Wars: The Force Awakens” at $248 million, “Jurassic World” at $208.8 million, “Marvel’s The Avengers” at $207.4 million and “Avengers: Age of Ultron” at $191.3 million.
Projections on Saturday showed the third “Captain America” will replace “Iron Man 3,” which opened with $174.1 million on the same weekend in 2013, as the fifth-highest launch at the U.S. box office. Its per-location average is about $42,000 for the weekend.
The $75 opening day total for “Civil War” trails only seven titles, led by “The Force Awakens” at $119.1 million, “Harry Potter and the Deathly Hallows — Part 2” at $91.1 million, “Ultron” at $84.4 million, “Jurassic World” at $82 million, “Batman v Superman: Dawn of Justice” at $81.6 million, “Marvel’s the Avengers” at $80.8 million and “The Dark Knight Rises” at $75.8 million.
“Captain America: Civil War,” the 13th film in the Marvel Universe, has already shown plenty of power outside the U.S. with $291.2 million as of Thursday after nine days. That number should jump this weekend, thanks in part to the opening in China.
Disney’s marketing hooks for the movie include a duel between Chris Evans’ Captain America and Robert Downey Jr.’s Iron Man, plus the introduction of Chadwick Boseman’s Black Panther and Tom Holland’s Spider-Man. The “Captain America: Winter Soldier” directorial team of Joe and Anthony Russo helmed the sequel.
Online ticketing service Fandango reported on Wednesday that “Civil War” had generated a record in advance sales for a superhero title, surpassing “Batman v Superman: Dawn of Justice,” “Avengers: Age of Ultron” and “The Avengers.”
No other title is opening this weekend, but Disney’s “The Jungle Book” is dominating the holdovers with an estimated $23 million at 4,144 U.S. locations, dropping 47% after winning the previous three frames handily. The adventure-comedy should close the weekend with about $286 million in its first 24 days in the U.S.
Open Road’s second weekend of ensemble comedy “Mother’s Day” leads the rest of the pack with about $6.5 million at 3,141 sites, down 23%.
|Captain America: Civil War||$181.8M||$181.8M||1|
|The Jungle Book||$21.9M||$285.0M||4|
|The Huntsman: Winter’s War||$3.6M||$40.4M||3|
|Barbershop: The Next Cut||$2.7M||$48.8M||4|
|Ratchet & Clank||$1.5M||$7.1M||2|
|Batman v Superman: Dawn of Justice||$1.0M||$327.3M||7|
‘Keanu’ leads newcomers as ‘Mothers Day’ Flops While ‘Captain America: Civil War’ Explodes in Overseas Opening at the Box Office!!
It’s another weekend on top for Disney‘s The Jungle Book as the live-action family feature dropped only 31% and made $20 million more than all three newcomers combined. As for said new releases, the kidnapped cat comedy Keanu led the pack over Mother’s Day and Ratchet & Clank, though not a single one of them topped $10 million. Meanwhile, Captain America: Civil War led the charge overseas, bringing in a top 15, all-time international opening, though falling just shy of Avengers: Age of Ultron‘s number from last year.
In the #1 position for a third straight weekend, The Jungle Book brought in an estimated $42.4 million as the film’s domestic cume climbs to $252 million, well on its way to becoming 2016’s fourth $300+ million domestic grosser. Internationally it added another $57.1 million this weekend as its global cume now stands at $684.7 million, moving it into the all-time top 100.
In a battle for second with The Huntsman: Winter’s War, the weekend’s top newcomer was Keanu with an estimated $9.35 million from 2,658 locations. Heading into the weekend this was a tough one to nail down as a wide range of scenarios could have played out. As it just so happens, it fell to the leaner side of expectations. Budgeted at $15 million, the film from comedic duo “Key & Peele” played to an audience that was 53% male vs 47% female and opening day audiences gave it a “B” CinemaScore.
Finishing in fourth, Open Road‘s Mother’s Day managed a mere $8.3 million. For director Garry Marshall this was his third holiday themed release featuring an ensemble cast in a row and it was by far the worst performer. After Valentine’s Day opened with $56.2 million back in February 2010 Marshall returned the following year with New Year’s Eve, but it only brought in $13 million as the formula already seemed to have lost its appeal. Mother’s Day, however, did earn a “B” CinemaScore, which suggests opening day audiences at least liked it a little more than critics as it currently holds an 8% rating at RottenTomatoes.
The last of the weekend’s new wide releases was Gramercy‘s Ratchet & Clank, an all-too-appropriate name for the video game adaptation as it could only muster $4.8 million from 2,891 theaters for a per theater average of $1,668.
Elsewhere, A24 expanded the release of Green Room into 470 theaters where the horror/thriller brought in $960,000 for a lackluster $2,042 per theater average. The Weinstein Co‘s Sing Street added 79 theaters and brought in an estimated $330,000 ($3,173 PTA) and Sony Classics added 20 theaters to their release of The Meddler which brought in an estimated $174,369 ($7,265 PTA).
Topping the per theater averages this weekend was Starz Media‘s The Family Fang, which opened in one theater and brought in an estimated $15,285. Depending on how actuals shape out it may end up a close race for the per theater crown, however, as IFC‘s The Man Who Knew Infinity played at six locations and brought in an estimated $88,134 for a $14,689 PTA.
As was alluded to in the opening, Disney and Marvel‘s Captain America: Civil War got off to an excellent start overseas with an estimated $200.2 million international opening. That’s enough to place 14th on the all-time chart, a mere one million dollars behind Avengers: Age of Ultron’s $201.2 million from last year, which means we’ll have to wait for actuals to see how it ends up.
As for highlights, Civil War was the #1 movie in all territories in which it opened this weekend except Japan, where it looks as if it will finish behind Detective Conan: The Darkest Nightmare and Zootopia (now just $69m shy of $1 billion worldwide). In the Philippines it delivered the #1 industry all-time opening weekend, beating the previous record held by Avengers: Age of Ultron. It also saw #1 industry openings in Brazil (beating Batman v Superman‘s record) and Mexico (beating Ultron) and in Germany saw the biggest four-day opening for 2016.
Korea led all territories with a $28.9 million opening followed by Mexico ($20.6m), UK ($20.5m), Brazil ($12.3m), Australia ($10.9m), France ($10.1m), Germany ($8.1m), Taiwan ($8.1m), Philippines ($7.5m), Japan ($7.1m), Hong Kong ($6.8m), Thailand ($6.0m), Malaysia ($5.1m) and Spain ($4.4m).
Civil War will kick off the summer movie season domestically next weekend in 4,000+ theaters as well as continue its international roll-out in Italy (May 4), Russia (May 5), Argentina (May 5) and China (May 6), as well as Croatia, Czech Republic, Greece, Hungary, Lebanon, Slovakia, Slovenia, Ukraine, Poland, Turkey, New Zealand, India, Trinidad and Uruguay. Domestically the debate will be as to whether it will bring in over, or under, $200 million. We’ll talk more about that next Thursday.
via Box Office
|The Jungle Book||$42.4M||$252.1M||3|
|The Huntsman: Winter’s War||$9.4M||$34.0M||2|
|Barbershop: The Next Cut||$6.1M||$44.7M||3|
|Ratchet & Clank||$4.8M||$4.8M||1|
|Batman v Superman: Dawn of Justice||$3.8M||$325.1M||6|
The Jungle Book continues domination while The Huntsman tumbles at the BO!!
The Jungle Book remained in first place in its second weekend by a large margin over the weekend runner up as it tripled the opening weekend for Universal‘s The Huntsman: Winter’s War. Meanwhile, Pantelion‘s Compadres finished among the weekend top ten while Roadside‘s release of A Hologram for the King finds itself in a battle for tenth position.
With an estimated $60.8 million, Disney‘s The Jungle Book dropped only 41.1%, the fourth smallest second weekend drop for a film that opened over $100 million as its domestic cume now climbs to over $191 million. Internationally the film took in an additional $96 million this weekend as its global take is now over $528 million, fifth largest for the year so far.
In second place, Universal‘s prequel The Huntsman: Winter’s War struggled out of the gate. With an estimated $20 million it brought in only 36% of the opening weekend total of its 2012 predecessor Snow White and the Huntsman. From an audience standpoint, Winter’s War played 61% female vs. 39% male and 47% of the overall audience was over the age of 30. Comparatively, Snow White and the Huntsman played much more evenly across gender lines as 53% of its audience was female. From here it’s likely to struggle to reach an overall domestic cume around $55-60 million on a reported budget of $115 million.
Overseas, the film began playing internationally two weeks ago and entered the weekend having already banked $48.1 million from 27 territories. Winter’s War expanded into an additional 37 territories this weekend and grossed an estimated $32.1 million as its worldwide total currently sits at $100.2 million.
The best holdover in the top ten belongs to Disney‘s Zootopia, which went from its worst weekend-to-weekend hold last week (43.2%) to its best this weekend. Dropping only 18.8% the animated hit brought in an estimated $6.6 million as its domestic cume now sits at $316.4 million. Internationally it added another $10.8 million as its worldwide total is now over $907 million, positioned in 37th place all-time just behind Shrek 2 ($919.8m).
Speaking of best weekend holdovers, Batman v Superman: Dawn of Justice enjoyed its smallest drop yet, dipping only 38.9% in its fifth weekend, bringing in an estimated $5.5 million. Internationally the film added another $8.3 million as its global cume is now over $850 million.
Moving further down the chart we come to two of the weekend’s new moderate releases beginning with Lionsgate and Pantelion‘s Compadres, which brought in an estimated $1.35 million from 368 theaters. Just behind it, and in a battle for tenth position with Eye in the Sky, was Roadside‘s A Hologram for the King starring Tom Hanks, which finished the three-day with an estimated $1.2 million from 401 locations.
These were just two of the weekend’s moderate releases as Bleecker Street also released Amazon Studios‘ Elvis & Nixon into 381 theaters were it brought in $456,793. Additionally, Sony Classics expanded Don Cheadle‘s Miles Ahead from 47 theaters last weekend into 527 theaters this weekend where it brought in an estimated $686,655.
When it comes to per theater averages, The Jungle Book was this weekend’s champ, hauling in over $15,000 per theater. A24‘s Green Room served as runner-up, bringing in an estimated $215,000 from 30 theaters for a $7,167 per theater average.
In limited release Sony Classics‘ The Meddler starring Susan Sarandon, Rose Byrne and J.K. Simmons brought in $15,067 from four theaters. Additionally, IFC’s Tale of Tales brought in $9,000 from two theaters; Josh Fox‘s How to Let Go of the World and Love All Things Climate Can’t Change earned an estimated $6,750 from one theater; and Drafthouse released Men & Chicken into two theaters where it brought in an estimated $2,565.
The biggest dipper of the weekend was STX‘s Hardcore Henry, which comes as no surprise as the film was yanked from 2,496 theaters resulting in a 78.8% third weekend drop. The theater drop was actually the second largest, third weekend theater drop of all-time behind only Meet Dave.
