‘Black Panther’ Tops $500 Million, As ‘Death Wish’ and ‘Red Sparrow’ Open Modest at the BO!!!
It was yet another monster weekend for Disney and Marvel‘s Black Panther as the superhero feature became the third fastest film to ever reach $500 million domestic. Meanwhile, the weekend’s new wide releases came up just a bit short of Mojo’s pre-weekend forecast with Fox‘s Red Sparrow taking runner-up position behind Black Panther and MGM’s Death Wish landing in third. It’s also Oscar Sunday, which means we’ll end this recap with a brief look at this some of year’s nominees and how they stack up at the box office.
With an estimated $65.7 million, Disney and Marvel Studios‘s Black Panther topped the weekend box office for the third straight weekend, becoming only the third film in the Marvel Cinematic Universe to accomplish that feat over its first three weeks in release, the others being Captain America: The Winter Soldier and The Avengers. As noted above, the film also topped $500 million domestic, becoming the third fastest film to do so, bringing in $501.1 million in just 17 days, tied with Jurassic World and one day behind Star Wars: The Last Jedi.
Black Panther‘s performance so far has it ranked as the tenth highest grossing domestic release of all-time, third highest grossing comic book adaptation and superhero film and it has now found a spot within the all-time top 50 worldwide. This weekend’s performance was also the third largest third weekend of all-time and should the past two weekends be any indication, it could leapfrog Avatar for second largest if actuals come in ~$2.8 million higher than estimates.
Speaking of worldwide, Black Panther added another $56.2 million internationally this weekend, pushing its overseas cume of $396.6 million for a global tally just shy of $900 million. This weekend saw the film open in Japan with an estimated $2.4 million ($4.2M including previews), besting Ant-Man, Guardians of the Galaxy and Thor: Ragnarok. The UK still leads all international markets with nearly $50 million followed by South Korea ($41.4 million). Black Panther will open in China, its final international market, next weekend.
In second is Fox‘s Red Sparrow, an adaptation of the first novel in Jason Matthews‘ trilogy starring Jennifer Lawrence and directed by Francis Lawrence. Debuting in 3,056 locations, the film brought in an estimated $17 million, which is in line with the studio’s expectations while a bit behind Mojo‘s pre-weekend forecast. The film received a “B” CinemaScore and played to an opening weekend audience that was 53% female vs. 47% male and of 79% of its overall audience was over the age of 25.
Red Sparrow also brought in an estimated $26.5 million internationally this weekend. Leading the way was Taiwan with $2.4 million followed by Spain ($2m), Italy ($1.5m) and Hong Kong ($762K). Upcoming markets include Japan (Mar 30), France (Apr 4) and Russia (May 31).
Looking ahead, it’s tough to determine just how well this film will perform based on pre-weekend comparisons, which had us looking at Atomic Blonde and Ghost in the Shell, both of which debuted with over $18 million and, like Sparrow, received a “B” CinemaScore. Neither of those films, however, played to a majority female audience with Atomic‘s 51% male audience being the closest while Ghost in the Shell joined Sparrow in playing to an older audience at 76% over the age of 25. Averaging the two films out would point toward a $45 million domestic run for Sparrow, which seems like a reasonable high-end at this point.
Landing in third is MGM‘s Death Wish, a remake of Charles Bronson‘s 1974 classic starring Bruce Willis and directed by Eli Roth. The film debuted in 2,847 locations and delivered an estimated $13 million over its opening weekend. The film received a “B+” CinemaScore and played to an audience that was 57% male vs. 43% female and 53% of the overall audience was over the age of 35. Looking ahead, the debut is relatively in line with our pre-weekend comp to The Foreigner, which opened with $13.1 million and ended its domestic run just shy of $35 million. The Foreigner, however, received a “A-” CinemaScore and was better received by critics suggesting an overall domestic performance right around $30 million may be a better bet.
WB‘s release of New Line‘s Game Night held on strong in its second weekend, delivering an estimated $10.7 million, signaling a 37% drop as the film’s cume reached $33.5 million in its first ten days in release. Internationally the film added $8.4 million, pushing its worldwide cume just shy of $50 million.
Rounding out the top five is Sony‘s Peter Rabbit, which dropped just 22% and delivered an estimated $10 million in its fourth weekend in release for a domestic cume that now stands at $84 million. Additionally, the film landed in its first major international market this weekend, bringing in an estimated $12.7 million in China. The film’s overall international weekend topped $14 million for a worldwide box office that now tops $101 million. Over the coming weeks the film will launch in Mexico (Mar 16), UK (Mar 16), Australia (Mar 22), Brazil (Mar 22), Germany (Mar 22), Italy (Mar 22), Russia (Mar 22) and Spain (Mar 23).
Outside the top five Sony‘s Jumanji: Welcome to the Jungle continued its impressive run with an estimated $4.5 million, pushing its domestic gross to $393.2 million. Added to that, Jumanji brought in an estimated $1.9 million internationally, pushing its global cume to $928.9 million. The film will launch in Japan, its final international market, on April 6.
In limited release Sony Classics‘s Foxtrot debuted in four locations with an estimated $36,786 ($9,197 PTA) and Hannover‘s Death House opened in one theater with an estimated $10,295.
Finally, considering it is Oscar Sunday, of this year’s Oscar nominees The Greatest Showman is the only nominee that remains in the weekend top ten, having done so for 11 consecutive weeks and it was yet another standout weekend as the film dropped less than 22% for the ninth time out of ten weekends, delivering an estimated $2.67 million for a domestic cume just shy of $165 million. Now here’s a look at the year’s nine Best Picture nominees in order of overall domestic box office performance:
- Dunkirk (Warner Bros.) – $188.05M
- Get Out (Universal) – $176.04M
- The Post (Fox) – $80.37M
- The Shape of Water (Fox Searchlight) – $57.39M
- Darkest Hour (Focus Features) – $55.42M
- Three Billboards Outside Ebbing, Missouri (Fox Searchlight) – $52M
- Lady Bird (A24) – $48.29M
- Phantom Thread (Focus Features) – $20.13M
- Call Me by Your Name (Sony Classics) – $17.05M
Of the nine Best Picture nominees, Steven Spielberg‘s The Post has made the most since being nominated, bringing in nearly $34 million, followed by the year’s top nominee The Shape of Water with nearly $26 million.
Next weekend sees four new wide releases hitting theaters including Disney‘s A Wrinkle in Time in ~3,800 locations; STX‘s Gringo in 2,400 theaters; Entertainment Studios‘ The Hurricaine Heist in 2,500 theaters; and Aviron will debut Strangers: Prey at Night in approximately 2,400 locations.
via Box Office Mojo
|Jumanji: Welcome to the Jungle||$4.5M||$393.2M||11||
|Fifty Shades Freed||$3.3M||$95.6M||4||
|The Greatest Showman||$2.7M||$164.6M||11||
‘Black Panther’ Still Dominates As ‘Game Night’ Opens Well While ‘Annihilation’ Gets Annihilated at the BO!!!
Disney and Marvel‘s Black Panther continued its box office domination this weekend, becoming only the fourth film to ever deliver over $100 million in its second weekend as well as joining Jurassic World as the second fastest film to top $400 million domestically. Meanwhile, the weekend’s new wide releases finished mostly as expected with WB‘s release of New Line‘s Game Night leading the way with a second place finish while Paramount‘s Annihilation landed in fourth and Orion‘s Every Day finished within the top ten.
With an estimated $108 million, Black Panther delivered the second largest second weekend of all-time, improving on Jurassic World‘s $106.5 million second weekend back in June 2015. Black Panther‘s domestic gross now stands at $400 million, which places it alongside Jurassic World as the second fastest film to top $400 million domestically. However, given the way Black Panther has been outperforming estimates since release, don’t be surprised to see these domestic numbers climb once actuals come in on Monday afternoon.
So far, Black Panther is already the fifth highest grossing title domestically in the Marvel Cinematic Universe and will shortly pass both Captain America: Civil War ($408m) and Iron Man 3 ($409m). The film is also now one of the top 30 domestic releases of all-time after just ten days of release.
Black Panther also continues to surge internationally where it has now brought in $304 million thanks to an estimated $83.8 million this weekend from 55 markets, pushing the film’s worldwide total over $700 million, placing tenth within the MCU. The weekend’s new releases included Russia ($2.6m), where the film only opened in IMAX and Deluxe theaters so far and will go wide tomorrow, and Vietnam ($2.5m). The UK remains the film’s top overseas market, bringing in an estimated $41.2 million so far. Black Panther has yet to open in Japan where it will debut next weekend, followed by a March 9 opening in China.
Warner Bros.’s release of New Line‘s R-rated comedy Game Night finished in runner-up position with an estimated $16.6 million from 3,488 locations ($4,759 PTA). The film received a “B+” CinemaScore from opening day audiences and opening weekend demographics show the film playing to an audience that was 56% female vs. 44% male and a healthy 80% of the overall audience was over the age of 25. Given the film’s opening weekend performance, look for this one to finish around $50 million or so, plus/minus $5 million on either side based on comps.
Game Night debuted in 22 markets internationally this weekend and brought in an estimated $5.2 million. Leading the way was Australia with an estimated $1.5 million followed by Russia ($1.3m) and the Netherlands ($570k). The film expands to another 23 markets next weekend including the UK and Germany.
Sony‘s Peter Rabbit outperformed Mojo‘s pre-weekend forecast, holding on strong and dropping just 28% in its third weekend, bringing in $12.5 million and pushing the film’s domestic cume over $70 million.
Finishing in fourth is Paramount‘s Annihilation with an estimated $11 million. The debut lines up with Paramount’s expectations, but a “C” CinemaScore doesn’t necessarily bode well for the film’s future prospects, though the average audience rating on RottenTomatoes is positive and the 8/10 rating on IMDb.com is another good sign. However, with Black Panther‘s continued success and the release of Red Sparrow next weekend, competition is going to be stiff. The film’s opening weekend breakdown saw it play to an audience that was 58% male and 67% of the overall audience was over the age of 25.
Internationally, Paramount struck a deal with Netflix last year for international rights to stream Annihilation on its subscription service 17 days after the film’s domestic release. Paramount does retain the rights to release the film in China and in VOD and home entertainment.
Universal Pictures‘ Fifty Shades Freed rounded out the top five with an estimated $6.9 million and also added another $22.3 million internationally as the film crossed $320 million at the worldwide box office this weekend.
Outside the top five, Fox‘s The Greatest Showman continues its tremendous run, bringing in another $3.4 million this weekend for a domestic cume that now stands at $160.7 million. Additionally, the film brought in an estimated $7.7 million internationally this weekend for an international cume that now tops $200 million, for a global tally of $361.2 million. The film currently ranks as the fourth highest grossing musical of all-time domestically.