Next weekend is our final weekend before the summer movie season kicks off with Captain America: Civil War on May 6, and three new films will be leading the charge. Warner Bros. will release the kidnapped cat comedy Keanu into 2,600+ theaters while Open Road and Focus will release Mother’s Day and Ratchet & Clank respectively, playing approximately 2,800 theaters each.
via Box Office Mojo
|The Jungle Book||$60.8M||$191.5M||2|
|The Huntsman: Winter’s War||$20.1M||$20.1M||1|
|Barbershop: The Next Cut||$10.8M||$36.0M||2|
|Batman v Superman: Dawn of Justice||$5.5M||$319.5M||5|
|My Big Fat Greek Wedding 2||$2.1M||$55.4M||5|
|Eye in the Sky||$1.2M||$15.0M||7|
‘Jungle Book’ roars with Massive $103 Million opening at the BO!!
Disney‘s The Jungle Book delivers the third $100+ million opener of 2016, two more than 2015 had at this point in the year and Captain America: Civil War is just around the corner. The weekend’s two other new wide releases saw WB and MGM‘s Barbershop: The Next Cut finish second while Lionsgate‘s Criminal settled for a sixth place finish. Altogether, the weekend top twelve finished up 50.2% compared to last year and up 76.6% from last weekend.
With an estimated $103.5 million opening, The Jungle Book will be the talk of the town for the next couple weeks. It’s an opening number that exceeds all expectations despite the pre-release buzz. Heading into the weekend the film had an impressive 95% rating at RottenTomatoes, a rating that was reflected in audience opinion as opening day moviegoers rewarded it with an “A” CinemaScore. The result is the second largest April opening weekend of all-time behind only last year’s Furious 7. Estimates say 43% of the film’s domestic opening came from 3D equipped theaters and 10% of the domestic weekend came from 376 IMAX screens.
Internationally the film expanded into a total of 49 international territories from which it brought in $136.1 million, bringing the family feature’s global tally to a whopping $290.9 million. Of those territories the leader is China with an estimated $50.3 million weekend. International cumes for other territories include India with $20.1 million followed by Russia ($14.2m), UK ($13.7m), Australia ($7.9m), France ($7.7m), Mexico ($7.6m), Germany ($5.6m), Argentina ($4.8m), Malaysia ($4.0m), Spain ($3.9m), Brazil ($3.1m) and Italy ($3.1m). Next weekend sees openings in the Czech Republic, Greece, Hungary and New Zealand while it won’t open in Korea until June and Japan won’t be getting it until August.
The Jungle Book‘s opening weekend is shy only of Alice in Wonderland‘s $116.1 million opening back in 2010 when compared to Disney‘s recent fantasy adaptations and should be well on its way to a $300+ million domestic run.
Coming in a distant second, Barbershop: The Next Cut brought in an estimated $20.2 million this weekend to go along with an “A-” CinemaScore. The film played 46% male vs 54% female with 66% of the audience coming in over the age of 25. The result is below what the studio was expecting and well below Mojo‘s forecast, which, in hindsight, may have been a bit too aggressive for a sequel arriving eleven years after the Beauty Shop spin-off and twelve years after Barbershop 2, the latter of which opened with $24.2 million.
That said, the film was only carrying a budget in the low $20 millions and that “A-” CinemaScore along with an impressive 92% rating at RottenTomatoes should help with the film’s legs over the coming weeks.
Just outside the top five we find the week’s final new wide release, Lionsgate‘s Criminal, which wasn’t able to make much of an impact, falling short of the lowest of expectations with an estimated $5.85 million. Opening day audiences gave the film a “B-” CinemaScore, which means this one won’t likely be hanging around the top ten for too long.
Elsewhere in the top ten, Melissa McCarthy‘s The Boss followed up its number one finish last weekend with $10.1 million, a 56.9% drop. McCarthy‘s films are typically immune to poor reviews and CinemaScore ratings, but it seems The Boss is an exception. The 19% rating at RottenTomatoes and “C-” CinemaScore resulted in the largest second weekend drop for a McCarthy-led feature as she’d never seen a film drop more than 46.3% (Spy) in its sophomore session.
Below The Boss in fourth position is Batman v Superman: Dawn of Justice with an estimated $9 million as it dropped 61.4% in its fourth weekend in release. The film’s domestic cume is now up to $311.3 million to go along with an international total of $516 million for a current global take of over $825 million.
Rounding out the top five, Disney‘s Zootopia has become only the tenth animated film to ever gross over $300 million at the domestic box office. With an estimated $8.2 million this weekend the animated hit’s domestic cume now sits at $307.4 million with a worldwide cume now over $880 million, placing it atop the 2016 chart.
Outside the top ten it wasn’t a particularly successful second weekend for Fox Searchlight’s Demolition or STX‘s Hardcore Henry, which dropped 72.1% and 71% respectively.
In limited release A24‘s Green Room was the weekend’s per theater champion, bringing in an estimated $91,000 from 3 theaters for a $30,333 PTA. The Weinstein‘s Sing Street brought in an estimated $68,979 from five theaters and China Lion‘s New York, New York brought in an estimated $43,000 from 16 theaters.
In other news, Deadpool crossed $360 million and My Big Fat Greek Wedding 2 has passed $50 million.
Next weekend is currently looking like a bloodbath for Universal‘s The Huntsman: Winter’s War, which is looking more and more like a victim of timing. The sequel to 2012’s Snow White and the Huntsman boasts an impressive cast and will open in over 3,700 theaters, but will have to contend with The Jungle Book‘s second weekend and poor early reviews.
Also next weekend, Bleecker Street will be releasing Elvis & Nixon, though Mojo hasn’t yet received an estimated theater count, and Lionsgate will bring Compadres to 350 theaters.
via Box Office Mojo
|The Jungle Book||$103.6M||$103.6M||1|
|Barbershop: The Next Cut||$20.2M||$20.2M||1|
|Batman v Superman: Dawn of Justice||$9.0M||$311.3M||4|
|My Big Fat Greek Wedding 2||$3.3M||$52.1M||4|
|Miracles from Heaven||$1.9M||$56.9M||5|
|God’s Not Dead 2||$1.7M||$16.9M||3|
|Eye in the Sky||$1.6M||$13.2M||6|
‘The Boss’ Edges out ‘Batman v Superman’ while ‘Hardcore Henry’ flops at the Box Office!!
Yesterday, we reported there was a chance that the new Melissa McCarthy film, The Boss, might make enough to dethrone Batman v Superman: Dawn of Justice at the domestic box office, and now it looks like the broad comedy has done just that. It wasn’t by a huge margin—in fact, when the final numbers come in, it could easily switch. Right now, Deadline has The Boss at $23.48 million while Batman v Superman pulled in $23.435 million. However, Deadline also notes “rivals are projecting that Boss will have the better Saturday to Sunday hold over BvS, -35% to -40%.”
As for Batman v Superman, the movie fell 54 percent in its third weekend as its total domestic tally rose to $296.7 million according to THR. That’s still impressive, but nowhere near what Warner Bros. wanted for what was arguably the biggest film of the year. It makes sense that the movie has lacked staying power because while it was a film that everyone wanted to see at least once to get an opinion on it, it’s not a fun film to revisit. Credit to Zack Snyder—he’s up front with his audience that this will not be a fun film to sit through, but there’s a reason that serious dramas don’t tear up the box office. Modern cinema is escapist entertainment, and Batman v Superman doesn’t offer much of an escape.
The weekend’s other new wide release, Hardcore Henry performed quite poorly pulling in “just $5.1 million for a fifth place showing from 3,015 locations.” Granted, it’s a movie where the biggest star is Sharlto Copley, but the film’s lack of success should provide interesting fodder on the state of the relationship between video games and movies since Hardcore Henry is a movie that desperately wants to use the visual language and narrative devices of first person shooters.
Also finishing in the top five, Disney‘s Zootopia is now just $4 million shy of $300 million domestically as it dropped only 25.7% and finished the weekend with an estimated $14.3 million. Worldwide, Zootopia is now up to $852.5 million with its opening in Japan yet to come, putting it just $4.3 million behind Inside Out.
Finishing in fourth, Universal‘s My Big Fat Greek Wedding 2 finished with $6.4 million, representing a 42.8% drop in its third weekend as its cume now stands at $46.7 million.
Elsewhere, Fox Searchlight‘s release of Demolition into 854 theaters managed only $1.1 million. The film entered the weekend with less than stellar reviews and without that kind of buzz a film like this is going to struggle.
In limited release, Drafthouse‘s release of Karyn Kusama‘s thriller The Invitation brought in an estimated $67,739 from ten theaters and Paladin‘s High Strung finished with an estimated $45,255 from 100 theaters. Zeitgeist‘s Vita Activa brought in an estimated $8,496 from one theater while Kino Lorber‘s Neon Bull took in an estimated $7,133 from one theater.
Next weekend, Disney‘s The Jungle Book will be arriving in domestic theaters, though it got a jump start this weekend in a handful of international locations where it brought in $28.9 million. Included in that number is $7.6 million out of India, the second highest ever industry opening for a Western release, behind only Furious 7. The film lands stateside next weekend and stellar reviews (it’s currently at 100% on RottenTomatoes) and advanced buzz point to a sizable opening weekend.
Additionally, Ice Cube leads a star-studded cast in Barbershop: The Next Cut next weekend and should deliver solid results. Along with The Jungle Book, the two films should deliver a powerful one-two punch to the mid-April box office. They’ll be accompanied by Lionsgate‘s thriller Criminal starring Ryan Reynolds and Kevin Costner and A24‘s limited release of the excellent low budget thriller Green Room.
via Collider and Box Office Mojo
|Batman v Superman: Dawn of Justice||$23.4M||$296.7M||3|
|My Big Fat Greek Wedding 2||$6.4M||$46.8M||3|
|Miracles from Heaven||$4.8M||$53.9M||4|
|God’s Not Dead 2||$4.3M||$14.1M||2|
|10 Cloverfield Lane||$3.0M||$68.0M||5|
|Eye in the Sky||$2.8M||$10.4M||5|
‘Batman v Superman’ Drops Big While Crossing $680 Million Worldwide at the BO!!
The steep second weekend drop suffered by Batman v Superman: Dawn of Justice will receive the bulk of attention this week and rightfully so as it is the fifth largest second weekend drop for a film that opened over $100 million. That said, the superhero feature maintained the #1 position and has now crossed $680 million worldwide. Meanwhile, Disney‘s Zootopia continued its impressive run while the weekend’s widest new release, God’s Not Dead 2, fell well short of its predecessor.
Heading into the weekend, it appeared Batman v Superman was looking at a drop anywhere from 58-68% and it ended up settling in on the wrong side of those expectations. The film’s estimated $52.3 million signifies a 68.4% drop (62.1% if you take into consideration its $27.7 million in Thursday previews last week). This is the fifth largest drop of all-time for a film opening over $100 million, topped only by Harry Potter and the Deathly Hallows – Part 2‘s 72% drop and a trio of Twilight films dropping 69-70%.