Finishing in ninth place with an estimated $3.1 million from 1,661 locations ($1,868 PTA) is Orion‘s Every Day. Carrying a budget just below $5 million, this is the first theatrical release for the relaunched Orion films and the result is a solid start and right in line with expectations and what the studio was targeting. The film received a “B+” CinemaScore and played to an audience that was 67% female.
In limited release, Well Go‘s Operation Red Sea delivered an estimated $510,000 from 45 locations ($11,333 PTA); The Orchard’s The Young Karl Marx brought in an estimated $28,599 from three theaters ($9,533 PTA); IFC released The Cured in three theaters where it brought in an estimated $5,332 ($1,777 PTA); and Oscilloscope‘s November opened in one theater with an estimated $4,300.
Next weekend sees the release of Red Sparrow starring Jennifer Lawrence in ~2,900 locations and the Bruce Willis-led Death Wish will open in ~2,700 theaters.
|Fifty Shades Freed||$6.9M||$89.6M||3||
|Jumanji: Welcome to the Jungle||$5.7M||$387.3M||10||
|The 15:17 to Paris||$3.6M||$32.3M||3||
|The Greatest Showman||$3.4M||$160.8M||10||
‘Black Panther’ Box Office to Cross $500 Million Today!!
The Black Panther box office train keeps on rollin’. The Marvel Studios film bowed to record-breaking numbers last weekend, scoring over $200 million in just three days, and now the film is poised to cross the $500 million mark at the worldwide box office today. The film finished with an MCU-best $14.5 million Wednesday, surpassing The Avengers’ previous Wednesday record of $13.6 million. That is very, very good news as we head into the film’s second weekend of release, where it looks like Black Panther is going to have a very strong hold on the box office throne. Moreover, the film is going to pass the final worldwide gross of Ant-Man ($519 million) in a single week.
With this $500 million marker, Disney as a whole has crossed the $1 billion mark for 2018 in just 52 days. Under CEO Bob Iger’s reign, he’s brought Pixar, Marvel, and Lucasfilm all into the Disney fold, and the result is a 2019 slate that includes Avengers 4, Toy Story 4, Star Wars: Episode IX, and Frozen 2, not to mention highly anticipated live-action remakes of The Lion King, Aladdin, and Dumbo which are sure to soar. So yeah, Disney is sitting pretty.
Back to Black Panther, it’ll be really interesting to see where this movie ends up. Spider-Man: Homecoming is the highest-grossing “inaugural” film for a Marvel character at $880.1 worldwide, but Black Panther is already at $500 million and it hasn’t even opened in Japan or China yet. It doesn’t seem too big of a stretch to imagine it overtaking that total. Moreover, I’m starting to think—domestically at least—Black Panther is going to outgross the May sequel Avengers: Infinity War. It’s already at $277 million heading into its second weekend. Time will tell, but this thing is huge and the numbers aren’t slowing down anytime soon.
‘Three Billboards’ Defies Odds in its 15th Weekend at the Specialty BO!!!
In its fifteenth weekend in release, Three Billboards Outside Ebbing, Missouri continued to impress at the Presidents Day weekend box office, growing its domestic total to $48.4 million and its international tally to $63.8 million for a worldwide total of $112.2 million to date.
Such is the power of awards season — and particularly an Oscar best picture nomination — for fall specialty films that might otherwise fade from theaters after the year-end holidays.
Three Billboards grossed an estimated $1.9 million from 708 theaters over the four-day holiday weekend, not that far behind the estimated $2.1 million earned by Guillermo Del Toro‘s The Shape of Water from 957 cinemas in its twelfth outing (both films are from Fox Searchlight). Three Billboards — which won top honors at the Golden Globes last month and at Sunday night’s BAFTAs — is notable for the fact that it first went nationwide in early December, while fellow best-picture nominees Shape of Water and Joe Wright‘s Darkest Hour waited until January to do so.
Shape of Water, which is up for a leading 13 Academy Awards nominations, has grossed $53.7 million domestically and another $38.7 million overseas for a worldwide cume of $92.4 million to date. Del Toro’s film has rolled out more slowly overseas than either Three Billboards or Focus Features’ Darkest Hour.
Among the specialty films vying for top Oscar honors, Darkest Hour is the top earner to date, commanding $53.6 million at the U.S. box office and $78 million for a global total of $131.6 million. Its domestic gross over Presidents Day, its thirteenth weekend, was $1.1 million from 602 cinemas.
At its widest, Shape of Water played in 2,341 locations, followed by Darkest Hour in 1,733 cinemas and Three Billboards in 1,726.
Darkest Hour, Shape of Water and Three Billboards all saw their location counts reduced significantly over the holiday weekend, albeit to varying degrees, as theater owners gave screen time to Black Panther and other newer films. That was also the case for the remaining specialty titles competing in the race for best picture: Paul Thomas Anderson‘s Phantom Thread (Focus), Luca Guadagnino‘s Call Me by Your Name (Sony Classics) and Greta Gerwig‘s Lady Bird (A24).
Phantom Thread took in roughly $910,000 from 335 theaters in its eighth weekend for a domestic total of $17.9 million. The largest number of theaters it played in was 1,186 locations. Overseas, the period drama has earned $10 million from its first batch of markets for a $27.9 million cume.
Call Me by Your Name grossed approximately $657,000 from 332 theaters in its thirteenth outing for a domestic total of $15 million and $26 million globally. At its widest, the movie played in 815 cinemas.
Lady Bird, which first opened in select theaters four months ago, followed Call Me by Your Name with roughly $606,000 from 407 locations for a domestic tally of $46.3 million. The dramedy debuted in its first 10 international markets over the weekend, earning $1.9 million, including $1.2 million in Australia. Like Three Billboards, Lady Bird first expanded nationwide in early December.
Steven Spielberg‘s The Post, a major studio film from 20th Century Fox, is another best picture contender that’s still in theaters. The movie has earned $134.7 million since debuting over Christmas, including $77.1 million domestically.
This year’s Oscar ceremony is set for Sunday, March 4.
Among new specialty titles making a play over the Presidents Day frame, Sally Potter‘s British black comedy The Party scored one of the top location averages of the holiday weekend ($15,003) as it grossed an estimated $45,010 from three theaters. Roadside Attractions is handling the film, which is currently competing for the Golden Bear at the Berlin International Film Festival.
Russian film Loveless, which is vying for the best foreign-language film Oscar, took in $40,222 from three cinemas for a location average of $13,407 for Sony Classics.
via The Hollywood Reporter
‘Black Panther’ to Top ‘Justice League’ Total U.S. Box Office in Just 4 Days!!!
“Black Panther” is going to have such a big opening weekend that its four-day start alone will make more money than the first ever movie with Superman, Batman, Wonder Woman, The Flash, Aquaman and Cyborg.
Through 91 days in theaters, the DC team-up film “Justice League” made $228 million domestically, a total that would be good for many other films but was below the $412.5 million made by “Wonder Woman” and below what was expected for a movie that aimed to be DC’s answer to the “Avengers.” “Black Panther” has already more than doubled the three-day opening made by “JL,” with a $201.7 million start compared to $95 million made by “JL” back in November.
Down the road, “Black Panther” could soon leave several major releases in the dust. A $100 million second weekend is a possible feat for this film, as next weekend’s releases, “Game Night” and “Annihilation,” aren’t expected to open to more than $25 million. At that pace, “Black Panther” could pass the domestic run for “Thor: Ragnarok” as early as this coming Sunday and pass the domestic run for “Guardians of the Galaxy Vol. 2” the week after. The sky is truly the limit for Wakanda.
via The Wrap
‘Black Panther’ Opens Huge With $192 million at the BO!!
Dominating the weekend and delivering one of the largest opening weekends of all-time, Disney and Marvel‘s Black Panther topped the President’s Day weekend box office, outperforming its nearest competitor by nearly $175 million based on estimates. As a result, fellow new wide releases were left in the dust with both Lionsgate‘s Early Man and PureFlix‘s Samson struggling in the low single digits. The weekend did, however, have other notable performances such as Sony‘s Jumanji: Welcome to the Jungle, which became the studio’s second highest grossing domestic release of all-time, and Fox‘s The Greatest Showman, which has now topped $150 million at the domestic box office.
Atop the weekend box office with an estimated $192 million for the three-day weekend, Black Panther delivered the fifth largest three-day domestic opening in history and is currently expected to finish around $218 million for the four-day holiday weekend. The performance is also the largest February opening of all-time, the largest President’s Day weekend opening of all-time and gives Disney eight of the top ten domestic openings of all-time. Within the Marvel Cinematic Universe, Black Panther is the eighteenth release in the franchise and the ninth to open with over $100 million. It’s also the second largest opening in the MCU, behind only The Avengers ($207.4m) and topping the $191 million debut for Avengers: Age of Ultron.
From an audience standpoint, Black Panther received an “A+” CinemaScore and played to an audience that was 55% male vs. 45% female, of which 61% were over the age of 25.
Internationally, Black Panther brought in an estimated $169 million from 48 markets for a global, three-day debut of $361 million, the fifteenth largest global opening weekend of all-time. The film managed this feat despite not debuting in China (March 9), Japan (March 1) or Russia, where the film will open next weekend along with Vietnam, Trinidad, Peru and Venezuela. Overall, South Korea leads all markets where the film brought in an estimated $25.3 million followed by the UK ($24.8m), Mexico ($9.6m), Brazil ($9.4m) and Australia ($9.2m).
Sony‘s Peter Rabbit finished second with an estimated $17.25 million for the three-day, which is expected to bloom to $22+ million for the four-day holiday weekend. The film’s domestic cume currently stands at $48 million after ten days in release.
In third is last weekend’s #1 pic, Universal‘s Fifty Shades Freed, which dipped an expected 56%, finishing with an estimated $16.9 million for the three-day and expected to finish around $19 million for the holiday. The film also added another $47.7 million internationally this weekend, pushing its overseas cume over $190 million for a worldwide total that now stands at $268.9 million.
Sony‘s Jumanji: Welcome to the Jungle lands in fourth position with an estimated $7.9 million for the three-day and is expected to climb over $10 million for the four-day weekend. The film’s domestic cume now stands at over $377.6 million making it Sony‘s second highest grossing domestic release of all-time, surpassing Spider-Man 2 and now opening the question as to whether it can top Spider-Man‘s $403.7 million to take over the top spot.
Jumanji also added an estimated $4.8 million internationally this weekend, bringing the film’s overseas cume to $527 million for a worldwide total to $904.6 million, which makes the film the studio’s second highest worldwide release of all-time, behind only Skyfall‘s $1.1 billion total. Jumanji will open in Japan on April 6.
Rounding out the top five is Warner Bros.’s release of Clint Eastwood‘s The 15:17 to Paris, which dropped 39% for an estimated $7.7 million over the three-day and is expected to finish around $9 million for the four-day with a domestic cume approaching $27 million after eleven days in release. The film also added another $2.8 million internationally this weekend from 27 markets, pushing the international running cume to $10.7 million.