In fact, the film’s second weekend plummet is on par with last year’s Fantastic Four, which dropped 68.2% in its second weekend, ultimately delivering a multiplier of 2.18. That said, Fantastic Four received an even worse reception than Batman v Superman, receiving only a “C-” CinemaScore compared to BvS‘s “B” and a 9% RottenTomatoes score compared to Batman v Superman‘s 29%. Should BvS also finish with a 2.18 multiplier that would still result in a domestic run of $362.8 million, enough to rank in the top 30 all-time.
Next weekend, however, will serve as a big test to see if there is any bouncing back. Deathly Hallows – Part 2 fell 53.7% in its third weekend and ended with a 2.25 multiplier. Another good comparison may be X-Men: The Last Stand, which dropped 66.9% in its second weekend followed by 52.7% in its third weekend, ultimately finishing with a 2.28 multiplier. Perhaps some of the film’s second weekend drop could be attributed to the NCAA Tournament’s Final Four games on Saturday night. If so, that may help Batman v Superman exhibit some third weekend stamina, helping push it toward a domestic run over $370 million.
Internationally, Batman v Superman added an estimated $85 million this weekend as its worldwide cume now climbs to $682.8 million. From a worldwide perspective, the film has already surpassed the entire global returns from films such as Man of Steel ($668m), Thor: The Dark World ($644.6m), Iron Man 2 ($623.9m) and Iron Man ($585.2m) on the all-time list where it currently ranks #84. All that said, while it looked like the film might become the 25th to ever cross $1 billion worldwide, its chances at crossing that mark aren’t looking so good any longer.
In other weekend news, Disney‘s Zootopia continues its impressive run, dropping only 16.7% in its fifth weekend in release, resulting in a second place finish. The animated feature brought in an estimated $20 million as its domestic cume now sits at over $275 million, well on its way to becoming only the tenth animated film to gross over $300 million at the domestic box office. Internationally the film added another $30 million as its worldwide cume currently sits at $787.6 million, ranking 56th on the all-time chart.
In fourth place we find one of the weekend’s two new wide releases, that being the sequel God’s Not Dead 2, which was unable to surpass the opening weekend of its predecessor despite the fact it opened in 1,639 more theaters. The film brought in an estimated $8.1 million, well below even the most pessimistic of expectations. The weekend’s other new wide release was Freestyle‘s Meet the Blacks, which finished in eighth with a respectable $4 million from 1,015 theaters.
Elsewhere, Eye in the Sky expanded into 1,029 theaters and saw a 334% bump as it brought in an estimated $4 million. Roadside‘s Hello, My Name is Doris also went wide this weekend, playing in 964 theaters, where it brought in an estimated $2.3 million.
Paramount kicked off the release of Richard Linklater‘s Everybody Wants Some!! into five theaters on Wednesday and bumped that up to 19 this weekend where it brought in an estimated $323,000 for a $17,000 per theater average. Warner Bros‘ expanded release of Midnight Special into 58 theaters brought in $581,000 for a per theater average of $10,017 while Sony Classics‘ release of Don Cheadle‘s Miles Ahead served as the weekend’s per theater champion, bringing in $122,751 from four theaters for a $30,688 per theater average.
Next weekend the major studios will get back into the game after taking this weekend off. Universal will release the new Melissa McCarthy comedy The Boss into over 3,200 theaters and STX will release the first person actioner Hardcore Henry into 3,000 theaters. On a smaller scale, Fox Searchlight will release the Jake Gyllenhaal feature Demolition into 550 theaters and Focus World will release Mr. Right starring Sam Rockwell and Anna Kendrick into 25 theaters.
|Batman v Superman: Dawn of Justice||$52.4M||$261.5M||2|
|My Big Fat Greek Wedding 2||$11.1M||$36.5M||2|
|God’s Not Dead 2||$8.1M||$8.1M||1|
|Miracles from Heaven||$7.6M||$46.8M||3|
|10 Cloverfield Lane||$4.8M||$63.6M||4|
|Meet the Blacks||$4.1M||$4.1M||1|
|Eye in the Sky||$4.1M||$6.1M||4|
Batman v Superman opens to $424.1 million worldwide while My Big Fat Greek Wedding 2 does well at the BO!!
Batman v Superman: Dawn of Justice ruled the box office this weekend, both in international and domestic markets, bringing home an estimated $424.1 million worldwide. The record-breaking performance saw the film set a new domestic March opening weekend record and it also serves as the largest domestic opening for Warner Bros. ever. And while the clash of superhero titans was doing it’s thing, Universal‘s counter-programming release in My Big Fat Greek Wedding 2 also performed well as did Roadside‘s Hello, My Name is Doris and Bleecker Street‘s Eye in the Sky.
With an estimated $170.1 million, Batman v Superman topped the March opening weekend record previously held by The Hunger Games at $152.5 million. Should estimates hold, and WB seems to be confident they will, this also tops the $169.1 million Harry Potter and the Deathly Hallows – Part 2 opened with in 2011, making it the largest domestic opening for the studio. This is also the largest Easter opening, topping the $147.1 million brought in by Furious 7 last year as well as the largest opening for a film based on a DC Comics property, a record previously held by The Dark Knight Rises at $160.8 million. But this weekend’s records are one thing, how the film will hold up is another.
Heading into the weekend the swath of negative critical reviews were a major focus as the film now sits at a 29% rating on RottenTomatoes and no film with a rating lower than 63% on the site had ever opened over $150 million. Clearly Batman v Superman bucked that trend as it is now one of only five live action films to have ever grossed over $100 million on opening weekend with a RottenTomatoes rating lower than 30%. So does this say something about critics, about films with baked in audiences… or both?
From an audience perspective, Batman v Superman received a so-so “B” CinemaScore with a “B-” coming from males, which made up 62% of the audience, and “B” from females. Audience members under the age of 18, however, scored it an “A-“, which brings our attention to next weekend. Recent films such as Avengers: Age of Ultron and Batman v Superman predecessor Man of Steel saw 59.4% and 64.6% second weekend drops respectively. It’s also worth noting a large drop should be expected no matter what, if only because $27.7 million of Batman v Superman‘s opening came from Thursday previews.
From a historical perspective, a second weekend drop around 62% is a safe bet at this time, and anything better than 60% would show the film is holding well in the face of odds that would otherwise suggest it was in trouble over the long run. Speculation aside, it won’t be until we see how far it drops that we can get a good grasp on just how big it may go, but its success doesn’t rely wholly on its domestic prospects as it also got off to a very strong start overseas.
The film brought in an estimated $254 million internationally this weekend, giving it the fifth largest international opening weekend of all-time. The global opening of $424.1 million is the fourth largest of all-time. The breakdown by territory shows China leading the pack, delivering an estimated $57.3 million in its first three days, the largest opening ever for WB in China. Results from other territories include the UK ($21.9m), Mexico ($18.6m), Brazil ($12.2m), Korea ($10.5m), Australia ($10.0m), Russia ($8.5m), France ($8.4m), Germany ($8.2m), Spain ($6.3m), Italy ($5.8m) and Japan ($4.4m).
As will be the case domestically, how well the film performs next weekend in all these territories will be of vital importance when it comes to determining just how big a hit this will end up being. At this point, it looks as if Batman v Superman will become the 25th film to cross $1+ billion worldwide as The Hunger Games: Catching Fire is the only film to open with over $158 million domestically and not cross the $1 billion mark worldwide.
Speaking of worldwide success, Zootopia continued its impressive performance both domestically and worldwide as the Disney animated title dropped only 37.7% this weekend, taking second place with as it added another $23.1 million domestically. Internationally the film added another $42.5 million as its worldwide cume now stands just shy of $700 million at $696.7 million.
Coming in third with an estimated $18.1 million, Universal‘s My Big Fat Greek Wedding 2 finished just as expected, pulling in a solid $5,784 per theater average from 3,133 theaters. The film scored an “A-” CinemaScore, which will likely help propel it to a $55+ million run, if not higher. Last year The Intern opened with $17.7 million and went on to gross over $75 million. The average for films opening in this range with an “A-” CinemaScore is $64.6 million. This is nowhere near as large as the worldwide sensation that was the first film, but if it can manage to capture any of that magic perhaps it will perform even better than the averages suggest.
Also of note this weekend is the expansion of Hello, My Name is Doris in 488 theaters and Eye in the Sky in only 123 theaters as both found their way into the top ten. With an estimated $1.7 million, Doris took ninth place with a $3,486 per theater average and Eye in the Sky finished tenth with $1 million and a $8,140 per theater average.
As for new limited releases, Magnolia‘s Born to be Blue brought in $47,340 from three theaters for a $15,780 per theater average; GKIDs’ April and the Extraordinary World played in one New York theater and brought in $12,101; and Sony Classics released I Saw the Light into five theaters where it brought in an estimated $10,093.
Looking forward, helping Batman v Superman‘s chances next weekend is the lack of new, direct competition. The weekend, in fact, is going to be fairly quiet when it comes to newcomers with Pure Flix‘s God’s Not Dead 2 leading the charge, releasing in 2,200-2,400 theaters. Meanwhile, Richard Linklater‘s Everybody Wants Some!! will roll out in limited theaters on Wednesday with a small expansion over the weekend into 19 theaters; Sony Classics will release Don Cheadle‘s Miles Ahead and Freestyle will release Meet the Blacks in approximately 1,000 theaters.
via Box Office Mojo
|Batman v Superman: Dawn of Justice||$170.1M||$170.1M||1|
|My Big Fat Greek Wedding 2||$18.1M||$18.1M||1|
|Miracles from Heaven||$9.5M||$34.1M||2|
|10 Cloverfield Lane||$6.0M||$56.0M||3|
|London Has Fallen||$2.9M||$55.6M||4|
|Hello, My Name Is Doris||$1.7M||$3.3M||3|
|Eye in the Sky||$1.0M||$1.7M||3|
‘Allegiant’ Opens Short of $30M, ‘Zootopia’ Tops $200M and ‘Bronze’ Bombs at the BO!!
It’s another #1 finish for Disney‘s Zootopia as the animated hit crossed $200 million this weekend, topping all newcomers. Coming in second was The Divergent Series: Allegiant, with an opening that was down over 44% from its predecessor, and in third was Sony‘s latest faith-based feature, Miracles from Heaven, which over-performed the studio’s conservative expectations. In all, the top twelve was down just a hair compared to the same weekend last year with a combined gross of $119 million, of which Zootopia accounted for nearly 32%.
Dropping only 25.9%, Zootopia took in an estimated $38 million this weekend, bringing its overall cume to $201.8 million domestically, the third highest domestic total for a Walt Disney Animation Studios title (not adjusted for inflation). Additionally, it brought in another $64.8 million internationally, bringing its worldwide cume to $591.7 million, which places it just behind the $591.8 million Tangled brought in globally over the course of its entire run back in 2010.