Just outside the top five for the first time since opening in late December we find Fox‘s The Greatest Showman with an estimated $5.1 million, dropping just 21% for a cume that now stands at $154 million. The film is expected to deliver $6.3 million for the four-day weekend.
In seventh position we come to the second of the weekend’s new wide releases, Lionsgate‘s release of Aardman‘s Early Man, which brought in an estimated $3.15 million for the three-day and is expected to finish around around $4.2 million for the four-day weekend. This puts the film below the mid-single digit pre-weekend expectations, and short of Shaun the Sheep‘s $4 million debut back in August 2015. The film received a “B” CinemaScore from opening day audiences and played to an audience that was 51% male and 62% over the age of 25.
Rounding out the top ten we find the weekend’s third and final new wide release of the weekend, PureFlix‘s Samson, which fell well short of Mojo‘s expectations, delivering just $1.97 million for the three-day and is expected to finish around $2.3 million for the four-day. Indicators heading into the weekend suggested Samson might be able to challenge some of the studio’s top openers, but instead is settling below even Same Kind of Different as Me, which delivered a $2.5 million three-day back in October 2017, a performance that was also short of expectations.
The weekend’s limited releases include WB‘s Detective Chinatown 2 with an estimated $677k from 115 theaters ($5,887 PTA); Cohen Media‘s Double Lover brought in $69,176 from 48 locations ($1,441 PTA); Roadside‘s The Party debuted with an estimated $36,334 from three theaters ($12,111 PTA); Sony Classics‘ release of the Oscar nominated Loveless brought in $30,950 from three theaters ($10,317 PTA); Bleecker‘s Nostalgia also opened in three locations, pulling in an estimated $20,667 ($6,889 PTA); and FilmRise‘s The Boy Downstairs brought in an estimated $6,000 from one location.
One last limited release was Lionsgate‘s release of Monster Hunt 2, which brought in an estimated $335,000 from 69 theaters. The big news surrounding this follow-up to 2015’s original, which delivered over $385 million worldwide, is the sequel’s debut in China where it reportedly set a single day record with over $85 million on its opening day, ultimately bringing in an estimated ~$190 million for the weekend. We’ll have more on that front on Tuesday.
Overall, the three-day weekend saw the top twelve nearly double the same weekend last year, delivering a combined $260.4 million and if some rival estimates hold true, look for Black Panther‘s three-day cume to climb once actuals arrive, pushing that combined total even higher.
Next weekend sees the release of Paramount‘s Annihilation into ~2,000 locations; Orion will open Every Day into ~1,650 theaters and WB has the widest release of the weekend in Game Night, which is targeting 3,300+ theaters.
|Fifty Shades Freed||$16.9M||$76.1M||2||
|Jumanji: Welcome to the Jungle||$7.9M||$377.6M||9||
|The 15:17 to Paris||$7.7M||$25.4M||2||
|The Greatest Showman||$5.1M||$154.5M||9||
|Maze Runner: The Death Cure||$2.5M||$54.0M||4||
‘Fifty Shades Freed’ Leads New Releases as Franchise Tops $1 Billion at the Worldwide BO!!
The weekend delivered mostly on expectations with the week’s three new wide releases taking the top three spots at the box office. Leading the way was Universal‘s Fifty Shades Freed, pushing the Fifty Shades franchise over $1 billion globally. Sony‘s release of Peter Rabbit actually topped expectations while Clint Eastwood‘s The 15:17 to Paris was a little late arriving in the station, coming up a bit short of Mojo‘s pre-weekend forecast.
With an estimated $38.8 million, Universal‘s Fifty Shades Freed topped the weekend box office. While the number is almost spot on with Mojo‘s pre-weekend expectations it once again shows a decline within the franchise from one film to the next, coming up short of the $46.6 million opening for Fifty Shades Darker one year ago. By the end of its run, Darker pulled in $114.5 million domestically and should Freed deliver a similar multiplier it would be looking at a domestic run right around $95 million based on this weekend’s estimate.
Opening weekend audiences gave Freed a “B+” CinemaScore, which is right on par with Darker. The opening weekend audience, however, saw the highest ratio of female to male audience members yet in the franchise, with women making up 75% of the opening weekend moviegoers. Of the overall audience, 55% were under the age of 30.
Internationally, Freed brought in an estimated $98.1 million from 57 markets led by Germany with an estimated $10.7 million for the weekend. This puts the film’s worldwide opening at $136.9 million enough to push the franchise over $1 billion combined.
Coming in second is Sony‘s Peter Rabbit with an estimated $25 million, right on the high end of Mojo‘s pre-weekend forecast and well ahead of Sony‘s highly conservative $16 million expectations. The film received a “A-” CinemaScore from opening day audiences with the weekend overall playing to a crowd that was 58% female and 63% over the age of 25. The film should play well over the coming weeks, with little in the way of animation competition until Sherlock Gnomes at the end of March, and it will begin hitting a small number of international markets next weekend, expanding worldwide over the coming months.
Clint Eastwood‘s The 15:17 to Paris pulled into third place with an estimated $12.6 million, finishing within tracking, but short of Mojo‘s forecast. The film wasn’t necessarily well received by opening day audiences either, receiving just a “B-” CinemaScore. Opening weekend demos saw the audience nearly split along gender lines, leaning slightly female at 51%, and overall 86% of the total audience was 25 years of age or older.
Internationally, 15:17 to Paris debuted in 23 overseas markets with an estimated $5.3 million. Italy was the highest grossing foreign market, delivering an estimated $1.5 million followed by snow-covered France with $1.4 million.
Finishing in fourth is Sony‘s Jumanji: Welcome to the Jungle, which dropped a measly 10% and delivered an impressive $9.8 million in its eighth weekend in release. This pushes the film’s domestic cume to $365.6 million, less than $8 million behind Spider-Man 2 as it will soon become the studio’s second highest grossing domestic release of all-time.
Internationally, Jumanji delivered another $7.5 million, pushing its overseas total to $516.1 million and a worldwide cume topping $880 million. This makes the film the studio’s third largest worldwide release of all-time, passing Spectre ($880.7m) and Spider-Man: Homecoming ($880.4m).
Rounding out the top five is Fox‘s The Greatest Showman, which, like Jumanji, is also entering its eighth week in release and dropped just 16.8% for an estimated $6.4 million weekend. The film’s domestic cume now stands at $146.5 million. Since debuting on December 20, Greatest Showman has yet to see a weekend drop higher than 19.4% and, like Jumanji, hasn’t dropped out of the top five.
In limited release this weekend, Lionsgate and Pantelion‘s La Boda de Valentina delivered an estimated $1.12 million from 331 theaters ($3,399 PTA); Sony‘s Pad Man debuted in 125 locations with an estimated $760,000 ($5,000 PTA); Magnolia and Shorts International released the 2018 Oscar Nominated Short Films in 180 theaters with an estimated $615,000 ($3,417 PTA); Gravitas‘s Bomb City delivered an estimated $31,444 from 17 theaters ($1,850 PTA); Vertical‘s Golden Exits delivered an estimated $12,210 from one theater; IFC‘s The Female Brain opened with $7,006 from two locations; and Central Square‘s The Peacemaker kicked things off in one location with an estimated $4,400.
Overall, the weekend ended up mostly as expected with the top twelve delivering a combined $118.4 million, down 32% compared to last year, but next weekend should more than make up for the deficit as Disney and Marvel‘s Black Panther leads the way, opening in 3,800+ locations. Additional new releases include Lionsgate‘s release of Aardman‘s Early Man into ~2,400 theaters and Pure Flix will release Samson in an estimated 1,200 locations.
|Fifty Shades Freed||$38.8M||$38.8M||1||
|The 15:17 to Paris||$12.6M||$12.6M||1||
|Jumanji: Welcome to the Jungle||$9.8M||$365.7M||8||
|The Greatest Showman||$6.4M||$146.5M||8||
|Maze Runner: The Death Cure||$6.0M||$49.0M||3||
|The Shape of Water||$3.0M||$49.8M||11||
|Den of Thieves||$2.9M||$41.0M||4||
Aamir Khan’s ‘Secret Superstar’ Crosses Rs. 600 Cr in 18 days at the China BO!!!
Aamir Khan’s latest release Secret Superstar may have released in India a while back, but in the Chinese market the film hit screens just 18 days ago. Directed by Advait Chandan the film that also stars Zaira Wasim has been well received by the Chinese audience propelling the total collections of the film at the box office in China past the Rs. 600 Cr mark.
In fact, the business of Secret Superstar despite seeing a decline in collections still manages to rule the roost of newer releases even on its 18th day running. Collecting yet another USD 2.30 million [Rs. 14.80 cr] the total collections of the film at the China box office are currently pegged at a massive USD 93.62 million [Rs. 602.67 cr]. However, when compared to Aamir Khan’s previous release Dangal, though Secret Superstar led the collections charts in its first week, the business of the film now lags far behind the actor’s earlier release that had collected a massive USD 128.77 million [Rs. 829.21 cr] in eighteen days.
While on one hand the business of Secret Superstar at the box office in China will not be able to surpass the collections of Dangal, on the other hand the film has performed better than other releases like the Hollywood flick Maze Runner: Death Cure and the local Chinese film Till the End of the World. If that wasn’t all, given the fact that Secret Superstar still continued to run in the Chinese market expectations are that the business of the film will manage to make it past the Rs. 650 Cr mark by the end of the week.
Secret Superstar China Box Office at a glance
Day 1 – USD 6.79 million [Rs. 43.35 cr] with 15,75,597 admission
Day 2 – USD 10.49 million [Rs. 66.95 cr] with 22,82,300 admissions
Day 3 – USD 9.80 million [Rs. 62.68 cr] with 20,98,190 admissions
Day 4 – USD 4.97 million [Rs. 31.74 cr] with 10,69,470 admissions
Day 5 – USD 4.84 million [Rs. 30.81 cr] with 10,52,715 admissions
Day 6 – USD 4.35 million [Rs. 27.62 cr] with 9,38,146 admissions
Day 7 – USD 4.21 million [Rs. 26.75 cr] with 9,00,642 admissions
Day 8 – USD 4.83 million [Rs. 27.34 cr] with 10,18,896 admissions
Day 9 – USD USD 7.56 million [Rs. 48.07 cr] with 15,52,779 admissions
Day 10 – USD 6.95 million [Rs. 44.18 cr] with 14,32,713 admissions
Day 11 – USD 3.12 million [Rs. 19.89 cr] with 6,70,993 admissions
Day 12 – USD 3.20 million [Rs. 20.39 cr] with 6,86,581 admissions
Day 13 – USD USD 3.17 million [Rs. 20.16 cr] with 6,78,139 admissions
Day 14 – USD 2.79 million [Rs. 17.88 cr] with 5,81,559 admissions
Day 15 – USD 2.80 million [Rs. 17.95 cr] with 5,70,823 admissions
Day 16 – USD 4.70 million [Rs. 30.14 cr] with 9,37,594 admissions
Day 17 – USD 11.63 million [Rs. 74.97 cr] with 8,72,731 admissions
Day 18 –USD 2.30 million [Rs. 14.80 cr] with 4,78,344 admissions
Eighteen Day Total – USD 93.62 million [Rs. 602.67 cr]
via Bollywood Hungama
‘Jumanji’ Takes Back #1 Spot as ‘Winchester’ Opens at #3 at the BO!!!