In second, with an estimated $29 million, is Allegiant, the third and penultimate film in the Divergent franchise. This is a troubling drop when compared to the franchise’s first two releases, both of which opened with over $52 million on the same weekend in 2014 and 2015. Allegiant‘s opening marks a 46.8% drop when compared to the $54.6 million Divergent brought in back in 2014 as the franchise finds itself gasping for air ahead of the release of the franchise finale, Ascendant, in June 2017.
Lionsgate will have to hope Allegiant follows in the footsteps of Insurgent, which brought in $130 million domestically last year (down $20 million from Divergent), but out-performed the original release by $30 million internationally for a $297.3 million global haul. Allegiant got a jump start internationally last weekend with $25.2 million and added to that total this weekend with another $22 million from 77 markets, bringing its current international total to $53.4 million.
Landing in third with an estimated $15 million is Sony and Affirm Films‘ Miracles from Heaven. The film opened on Wednesday and scored an impressive “A+” CinemaScore and has now tallied $18.5 million in its first five days. The studio has high hopes, as it should, that strong word of mouth and the upcoming Easter weekend will serve the film well.
10 Cloverfield Lane performed as expected in its second weekend, dropping just under 50% with an estimated $12.5 million, and Deadpool rounded out the top five with an estimated $8 million as its cume has now climbed to over $340 million. As a result, Deadpool is now the eighth highest grossing superhero movie domestically (not adjusted for inflation), passing both Guardians of the Galaxy ($333.1m) and Spider-Man 3 ($336.5m) this weekend.
Well outside the top ten, and outside the top twenty in fact, is where we find Sony Classics‘ R-rated comedy The Bronze. The studio released the film in 1,167 theaters in which it could only manage $421,434 for a paltry $361 per theater average. This ranks as the fourteenth worst opening for a wide release and ninth worst per theater average for a wide release of all-time.
From a per theater perspective, it was Warner Bros‘ limited release of Jeff Nichols‘ new film Midnight Special that took the weekend crown. Opening in only five theaters the film brought in an estimated $184,000 for a $36,800 per theater average.
Also opening in limited release, Magnolia‘s My Golden Days brought in $27,000 from three theaters and A24‘s Krisha brought in $10,250 from two theaters. Fox International released two new features starting with Kapoor & Sons – Since 1921 which brought in $965,000 from 143 theaters and El Clan, which opened in three theaters with an estimated $12,500.
Elsewhere, The Revenant crossed $180 million domestically, London Has Fallen is now over $50 million, Daddy’s Home is inching toward $150 million, The Big Short passed $70 million and Spectre finally reached $200 million as it has worked the drive-in circuit the last couple of weeks.
Finally, on the worldwide stage, The Revenant opened in China with an estimated $33 million as its international cume has now climbed to over $300 million and Kung Fu Panda 3 expanded to an additional 40 international territories where it grossed an estimated $31.7 million for an international cume that now tops $257 million.
Next weekend we have the superhero battle many have been waiting for as Batman v Superman: Dawn of Justice is set to release in over 4,100 theaters with an eye on topping The Hunger Games‘ $152.5 million March opening weekend record. My Big Fat Greek Wedding 2 will release next weekend, opening in 3,000+ theaters.
via Box Office Mojo
|Miracles from Heaven||$15.0M||$18.6M||1|
|10 Cloverfield Lane||$12.5M||$45.2M||2|
|London Has Fallen||$6.9M||$50.1M||3|
|Whiskey Tango Foxtrot||$2.8M||$19.3M||3|
|The Perfect Match||$1.9M||$7.3M||2|
Zootopia continues to dominate as 10 Cloverfield Lane opens big while The Brothers Grimsby bombs at the BO!!
For the second week in a row, Disney’s Zootopia is the number one film in North America. The animated feature was down just 33% in its sophomore frame and crossed the $100 million mark on Friday. Worldwide, Zootopia has already earned more than $431.3 million. That big global haul is due largely to a great showing in China, where the film brought Disney its biggest three-day animated opening ever last weekend.
OK, let’s get right to the week’s biggest bomb – people really didn’t want to see The Brothers Grimsby this weekend. The R-rated comedy starring Sacha Baron Cohen earned an estimated $3.1 million from 2,235 locations, or the lowest debut of a major release so far this year. For reference, that’s lower than recent misses like Pride and Prejudice and Zombies ($5.3 million) and Fifty Shades of Black ($5.9 million). In fact, the only film that can credibly claim to be a bigger box office dud in 2016 is The Weinstein Co.’s Jane Got a Gun, which opened in only 1,210 theatres.
Grimsby received a promising B+ from CinemaScore audiences, though that’s a hollow victory when actual audiences fail to show up on opening weekend. By comparison, Baron Cohen’s last two comedies, The Dictator and Bruno, both received ‘C’ scores and went on to earn $59 and $60 million at the domestic box office, respectively. One week ago it looked like we’d be talking about The Brothers Grimsby as a disappointment because it failed to open above $10 million, but at this point a final domestic gross below $10 million feels like a real possibility. The film has also failed to distinguish itself overseas, earning just $7 million over two weeks. And with a reported budget of $35 million, it’s hard to see how Sony or Sacha Baron Cohen can spin this as anything other than a disaster.
On a much more positive note, 10 Cloverfield Lane saw a strong debut this weekend. The secretive thriller from producer J.J. Abrams earned an estimated $25.2 million from 3,391 locations, or well above the $18 million Paramount was said to be expecting. The sort-of sequel to 2008’s Cloverfield has had great reviews (91% on Rotten Tomatoes) but received a B- from CinemaScore, so it remains to be seen how well it will hold in the coming weeks. J.J. Abrams’ other box office entry, a little pic called Star Wars: The Force Awakens, is still playing in 760 locations in its thirteenth weekend and has a current domestic total of $930.7 million.
Deadpool continues to impress in its fifth frame. Fox’s R-rated superhero hit claimed another $10.8 million this weekend to bring its domestic total up to $328 million. That still leaves Deadpool third behind American Sniper on the list of all-time R-rated releases, though the margin is closing. In other holdover news, London Has Fallen slipped 50% in its sophomore frame. With a current domestic cume of $38.8 million, the sequel is now running almost 30% behind 2013’s Olympus Has Fallen at the same point in its run.
Lionsgate’s The Perfect Match opened in fifth place this weekend with an estimated $4.1 million. That’s notable because the R-rated romance is only playing in 925 locations. Compare that to Focus Features’ The Young Messiah, which opened with just $3.4 million from 1,761 locations. Messiah scored an A- from CinemaScore but likely suffered from low exposure and the presence of that other Christian-themed feature in the top ten: Risen. And things won’t get any easier for Messiah next weekend. Sony’s Miracles from Heaven will target the same faith-based crowd with a Wednesday debut in 3,000 locations.
Also opening next weekend is Allegiant, the third entry in Lionsgate’s The Divergent Series. Part one of two films based on the final novel in Veronica Roth’s sci-fi series, Allegiant is expected to open well below last year’s Insurgent ($52.2 million) with about $38 million.
|10 Cloverfield Lane||$25.2M||$25.2M||1|
|London Has Fallen||$10.7M||$38.9M||2|
|Whiskey Tango Foxtrot||$4.6M||$14.6M||2|
|The Perfect Match||$4.2M||$4.2M||1|
|The Young Messiah||$3.4M||$3.4M||1|
|Gods of Egypt||$2.5M||$27.3M||3|
Zootopia sets records while London Has Fallen opens modestly at the BO!!
Though not nearly as remarkable as one month ago, when Deadpool set new highs for February and R-rated releases, Zootopia does have some box office records to collect. Disney’s new animated feature easily took first place this weekend with an estimated $73.7 million debut. As we told you yesterday, that represents the best start ever for an animated movie in March. It’s also one of the top ten animated debuts of all time, the fourth biggest March opening, and the best debut ever for a Disney toon that did not originate at Pixar.
The latter may be an important point for Disney, but in terms of competition for that title we’re really just talking about Frozen and Big Hero 6. Other original Disney animation has always opened below $50 million. With Pixar included, Zootopia debuted below Toy Story 3, Inside Out, and Monsters University but ahead of The Incredibles, Finding Nemo, and the rest. On the list of all-time March debuts, Zootopia now ranks behind only The Hunger Games, Alice in Wonderland, and Oz the Great and Powerful.
It helped Zootopia that 80 percent of its 3,827 locations (including almost 700 IMAX and premium large format venues) screened the film in 3D. It’s also a plus that critics have backed the film, giving it a 98% on Rotten Tomatoes – the best score of 2016 thus far. Audiences also blessed Zootopia with an A CinemaScore, though that went up to an A+ with women and the under 18 set. All of this means that Zootopia should have a nice box office run until Batman v Superman: Dawn of Justice arrives at the end of the month.
London Has Fallen opened in second place with an estimated $21.7 million from 3,490 locations. The thriller stars Gerard Butler as Secret Service agent Mike Banning: the guy who took out the terrorists in 2013’s White House disaster pic Olympus Has Fallen. You may recall that, with White House Down, there were two Washington DC-set disaster movies in 2013. Olympus Has Fallen wound up the bigger box office hit (due mainly to its earlier release date) and reached a final domestic gross of just under $100 million. That wasn’t an overwhelming outcome for a movie that cost $70 million, but it was enough to make a sequel seem like a good idea.
Three years later, London Has Fallen is trailing its predecessor in all respects. While not unexpected, the film’s opening falls well short of Olympus’s $30.3 million start. And London ranks at just 26% on Rotten Tomatoes, down from the 48% of the first film. The good news is that the sequel was apparently a bit cheaper to make ($60 million) so it will have less distance to travel to turn a profit. It also makes Gods of Egypt, last weekend’s entry in the Gerard Butler canon, look that much more pitiable. The latter slipped 64% in its sophomore frame and has a ten-day total that’s just barely ahead of what London secured in three.
At the very least, London Has Fallen managed to live up to its modest box office expectations. The same cannot be said for this weekend’s final new release: Whiskey Tango Foxtrot. A political comedy set during the hilarious US occupation of Afghanistan, the film stars Tina Fey as a real-life reporter who covered the conflict. Whiskey Tango Foxtrot earned an estimated $7.6 million from 2,374 locations this weekend. That’s well below the film’s pre-release estimates, which ranged from $10 million to $13 million.
The problem here may be the subject matter. Whiskey Tango Foxtrot received a decent B from CinemaScore audiences and a similarly decent 60% from Rotten Tomatoes. At the very least, the film handily beat Our Brand Is Crisis, which has been repeatedly cited as a comp due to its political theme and female protagonist. Crisis opened with just $3.3 million last October and disappeared after taking in just $7 million in total domestic earnings. Whiskey has already topped $7 million, so that’s something… right?
In limited release, Fox‘s The Other Side of the Door played similarly to the studio’s release of The Pyramid in 2014. The horror feature opened in 546 theaters and brought in an estimated $1.2 million.