Super Bowl weekend 2017 is looking mostly as expected with Sony‘s Jumanji: Welcome to the Jungle returning to the weekend top spot after a one week hiatus with a domestic cume topping $350 million and a worldwide total over $855 million. Meanwhile, the weekend’s lone new wide release, the gothic thriller Winchester, delivered on expectations with a third place finish while several Oscar contenders continued to play well. Overall, Super Bowl weekend is traditionally one of the slowest of the year and this year was no different as the top twelve delivered a combined $71.4 million, down 11.6% compared to last year.
Delivering an estimated $11 million for the weekend, Jumanji: Welcome to the Jungle took the weekend top spot, adding to a domestic cume that now totals $352.6 million. Jumanji is only the third film in Sony‘s history to top that mark as it continues to close in on Spider-Man 2‘s $373.5 million from 2004 in hopes of becoming the studio’s second highest grossing film of all-time.
Internationally, Jumanji added an estimated $12.6 million this weekend from 93 markets, bringing the film’s international total to $503.1 million for a global tally topping $855 million. The film now ranks as the 60th highest grossing worldwide release of all-time, surpassing Thor: Ragnarok. Jumanji hits theaters in Japan on April 6.
In second is last weekend’s top title, Maze Runner: The Death Cure, which dipped 56% in its sophomore frame delivering an estimated $10.2 million. The film’s domestic total now stands at just shy of $40 million after ten days in release.
Finishing in third, Lionsgate and CBS Films‘s Winchester delivered on pre-weekend expectations, delivering an estimated $9.25 million in 2,480 locations. The gothic thriller starring Helen Mirren earned a “B-” CinemaScore from opening day audiences, which broke down 58% female vs. 42% male, of which 64% of the overall audience was over the age of 25.
In fourth position is Fox‘s The Greatest Showman, which continues its impressive domestic run, dipping just 16% as it kicks off its seventh week in release. The Oscar-nominated musical brought in an estimated $7.8 million over three-day for a domestic cume now totals $137.5 million, ranking as star Hugh Jackman‘s second highest-grossing non-X-Men, live action title ever, closing in on the $148.8 million for 2012’s Les Miserables. International results for this weekend were not yet available as of publication.
Rounding out the top five is Entertainment Studios‘s Hostiles, which dipped 45% in its second weekend following last week’s wide release, bringing in an estimated $5.5 million. The film’s domestic cume now stands at $21.2 million.
Two of the remaining five films in the top ten (with another knocking on the door) are among this year’s top Oscar nominees, starting with Steven Spielberg‘s The Post, which brought in an estimated $5.2 million, bringing its domestic cume to $67 million. Additionally, the film added $11 million internationally, which brings its worldwide cume to $107.3 million.
Fox Searchlight found success this weekend as it had two films occupying over 4,000 theaters for the first time in the studio’s history. First there’s The Shape of Water, which added another $4.3 million to its domestic cume, which now stands at $45 million while the studio’s Three Billboards outside Ebbing, Missouri is in a tight race with Paddington 2 to round out the top ten after delivering an estimated $3 million, bringing its domestic cume to $41.8 million.
Oscar nominees continued to make waves outside the top ten, beginning with I, Tonya, which expanded into 1,450 theaters this weekend (+490) and brought in an estimated $2.5 million as it’s cume climbs to $22.6 million. Focus‘s Phantom Thread brought in an estimated $2.1 million domestically to go along with its international rollout into 21 markets with an estimated $3.1 million for a worldwide cume totaling $17.4 million.
Focus also saw the Oscar-nominated Darkest Hour push beyond $100 million worldwide after an estimated $2.4 million domestically and another $9.8 million internationally.
Next weekend sees the end of the Fifty Shades franchise with the release of Fifty Shades Freed in ~3,700 locations; Sony will debut the live-action/animated hybrid adaptation of Peter Rabbit, also in ~3,700 locations; and Clint Eastwood‘s The 15:17 to Paris opens in over 2,950 theaters.
|Jumanji: Welcome to the Jungle||$11.0M||$352.6M||7||
|Maze Runner: The Death Cure||$10.2M||$39.8M||2||
|The Greatest Showman||$7.8M||$137.5M||7||
|Den of Thieves||$4.7M||$36.3M||3||
|The Shape of Water||$4.3M||$44.6M||10||
‘Black Panther’ Bounds Toward Huge $150 Million Presidents Day Weekend Opening at the BO!!
Disney-Marvel’s “Black Panther” is heading for as much as $150 million in its North American opening on the four-day Presidents Day weekend, updated tracking is showing.
That’s significantly above the first tracking on Jan. 25 for the Chadwick Boseman tentpole, which initially placed the debut in the $100 million to $120 million range for the Feb. 16-19 period. “Black Panther” could break the Presidents Day weekend record of $152 million, set in 2016 by “Deadpool.” It will easily top the second-highest debut for the four-day holiday, set in 2015 when “Fifty Shades of Grey” opened with $93 million.