Broad Green released Terrence Malick‘s Knight of Cups into four theaters where the film brought in an estimated $56,688, for a $14,172 per theater average. No exact word yet on just how wide Broad Green intends to take this one over the long run, but it will be expanding over the coming weeks.
Deadpool crossed $300 million in domestic grosses on Saturday. The film currently ranks third on the list of all-time R-rated releases but it remains to be seen if it will eventually overtake American Sniper ($350.1 million) for second place. Deadpool was down 47% in its fourth weekend so catching up to the first place Passion of the Christ ($370.7 million) seems unlikely.
Next weekend should provide give Zootopia its second consecutive box office win. The two major new titles on the schedule, 10 Cloverfield Lane and The Brothers Grimsby, each target very different demographics and are sure to see lower openings. By far the strongest of the new releases is 10 Cloverfield Lane, the film that producer JJ Abrams described as a “blood relative” of his 2008 hit Cloverfield. Cloverfield Lane is expected to open with at least $25 million – way down from Cloverfield’s once record-setting $40 million launch. As for Sacha Baron Cohen’s The Brothers Grimsby, it is difficult to say. Tracking for 2009’s Bruno was famously way off, but at this point $10 million seems like a stretch. We’ll let you know what happens.
|London Has Fallen||$21.7M||$21.7M||1|
|Whiskey Tango Foxtrot||$7.6M||$7.6M||1|
|Gods of Egypt||$5.0M||$22.8M||2|
|Kung Fu Panda 3||$3.5M||$133.8M||6|
|Eddie the Eagle||$3.1M||$10.9M||2|
|The VVitch: A New-England Folktale||$2.5M||$20.9M||3|
Gods of Egypt flops while Eddie the Eagle and Triple 9 open low at the BO!!
The first big-budget box office bomb of 2016 has arrived in the form of Lionsgate’s sword-and-sandals would-be tentpole, Gods of Egypt, which opened to an estimated a paltry $14 million domestically with the hefty price tag of a $140 million budget. The mythological fantasy epic led by Gerard Butler and Nikolaj Coster Waldau, which debuted to resounding negative reviews, also failed to resonate with audiences overseas. While Gods of Egypt doesn’t arrive China until March 11th, the film fell flat internationally, grossing an estimated $24.2 million from 68 markets, including Brazil, the Philippines, and Russia, which emerged as the top-grossing market with $3.5 million.
In the wake of their retiring headline franchises The Hunger Games and Divergent, Lionsgate had hoped to build a new film franchise off of Gods of Egypt, a hope that was dashed by this weekend’s grim box office crash and burn.
While Gods of Egypt‘s performance is certainly a disappointment, Lionsgate took preventative measures to mitigate financial risks through a combination of foreign pre-sales and a massive 46% Australian production incentive. All told, that brings the studio’s budget exposure under $10 million, but that number doesn’t include significant investments in the marketing campaign.
“We built a strong financial model so we could take a big swing in hopes of creating a new franchise with very little financial risk,” said David Spitz, Lionsgate’s domestic distribution chief. “The film didn’t work as well as we hoped but fortunately our downside is very limited.”
Elsewhere, 20th Century Fox’s superhero gamble Deadpool continues to soar in its third week, easily taking first place at the box office and grossing $31.5 million from 3,856 theaters domestically. That brings Deadpool‘s domestic haul up to an estimated $285.6 million, making it the third highest-grossing R-rated film domestically behind American Sniper ($350.1 million) and the long-time reigning R-rated box office champ The Passion of the Christ ($370.8 million). With only three weeks in theaters, there’s a chance Deadpool could trump those figures in its theatrical run.
Internationally, Deadpool celebrates crossing the $600 million mark worldwide after this weekend’s returns grossed another $40 million overseas, bringing the foreign total to $324.2 million, and the global total to $610 million.
Kung Fu Panda 3, which placed third at the domestic box office this weekend with $9 million, also has cause to celebrate as the DreamWorks sequel scored the record as China’s top-grossing animated film of all time with $144.2 million. With the domestic tally up to $128.4 million, that brings the animated Jack Black comedy to $314.2 million worldwide.
In other animated animal news, Disney’s Zooptia, which doesn’t arrive in US theaters until March 4th, scored $30 million in 31 markets, bringing the early foreign tally to $81.4 million.
Back on the domestic front, Sony’s faith-based Risen landed in the No.4 spot with $7 million, while newcomer Eddie the Eagle landed the No. 5 spot in a disappointing debut haul of $6.3 million. It’s a significant let down for Fox’s inspirational sports comedy, which cost $23 million to make. Led by Taron Egerton and Hugh Jackman, the film tells the true life story of British ski-jumper and unlikely Olympian Eddie “The Eagle” Edwards, and while the first weekend is a disappointment, Fox hopes that the film’s A CinemaScore will help it find an audience in the coming weeks.
The final new release of the week, John Hillcoat‘s gritty heist thriller Triple 9 also failed to resonate with audiences, earning only $6.1 million in its debut weekend despite its star-studded cast and Hillcoat’s film making prestige. Led by Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Aaron Paul, Woody Harrelson, Kate Winslet, Teresa Palmer and Gal Gadot, the tale of crooked cops and criminal enterprise cost $20 million, landing in the No. 6 spot for Open Road films.
|Gods of Egypt||$14.0M||$14.0M||1|
|Kung Fu Panda 3||$9.0M||$128.5M||5|
|Eddie the Eagle||$6.3M||$6.3M||1|
|How to Be Single||$5.2M||$39.6M||3|
Deadpool continues dream run, while new releases have modest openings at the BO!!
Deadpool passed $200 million in domestic grosses on Saturday, its ninth day in theaters. Clearly a number of films have made it to that mark in less time (18 to be exact), though the list of films that Deadpool has now surpassed by day nine remains impressive, including Avatar and Iron Man 2. Last weekend’s three-day actual for Deadpool was a bit lower than estimated ($132.4 million) so the Fox feature ranks as the seventeenth biggest opening of all time overall – but the biggest R-rated opening ever by a wide margin.
According to studio estimates, Deadpool took in another $55 million this weekend. That equals a drop of 58.5% from its debut, which is fairly average among recent comic-inspired movies. In terms of that hold, it’s important to note that Deadpool remains an outlier thanks to its R-rating and its winter release so comparing it to summer superheroes with more family-friendly MPAA ratings isn’t particularly helpful. The fact is, Deadpool has no direct comps. It’s in a class all its own.
Along with Deadpool in first, Fox can also claim this weekend’s second-biggest release with Kung Fu Panda 3. The animated threequel was down 36% on its fourth frame, bringing its domestic total up to $117.1 million. At the same point in its run, Kung Fu Panda 2 had grossed $143.6 million. Worldwide, Panda 3 has earned $279.7 million – less than half of its predecessor’s final global cume of $665 million.
Among this weekend’s new releases, Risen remained strongest with its third-place debut. The period Christian drama from Sony opened with an estimated $11.8 million. That’s on par with the $11.3 million launch of Sony/TriStar’s War Room (which also targeted Christian audiences) except for one thing: War Room opened in just 1,135 locations back in August while Risen had a much wider release in 2,915 venues. On the plus side, Risen received a promising A- from CinemaScore audiences, which could help it play well in the weeks to come. The film’s critical reception was more mixed (59% on Rotten Tomatoes) though that is not typically a deciding factor for Christian viewers. God’s Not Dead and Son of God both did well in 2014 despite RT scores of 21% or lower.
Based on its smaller theater count, A24’s The Witch was actually stronger than Risen this weekend, despite ranking below it on the top ten. The period horror pic earned an estimated $8.6 million from 2,046 locations, which is more than Paranormal Activity: The Ghost Dimension earned opened with last October. We told you yesterday that The Witch was initially not scheduled to be released in theaters at all. Horror fans championed the film and critics have also been unusually supportive: giving The Witch an 88% on Rotten Tomatoes. That’s a score that most horror movies can only dream of (The Conjuring being one notable exception), though The Witch was far less successful with CinemaScore audiences who gave it a C-.
The weekend’s final new release received an A from CinemaScore, but that didn’t help Race get ahead of the pack. Focus Features’ Jesse Owens biopic earned an estimated $7.2 million from 2,369 locations. To be fair, that amount falls in the projected range for Race but it is far from encouraging. On the same weekend last year, McFarland, USA (another sports drama) opened with $11 million while the Jackie Robinson biopic 42 launched with a big $27.4 million in April of 2013. Both prior releases had higher theater counts and stronger reviews than Race, but still…
Next weekend will bring the box office another sports movie with Fox’s Eddie the Eagle. At this point Eddie is expected to open in the same range as Race, though word of mouth could still work in the new film’s favor. Also opening next week are Gods of Egypt and Triple 9 –both targeting $12 million at this point. So all in all it looks like it will be another good weekend to be Deadpool.
|Kung Fu Panda 3||$12.5M||$117.1M||4|
|How to Be Single||$8.2M||$31.8M||2|
|Star Wars: Episode VII – The Force Awakens||$3.8M||$921.6M||10|
Deadpool opens big with $135M, while Zoolander 2 flops at the BO!!!
Wow. Just… wow. When covering the box office you get used to a certain level of hyperbole, but I am here to tell you that the hype is all real when it comes to Deadpool. According to studio estimates, the Tim Miller-directed pic has earned an incredible $135 million for the three-day weekend and is headed above $160 million for the four-day holiday frame. That is nearly double what the industry expected from the R-rated superhero pic. And, just to be clear, had Deadpool wound up closer to its initial target of $75 million we would still have written it up as a big win for Fox. But as it stands? This is the kind of crazy-unexpected, record-breaking launch that just doesn’t come around very often.
For one thing, it’s the middle of winter, and superheroes are supposed to thrive mainly in the summer. In fact, since the dawn of the Marvel Cinematic Universe, only one major superhero has bowed before May: Captain America: The Winter Soldier. Other comic adaptations have opened in winter (The Green Hornet, Watchmen) but none has come close to the level of Deadpool. Even if we look at winter and spring debuts combined (everything between January and May) Deadpool now ranks as the third highest opening of all time, behind only The Hunger Games ($152.5) and Furious 7 ($147.2).
As we told you yesterday, Deadpool set a new record on Friday for the biggest single-day February opening – easily topping last year’s Fifty Shades of Grey. Deadpool also broke the record for the biggest single-day R-rated debut, set back in 2003 by The Matrix Reloaded. With this morning’s estimates, we have a whole new set of records to recalibrate. Here’s a partial list of former title-holders, kindly assembled by Box Office Mojo:
- Largest February Opening Weekend: $85.1 million; Fifty Shades of Grey
- Largest 4-Day President’s Day Weekend: $93 million; Fifty Shades of Grey
- Largest R-Rated Opening Weekend: $91.7 million; The Matrix Reloaded
- Largest R-Rated Comic Adaptation Opening: $70.8 million; 300
- Largest Winter Opening Weekend: $89.2 million; American Sniper
- Largest Opening for 20th Century Fox: $108.4 million; Star Wars: Revenge of the Sith
As you can see, Deadpool’s $135 million doesn’t just overturn these records – it obliterates them. If this morning’s estimate stands, Deadpool will rank as the tenth highest domestic debut of all time – not limited to a particular season or MPAA rating. And it’s important to note that Deadpool was not released in 3D (though it is in many premium large format venues), so the fact that its opening ranks ahead of 3D films like Guardians of the Galaxy is a significant achievement. Other notable titles that Deadpool has surpassed include Iron Man 2 ($128.1), X-Men: The Last Stand ($102.7), and all Harry Potter films with the exception of Deathly Hallows Part 2. In fact, by surpassing The Last Stand‘s $102 million, Deadpool had the highest opening weekend for any X-Men movie ever. So yeah, that’s why we started with all the ‘wows.’
All of this is great news for Fox, the studio that brought us one of the most notable superhero misfires of the last few years with their Fantastic Four reboot. It’s also welcome news for star Ryan Reynolds, best known in the comic world for leading Warner Bros.’ awful Green Lantern adaptation. Deadpool is now, by far, Reynolds’ biggest debut, easily beating the $85 million of X-Men Origins: Wolverine, which introduced the Deadpool character. Unlike in that earlier appearance, audiences and critics have embraced the caustic superhero – giving Deadpool a near-perfect A CinemaScore and an 84% Fresh on Rotten Tomatoes.
The incredible domination of Deadpool naturally impacted the weekend’s other new releases. The Warner Bros./New Line comedy How to Be Single did manage to come close to its initial projection of $20 million for the three-day weekend with an estimated $18.75 from 3,394 locations. The R-rated ensemble comedy featuring Rebel Wilson received a B from CinemaScore audiences and should hit $23 million including Monday’s holiday.
And then there’s Zoolander 2. The sequel to 2001’s cult comedy (with a final domestic gross of $45.1 million, Zoolander was not considered a box office ‘hit’ in its day), was projected to open with at least $20 million over the three-day weekend. Instead, the Ben Stiller feature brought in an estimated $16.6 million from 3,343 locations and may fall short of that $20 million goal even after Monday’s receipts are counted. Deadpool is certainly part of the problem here, but it didn’t help that Zoolander 2 left audiences unimpressed (C+ CinemaScore) and critics cringing (23% on Rotten Tomatoes).
|Kung Fu Panda 3 (2016)||$19.65M||$93.91M||3|
|How to Be Single (2016)||$18.75M||$18.75M||1|
|Zoolander 2 (2016)||$15.65M||$15.65M||1|
|The Revenant (2015)||$6.90M||$159.16M||8|
|Hail, Caesar! (2016)||$6.59M||$21.35M||2|
|Star Wars: Episode VII – The Force Awakens (2015)||$6.19M||$914.84M||9|
|The Choice (2016)||$5.25M||$13.26M||2|
|Ride Along 2 (2016)||$4.13M||$82.66M||5|
|The Boy (2016)||$2.91M||$30.78M||4|
‘Kung Fu Panda 3’ Tops Super Bowl Weekend; ‘Hail, Caesar!’ Leads Newcomers while Zombies fall flat at the BO!!
It’s Super Bowl Sunday, which means a lot of Americans will not be hitting the multiplex. Conventional wisdom says that the box office suffers when up against the most popular sporting event of the year and, in 2016, conventional wisdom seems to be winning. As expected, Kung Fu Panda 3 came out on top, claiming an estimated $21 million and its second consecutive box office title. Given it’s A CinemaScore and lack of direct competition, however, the animated release was expected to hold a bit better. Kung Fu Panda 3 was down 49% from its debut: a steeper drop than it may have experienced on another frame.
The impact of the game was also felt in the overall box office estimate, which reached just $94 million this weekend – down from $102.2 million at this time last year. The disparity is due largely to the difference between Kung Fu Panda 3 and American Sniper, which took in $30.6 million one year ago. That total represented one of the highest grosses ever for a film competing against the Super Bowl – and was achieved on Sniper’s third weekend in wide release.
But last year was a bit of anomaly. In 2014, Ride Along was the number one film on Super Bowl weekend with just $12 million – a low total at any time of the year. And the history of new releases on this sports-centric frame is even spottier. Last year three new titles attempted to counter program the game and not one hit $10 million. On the other hand, two 2012 debuts, Chronicle and The Woman in Black, both opened above $20 million – the first and only time that has happened against the Super Bowl.
This year’s new releases were far less successful. Strongest of the three was Hail, Caesar!, the all-star comedy from the Coen Brothers. From 2,232 locations, Caesar! earned an estimated $11.4 million. That was in line with pre-release expectations, though a bit below where previous wide releases from the brothers have debuted. In 2003, Intolerable Cruelty launched with $12.5 million in 2,570 locations and, in 2008, Burn After Reading took in $19.1 million from 2,657 venues. Along with opening against the Super Bowl and strong holdovers like The Revenant and Star Wars: The Force Awakens, Hail, Caesar! looks like it was limited by its initial word of mouth. Though critics gave the film relatively high marks (79% on Rotten Tomatoes), CinemaScore audiences put Caesar! at a C-.
On the opposite end of the critic vs. audience spectrum is The Choice. The latest adaptation of a Nicholas Sparks novel (The Notebook, Dear John), The Choice received a B+ CinemaScore but a disastrous 6% from Rotten Tomatoes critics. Lacking the star power of many previous Sparks films (no Channing Tatum, in other words), The Choice opened in fifth place with an estimated $6 million from 2,631 locations. Last April, Sparks’ The Longest Ride (which also lacked name recognition in its leads) debuted with $13 million. So either Super Bowl weekend is making it harder for female-driven pics to break out or Sparks’ schtick is getting old? Or maybe it’s just a bad movie.
This weekend’s final new release is also its biggest box office disappointment. Pride and Prejudice and Zombies, the long-awaited big screen version of Seth Grahame-Smith‘s best-selling book, was expected to open with at least $10 million. Instead, the horror take on Jane Austen’s beloved Bennett sisters claimed an estimated $5.2 million from 2,931 locations. In comparison, Abraham Lincoln: Vampire Hunter (also adapted from a Grahame-Smith book) brought in $16.3 million when it opened in June 2012 – and that film is no one’s idea of a domestic hit. Pride and Prejudice and Zombies received a B- from CinemaScore and has a current Rotten Tomato rating of 40%.
After getting through this year’s deflated Super Bowl frame, hopes are high for next weekend’s Valentine’s Day/President’s Day weekend. Last year’s double holiday saw the overall box office total soar above $210 million, thanks to the record-setting launch of Fifty Shades of Grey and a second strong debut from Kingsman: The Secret Service. In 2016, Marvel’s Deadpool will dominate with a low-end projection of $75 million. Comedies Zoolander 2 and How to be Single will also debut, with each expected to open in the $20 million range. We’ll let you know what happens.
|Kung Fu Panda 3 (2016)||$21.00M||$69.05M||2|
|Hail, Caesar! (2016)||$11.44M||$11.44M||1|
|The Revenant (2015)||$7.10M||$149.70M||7|
|Star Wars: Episode VII – The Force Awakens (2015)||$6.89M||$905.96M||8|
|The Choice (2016)||$6.09M||$6.09M||1|
|Pride and Prejudice and Zombies (2016)||$5.20M||$5.20M||1|
|The Finest Hours (2016)||$4.72M||$18.38M||2|
|Ride Along 2 (2016)||$4.52M||$77.21M||4|
|The Boy (2016)||$4.10M||$26.90M||3|
|Dirty Grandpa (2016)||$4.05M||$29.39M||3|
Kung Fu Panda 3 opens well as hold over titles stay strong at the BO!!
In a surprise to no one, Dreamworks’ Kung Fu Panda 3 was the number one film in North America this weekend: becoming the first animated film to rule the box office since Hotel Transylvania 2 back in September. The threequel earned an estimated $41 million from 3,955 locations, which was right in line with industry projections. The film’s weekend gross makes it the biggest debut of 2016 (though on a very short list) and the third biggest January launch of all time.
Though it lived up to industry expectations, Kung Fu Panda 3 couldn’t match its predecessors’ box office debuts. The original Kung Fu Panda opened in June 2008 with $60.2 million. That was a significant achievement at the time, especially for a non-franchise title in the heart of the summer season. Kung Fu Panda went on to gross $215.4 million in North America and $631.7 million worldwide. And thus was a franchise born.
When it arrived in the summer of 2011, Kung Fu Panda 2 saw a bit of a decline. The sequel opened with $47.6 million towards a final domestic total of $165.2 million but more than made up for its shortfall with international sales, which topped $665 million. With the third installment now falling below the sequel’s opening, it will be interesting to see how Panda 3 performs over the long-term – both here and abroad. Kung Fu Panda 3 has received an A CinemaScore and strong reviews (80% on Rotten Tomatoes) and opened in China and a handful of smaller markets this weekend.
Kung Fu Panda 3 pushed last weekend’s top two films, The Revenant and Star Wars: The Force Awakens, down to second and third, respectively. The Revenant was off only 22.5% to bring its domestic total up to $138.1 million in its fourth frame in wide release. In terms of past Leonardo DiCaprio titles, The Revenant has already outperformed Shutter Island and The Departed and should overtake The Great Gatsby’s $144.8 million final domestic total next weekend. As for the granddaddy of all domestic totals, Star Wars: The Force Awakens is set to become the first film to reach $900 million next Saturday. The film’s global total now stands at $1.983 billion.
Disney’s The Finest Hours opened in fourth place with an estimated $10.3 million from 3,143 locations. That was actually a bit higher than projected for the 3D ocean thriller, though it won’t come close to mitigating the film’s reported $75 million budget. On a more positive note, CinemaScore audiences gave The Finest Hours an A- so there is a chance of a decent hold next weekend – provided people decide to skip the Super Bowl and the three new releases that are scheduled.
You have to look way down the top ten chart to find the weekend’s third new release: Fifty Shades of Black. The R-rated comedy, a parody of last February’s record-breaking Fifty Shades of Grey, opened in ninth place with a disappointing $6.1 million from 2,075 locations. By comparison, the horror spoof A Haunted House (also starring Marlon Wayans) claimed nearly three times that amount when it opened in January of 2013.
Overall, the box office was up 20% over last weekend, when a blizzard shuttered hundreds of East Coast theatres. Last weekend’s new releases, all of which suffered in the wake of the storm, saw strong sophomore holds – especially the horror pic The Boy. Next weekend brings a different sort of challenge to the box office in the form of the Super Bowl. Three new titles will attempt to counterprogram the game, including The Coen Brothers’ Hail, Ceasar! and the long-gestating Pride and Prejudice and Zombies. At this point none of the newbies is expected to break $15 million, which means a second weekend on top for Po the Panda.
|Kung Fu Panda 3 (2016)||$41.00M||$41.00M||1|
|The Revenant (2015)||$12.40M||$138.17M||6|
|Star Wars: Episode VII – The Force Awakens (2015)||$10.78M||$895.43M||7|
|The Finest Hours (2016)||$10.33M||$10.33M||1|
|Ride Along 2 (2016)||$8.35M||$70.78M||3|
|The Boy (2016)||$7.89M||$21.53M||2|
|Dirty Grandpa (2016)||$7.58M||$22.82M||2|
|The 5th Wave (2016)||$7.00M||$20.19M||2|
|Fifty Shades of Black (2016)||$6.19M||$6.19M||1|
|13 Hours: The Secret Soldiers of Benghazi (2016)||$6.00M||$42.57M||3|
The Revenant continues to stay at the top as new comers make modest openings at the BO!!
It was a hard weekend at the box office, with almost all major titles coming in on the low end of expectations. As we told you yesterday, the depressed box office is being blamed, in part, on a major snow storm that hit the East Coast on Saturday – shuttering theaters from Virginia to New York City.
But two-thirds of the country still had a chance to go to the movies. Too bad there wasn’t much besides The Revenant to tempt them. Overall receipts were down 28% from the same time last year, when American Sniper ruled with $64.6 million in its second wide frame. For comparisons sake, that represents over 65% of the total earned by all titles in this weekend’s top ten.
The Revenant claimed an estimated $16 million from 3,711 locations. That’s a decline of almost 50%, which is steeper than projected considering the film added locations this weekend. The Revenant’s awards season momentum was expected to carry it over $21 million in its third wide frame, but taking Saturday off the table for many East Coast audiences clearly had an effect.
Also falling farther than expected was Ride Along 2. Last weekend’s number one movie actually rebounded a bit on Saturday, but still ended up in third place after opening at number one over MLK Day weekend. The sequel was down 63% with an estimated $14.2 million, which brought its domestic total to $59.1 million after ten days. Two years ago the original Ride Along grossed $75.5 million over the same time period – and carried a production budget of $25 million in place of Ride Along 2’s $40 million.
Star Wars: The Force Awakens climbed back up to second place after falling to third last weekend and fifth on Friday’s chart. Like most movies, The Force came in a bit under projections in its sixth frame: taking in an estimated $14.2 million from a now-reduced 3,822 locations. Star Wars 7 is still in the running to hit $900 million before it leaves theaters, though it has slowed considerably in the last two weeks. In terms of all-time worldwide earnings, at $1.939 billion The Force remains in third place behind Titanic’s $2.186 billion.
If there was good news to be found this weekend it concerned the frame’s new releases, all of which wound up slightly above the low-end projections they were headed for only yesterday. First up was Dirty Grandpa, starring Zac Efron and Robert DeNiro. The R-rated comedy opened in fourth place with an estimated $11.5 million from 2,912 locations. That’s not significantly above its pre-release goal, but it’s pretty good considering Dirty Grandpa is currently rocking an 8% on Rotten Tomatoes.
The Boy also exceeded its modest expectations with a fifth place debut of $11.2 million. The PG-13 thriller originally looked like it would fall below $10 million thanks to a so-so opening day and the effects of the East Coast blizzard.
Finally, the sci-fi thriller The 5th Wave managed to top $10 million in its first frame, which is actually a big accomplishment given its genre and the unusual level of competition it faced this weekend. Incidentally, this week in 2015 also brought three new titles to the box office. Two of those debuts (George Lucas’ Strange Magic and the infamous Mortdecai) failed to reach even $5 million – and that without a blizzard to blame. So my apologies to this year’s newbies if I was a bit negative yesterday. Poor reviews aside, none of them deserve to be confused with the likes of Mortdecai.
Next weekend has the potential to bring the 2016 box office back into the black thanks to Kung Fu Panda 3. Though the animated franchise lost some steam with its 2011 sequel, it has been almost two months since Alvin and the Chipmunks 4 opened – leaving a big hole to fill in the family market (sorry Norm of the North). Whether audiences are still interested in Kung Fu Panda remains to be seen, but at this point an opening of at least $40 million is expected. We’ll let you know what happens.
|The Revenant (2015)||$16.00M||$119.19M||5|
|Star Wars: Episode VII – The Force Awakens (2015)||$14.26M||$879.29M||6|
|Ride Along 2 (2016)||$12.96M||$59.11M||2|
|Dirty Grandpa (2016)||$11.53M||$11.53M||1|
|The Boy (2016)||$11.26M||$11.26M||1|
|The 5th Wave (2016)||$10.70M||$10.70M||1|
|13 Hours: The Secret Soldiers of Benghazi (2016)||$9.75M||$33.48M||2|
|Daddy’s Home (2015)||$5.27M||$138.78M||5|
|Norm of the North (2016)||$4.10M||$14.30M||2|
|The Big Short (2015)||$3.50M||$56.71M||7|
Ride Along 2 and The Revenant dethrone Star Wars to claim top spot at the BO!!
This will likely be the last time our box office coverage will lead with Star Wars: The Force Awakens. Come to think of it, it’s also one of the only times we’ve led with the number three film. But hey, breaking domestic records comes with its own protocol. In its fifth weekend in theaters, The Force Awakens earned an estimated $34 million. That ranks among the movie’s strongest holds (-40%) but was only good enough for third place.
The Force is expected to hit $857 million in North America by Monday, or nearly $100 million more than the final gross of Avatar. Although the former domestic box office champ’s record has been eclipsed, it’s still fun to compare its performance to Star Wars 7’s, both here and abroad.
Avatar spent seven weeks at number one and didn’t see a decline approaching -50% until week sixteen, when it finally fell out of the top ten. The movie clearly got a big assist from the fact that interest in 3D technology was at its peak in 2010, and it remains debatable how well an original, tech-heavy title like Avatar would play in the current market. In its record-breaking opening weekend The Force Awakens saw 47% of its gross come from 3D screenings and 21% from IMAX and large format venues, compared to the 81% of 3D and IMAX that Avatar collected.
The difference for Star Wars 7 was made in that first, gigantic weekend. After all, great holds and higher ticket prices aren’t such an issue when a film opens with almost $250 million (more than three times higher than Avatar). In terms of its final gross, The Force will not reach the $1 billion domestic that many predicted, though it did cross that mark internationally this weekend to bring the film’s global total to $1.8 billion. In terms of a worldwide record, Star Wars now has almost no chance to catch Avatar’s $2.787 billion, and even overtaking Titanic for second place ($2.1 billion) could be a stretch. So sleep tight James Cameron, you remain King of the World for now.
The king of this weekend is Ride Along 2. The sequel to 2014’s action comedy earned an estimated $34 million through Sunday and should hit $39 million with four-day holiday grosses included. Back in 2014, the original Ride Along was a big hit when it opened over the Martin Luther King Jr. holiday frame. The film set a record at the time with a three-day debut of $41.5 million and a four-day total of $48.6 million.
Ride Along 2 was expected to at least match its predecessor, but instead will earn less over four days than Ride Along brought in from three. It’s tempting to blame this outcome on the film’s reviews, which are terrible at only 14% on Rotten Tomatoes. But Ride Along was also savaged by critics (18%). It was audiences that made the first film a hit, and those audiences have not embraced the sequel in the same way – giving Ride Along 2 a B CinemaScore compared to the A of the original.
Coming off an amazing week capped by ten Academy Awards nominations, The Revenant continues to exceed expectations. The drama starring Leonardo DiCaprio and Tom Hardy earned an estimated $29.5 million: down just 29% from last weekend. So far, The Revenant has brought in more than $111 million worldwide, most of that in the last 14 days.
This weekend’s second major release was 13 Hours: The Secret Soldiers of Benghazi. The action drama, directed by Michael Bay, focuses on the controversial 2012 attack on an American diplomatic compound in Libya. Released in the same month that brought box office glory to real-life war stories like Lone Survivor and American Sniper, did January’s penchant for combat extend to 13 Hours? Not so much. The film earned an estimated $16 million through Sunday and is expected to reach $19 million with Monday’s holiday included. Many projections had the film grossing at least $20 million in its first three days. The film received an A from CinemaScore audiences, but received mixed critical reviews and will likely wind up as one of Bay’s lowest grossing releases – somewhere between 2005’s The Island ($35 million total) and 2013’s Pain and Gain ($49 million).
Finally, Norm of the North opened with an estimated $6.67 million from 2,411 theatres. While low for an animated title, the Lionsgate distributed pic actually outperformed many projections. The film should get close to $9 million after Monday’s holiday, which is well above the $6 million that was expected.
|Ride Along 2 (2016)||$34.04M||$34.04M||1|
|The Revenant (2015)||$29.50M||$87.67M||4|
|Star Wars: The Force Awakens (2015)||$25.12M||$851.05M||5|
|13 Hours: The Secret Soldiers of Benghazi (2016)||$16.00M||$16.00M||1|
|Daddy’s Home (2015)||$9.30M||$129.26M||4|
|Norm of the North (2016)||$6.68M||$6.68M||1|
|The Forest (2016)||$5.79M||$21.13M||2|
|The Big Short (2015)||$5.20M||$50.52M||6|
|The Hateful Eight (2015)||$3.45M||$47.60M||4|
The Revenant and The Forest open well, while Star Wars opens big in China!!
The Revenant exploded this weekend as audiences showed up in droves to see Leonardo DiCaprio brave the elements in his quest for revenge. The strong Oscar contender expanded into 3,375 theaters and amassed an impressive $38 million taking second only to Star Wars: The Force Awakens, which not only finished #1 domestically but started its China release strong. Meanwhile The Forest continues to prove there’s a reliable audience willing to show up for low budget, PG-13 horror at the beginning of the year.
First for The Revenant, which not only decimated BoxOfficeMojo projections, but seems to have proven the idea of a star’s drawing power is not as dead as some may have you believe. DiCaprio‘s last five films that opened in over 3,000 theaters have all grossed $30 million or more in their opening weekend. And that doesn’t include Shutter Island, which opened in 2,991 theaters back in 2010 and brought in $41 million. The $38 million for The Revenant serves as DiCaprio‘s fourth largest opening of all-time.
Additionally, the film’s opening places it in the top five January openings of all-time, edging out Lone Survivor. Internationally, The Revenant pulled in an estimated $20.2 million from nine markets giving it a worldwide cume of $58.2 million.
Next weekend will be interesting as The Revenant is likely to find itself nominated in several Oscar categories this coming Thursday. Last year American Sniper dropped only 27.6% after its record-breaking opening, but it also had an “A+” CinemaScore compared to the “B+” The Revenant received. Other comparable titles and their second weekends include a 25.5% drop for Gran Torino in 2009, Zero Dark Thirty dipped 35.4% in 2013 and Lone Survivor fell 41.7%. Right now, a drop around 35-38% seems like a most likely scenario.
Moving up the charts for a second, we find The Force Awakens taking first place for the fourth weekend in a row with an estimated $41.6 million. With that it has become the first film to gross over $800 million domestically with a massive $812 million and isn’t done yet. Add to that it just brought in an estimated $53 million in its first two days in China. Disney is reporting this as the largest Saturday/Sunday opening of all-time in the country, but it should be noted it’s the only film to have ever opened on a Saturday in China. That said, it obviously scored the biggest Saturday opening of all-time.
Globally, Star Wars is now the third highest grossing worldwide release of all-time with over $1.73 billion. Based on international numbers alone, it is now the seventh highest grossing release with $921.4 million, just behind Avengers: Age of Ultron. The most obvious goal now is to become only the third film ever to cross $2 billion worldwide.
Finishing fourth is the weekend’s only other new wide release, The Forest, which performed well, bringing in an estimated $13 million. If it can hold on next weekend it could end its run around $35 million, but the “C” CinemaScore, negative reviews and recent history don’t bode well. Similar January releases such as The Woman in Black 2 and Paranormal Activity: The Marked Ones scored “C” CinemaScores while opening in the mid-to-high teens and found themselves dropping 69.7% and 65.7% respectively in their second weekends. The Marked Ones was able to finish at $32 million, but it was part of a franchise and scored $18.3 million its opening weekend. If history teaches us anything, The Forest is looking at a $22-25 million run.
Moving down the list, while The Revenant exploded, Quentin Tarantino‘s The Hateful Eight imploded as the filmmaker’s latest film fell short of expectations last weekend and now, in its second weekend in wide release, it has dropped 59.6%. Even worse, that drop comes as the film expanded into 464 additional theaters. With an estimated $6.3 million this weekend the film is up to $41.4 million domestically and looking to top out around $50 million or so.
A couple of other films expanded this weekend and also didn’t make much of a dent. The Big Short has had a very good run, but the addition of another 941 theaters this weekend didn’t do much to bolster its box office as it dropped 30.5% for an estimated $6.3 million weekend. The film’s cume now stands at $42.8 million and if it can perform well at the Golden Globes tonight and snag a few Oscar nominations perhaps it can look forward to a strong hold next weekend.
Also looking for some award season love, but failing to get it at this past week’s Producers Guild nominations, The Weinstein Co. expanded Carol into an additional 336 theaters, but the film could only muster an estimated $1.4 million. An Oscar nod or two for its two leads, Cate Blanchett and Rooney Mara, would definitely help things along.
IFC‘s release of 45 Years through their Sundance Selects label continues to play strong in New York and Los Angeles, bringing in another $90,567 from nine screens. The studio will begin the film’s national expansion on January 22nd, though don’t be shocked if you see a few theaters added next weekend as star Charlotte Rampling is very likely to hear her name as Best Actress nominee this coming Thursday.
Finally, if you scroll down the chart to 19th place you’ll find Spectre. The latest James Bond film is currently playing in 379 theaters and brought in another $405,000 this weekend bringing its cume to $198.5 million. Sony is doing its best to push it over $200 million domestically, will it make it?
Next weekend sees three new wide releases entering the fray beginning with the Ice Cube and Kevin Hart sequel Ride Along hoping for another $40M+ opening, the animated feature Norm of the North and Michael Bay‘s newest film 13 Hours: The Secret Soldiers of Benghazi.
via Box Office Mojo
|Star Wars: The Force Awakens (2015)||$41.63M||$812.01M||4|
|The Revenant (2015)||$38.00M||$39.56M||3|
|Daddy’s Home (2015)||$15.00M||$116.31M||3|
|The Forest (2016)||$13.09M||$13.09M||1|
|The Hateful Eight (2015)||$6.35M||$41.47M||3|
|The Big Short (2015)||$6.30M||$42.85M||5|
|Alvin and the Chipmunks: The Road Chip (2015)||$5.50M||$75.61M||4|
‘Star Wars: Force Awakens’ Becomes Highest Grossing U.S. Domestic Release of All-Time!!
With an updated gross of $764.4 million thru Wednesday, Jan. 7, Star Wars: the Force Awakens is officially the highest grossing film of all time in the domestic market. By the end of this coming weekend it will become the only film to cross $800 million domestically as the conversation then turns to its continuing international prospects.
It took a mere 20 days for the film to surpass the previous record of $760.5M held by Avatar, which not only took a total of 318 days to achieve, but was spread across two releases.
When adjusted for inflation Force Awakens still has a long, long way to go to top Gone with the Wind‘s $1.73 billion, but it has moved to 20th position on the chart, just ahead of Raiders of the Lost Ark bringing to light another milestone.
Harrison Ford now tops the BoxOfficeMojo people index, surpassing longtime chart topper and fellow Star Wars alum, Samuel L. Jackson. The domestic box office take for Ford‘s films before adjusting for inflation totals a whopping $4.69 billion, topping Jackson by $73 million. Adjusted for inflation, Ford has no competition as his total reaches $9.36 billion, over $2.2 billion more than Tom Hanks in second place.
While Force Awakens‘ record breaking accomplishment is worthy of note, it’s just the beginning. By the end of this coming weekend the record will be an afterthought as The Force Awakens will become the only film to cross $800 million domestically. From there the conversation turns to its continuing international prospects.
Ever since its record-shattering opening weekend the question of whether The Force Awakens would top Avatar domestically was more a matter of “When?” than “If?” A well-timed release, the proliferation of IMAX screens and rising ticket prices certainly helped matters, but now attention turns to the international and global box office numbers. International numbers for Star Wars are relatively even with domestic totals so far, which is saying something when compared to the likes of worldwide chart toppers such as Avatar, Titanic and Jurassic World, all of which saw over 60% of their worldwide total come from overseas markets. A whopping 72.7% of Avatar‘s number came from oveseas.
In fact, if you look at the top 25 films on the worldwide chart, Force Awakens is one of only six films with less than 60% of their overall worldwide gross coming from international territories. Also interesting is one of the closest films to matching Force Awakens in this regard is Star Wars: Episode I – The Phantom Menace with a 46.2/53.8 domestic to international split. The only film in the top 25 to generate more domestically than it did internationally is The Dark Knight.
At this point, it’s difficult to determine just how big it will go, most of all because it has yet to release in China where Luke Skywalker, Darth Vader and the Force aren’t exactly known quantities. The original trilogy was screened in China for the first time just last June while the prequel films generated a combined $18.7 million upon their release in China. Force Awakens will obviously do better than that upon its release this Saturday, Jan. 9, but will it be able to match the $228 million earned by Jurassic World or the $240 million brought in by Avengers: Age of Ultron?
The film’s global box office currently stands at $1.57 billion and $2 billion seems likely at this point, but if it wants to threaten Titanic’s $2.186 billion for that second spot on the worldwide chart it’s going to need some help. As for Avatar’s $2.78 billion… it seems well out of reach at this point.
Here’s a look at the current top ten, all-time worldwide earners (not adjusted for inflation). You can find the full chart here.
- Avatar – $2.788 billion
- Titanic – $2.186 billion
- Jurassic World – $1.669 billion
- Star Wars: The Force Awakens – $1.576 billion
- Marvel’s The Avengers – $1.519 billion
- Furious 7 – $1.515 billion
- Avengers: Age of Ultron – $1.405 billion
- Harry Potter and the Deathly Hallows Part 2 – $1.341 billion
- Frozen – $1.276 billion
- Iron Man 3 – $1.215 billion
via Box office Mojo
Star Wars continues to break records, while Hateful Eight opens below expectations @theBO!!!!
Star Wars: The Force Awakens added another $88.3 million in its third weekend, topping the previous record for a third frame by 29%. This morning’s estimate brings the film’s domestic total to $740.2 million in 17 days. While that is an amazing feat, The Force saw a steeper drop (-40.8%) and that leaves it short of the all-time domestic box office record. Once again, the number to beat is $760.5 million, set by Avatar in 2010, and it looks like it will take Star Wars at least another day to reach that.
All grosses reported by Disney since New Year’s Eve (Thursday) have been estimated rather than actual, but it’s safe to say that the studio would be thrilled to claim the record if it thought it had the numbers to back it up. As it is, waiting another day or two hardly diminishes the film’s box office achievements. Worldwide, The Force Awakens has earned $1.5 billion, though that does not include all international grosses from this weekend. At the moment the film stands at number seven in terms of global earnings – less than $6 million behind Furious 7.
Surprisingly, there are other movies playing in theaters this holiday season and a couple of them are even holding their own against the force. Most notable is Paramount’s Daddy’s Home, which claimed the number two spot with an estimated $29 million this weekend. That’s down just 25% from the comedy’s Christmas debut and brings the film’s domestic total to $93.6 million in ten days. The last Will Ferrell/Mark Wahlberg comedy, The Other Guys, took almost a month to pass the same mark before ending with a final domestic total of $119.2 million.
The Hateful Eight started its nationwide run a bit below expectations, but even that revised weekend target of $17 million proved too high a bar for the R-rated Western. From 2,474 locations, The Hateful Eight earned an estimated $16.2 million, or a little over half what Tarantino’s Django Unchained earned in its debut weekend three years ago. To be fair, Django’s first weekend did follow a Christmas Day release (a Tuesday in 2012), and its critical reception was much stronger.
Sisters and Alvin and the Chipmunks: The Road Chip, both entering their third frames, took the fourth and fifth spots on the New Year’s chart. The Tina Fey/Amy Poehler comedy has already surpassed the final domestic gross of their last feature film: Baby Mama from 2008. Sisters also realized one of the best holds among the top ten with a decline of just over 11%. Only Alvin and the Chipmunks held better at -10.2%. On the other hand, with a domestic total of $67.3 million after 17 days, the fourth installment in this G-rated series is still by far the lowest grossing of the franchise. 2011’s Chipwrecked had earned over $92 million at the same point in its run while Squeakquel amassed an astonishing $165.3 million in 17 days beginning in 2009.
The last of the Christmas Day holdovers, Joy and Point Break, were each down over 30% from their debuts one week ago. In the case of David O Russell’s Joy, the 39% drop was steeper than expected considering the film’s generally positive reviews and Golden Globes exposure. In terms of the remake of Point Break, which opened with a disappointing $9.8 million last weekend, nothing short of a tsunami of international receipts will be enough to justify the film’s $105 million budget at this point.
It looked like this weekend would end up as the highest-grossing New Year’s frame of all time. The record for the holiday is $220 million, set in 2010 when Avatar was at the height of its powers. That was also the last time that both Christmas and New Year’s Eve fell on a Friday, so it makes for an unusually convenient comparison. In the end, this weekend fell short of the all-time record by about $5 million. A stronger showing from The Hateful Eight would have bridged that gap, but I guess it’s hard to distinguish yourself with Star Wars in the mix.
|Star Wars: The Force Awakens (2015)||$88.30M||$740.27M||3|
|Daddy’s Home (2015)||$29.00M||$93.68M||2|
|The Hateful Eight (2015)||$16.24M||$29.58M||2|
|Alvin and the Chipmunks: The Road Chip (2015)||$11.80M||$67.38M||3|
|The Big Short (2015)||$9.00M||$32.98M||4|
|Point Break (2015)||$6.85M||$22.43M||2|
|The Hunger Games: Mockingjay – Part 2 (2015)||$4.63M||$274.22M||7|