“Black Panther” has been gaining steam this week. Fandango reported Wednesday that “Black Panther” is outpacing all superhero movies in advance ticket sales for Fandango’s online tickets service, eclipsing 2016’s “Batman v Superman.” It topped Fandango’s daily ticket sales in the wake of its world premiere and first screenings two days earlier.
The newest tracking showed total awareness of “Black Panther” at 88%, unaided awareness at 43%, and definite interest at 57%. Boseman stars as T’Challa, who takes over as the king of Wakanda after his father T’Chaka is killed, as shown in “Captain America: Civil War.” The film also stars Angela Bassett, Forest Whitaker, and Michael B. Jordan. Ryan Coogler directed the movie from a script he co-wrote with Joe Robert Cole.
Initial tracking on Thursday also showed that Warner Bros.’ comedy “Game Night” is projecting an opening in the $15 million to $20 million range on Feb. 23-25, while Paramount’s sci-fi thriller “Annihilation” should debut in the $12 million to $15 million area during the same weekend.
“Game Night,” directed by John Francis Daley and Jonathan Goldstein, stars Jason Bateman and Rachel McAdams and follows a group of friends whose game night turns into a murder mystery. Supporting cast includes Kyle Chandler, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Michael C. Hall, and Jeffrey Wright.
“Annihilation,” based on Jeff VanderMeer’s horror sci-fi novel, is directed by Alex Garland from his own script. The story follows a biologist, played by Natalie Portman, who embarks on a four-person expedition into a territory cut off from civilization while searching for clues about her husband’s disappearance. While there, she must deal with a contamination, vanishing colleagues, a deadly animal, and a creature known as the Crawler. Jennifer Jason Leigh, Gina Rodriguez, and Tessa Thompson also star.
Paramount made a deal with Netflix in December for the streaming service to handle the international release of “Annihilation.”
‘Maze Runner’ Dethrones ‘Jumanji’ From #1, as ‘Showman’ Continues Strong at the BO!!!
Despite a 25% decline compared to the opening for its predecessor, Fox‘s Maze Runner: The Death Cure still managed a #1 finish at the weekend box office. Meanwhile, Entertainment Studios saw Hostiles deliver a solid performance as it expanded nationwide, Sony‘s Jumanji: Welcome to the Jungle and The Greatest Showman continue to hold strong, The Shape of Water expands with strong numbers on the heels of its 13 Oscar nominations and Viacom‘s Padmaavat secures a spot in the top ten despite playing in just 324 theaters. All told, the weekend’s top twelve was still down ~7% compared to last year as January has slowed to a crawl.
With an estimated $23.5 million Fox‘s Maze Runner: The Death Cure topped the weekend box office. Carrying the largest budget of the three films ($62m) in the franchise, while not an unexpected debut, it remains a disappointing one as Death Cure comes in ~$7 million behind the debut for Maze Runner: The Scorch Trials and $9 million behind the first film, which debuted in September 2014. Based on these numbers it becomes clear the franchise failed to gain much of an audience outside the core fanbase and the on-set injury to star Dylan O’Brien, which delayed the film’s release by nearly a year, didn’t help either.
Like Scorch Trials, Death Cure received a “B+” CinemaScore and for the most part the film played similarly across gender lines to its two predecessors with females making up 51% of the total audience. However, it did play slightly older than both the first and second film with 43% of the audience coming in at 25 years or older compared to 33% for Scorch Trials and 36% for the first film.
Internationally, Death Cure began playing overseas last weekend, bringing in $15 million from four markets. This weekend it added nearly 70 markets and brought in an estimated $62.7 million pushing its worldwide cume to $105.5 million.
Finishing in second, and showing no signs of slowing down, is Sony‘s Jumanji: Welcome to the Jungle, which falls to the runner-up position after three weeks in a row atop the box office, but does it in style. The film dropped just 16% this weekend, bringing in an estimated $16.4 million as its domestic cume climbs over $338 million. Not only has Jumanji now passed Spider-Man: Homecoming ($334.2m), but it has also passed Spider-Man 3 to become Sony‘s third largest domestic release of all-time.
Internationally, the film added an estimated $17.7 million this weekend bringing its international gross to $484 million for a worldwide cume reaching a massive $822 million. From a global perspective, the film is now Sony‘s fifth largest all time, passing Spider-Man which grossed $821.7 million globally.
Landing in third and more than doubling Mojo‘s forecast is Entertainment Studios‘s Hostiles. The film expanded nationwide this weekend into 2,816 locations (+2,697) and brought in an estimated $10.2 million. While this is a bit shy of the studio’s bullish $12 million expectations, it shows some of the positive signals we were seeing in advance of release weren’t false. With only a “B” CinemaScore it will be interesting to see how the film performs looking forward, but if it can deliver this result at the same time Oscar nominees are gaining so much attention it could hold on with decent numbers next weekend, though its core demo of 25+ males might be a hard sell over Super Bowl weekend.
Fox‘s The Greatest Showman lands in fourth place and simply refuses to vacate the weekend top five. Dropping just 11% this weekend the film brought in an estimated $9.5 million bringing its domestic cume to $126.4 million. Since going wide on December 20, The Greatest Showman has remained in the top five at the weekend box office and has also delivered four consecutive weekend grosses larger than its opening weekend of $8.8 million, as word of mouth continues to spread. Internationally, the film added an estimated $10 million this weekend bringing its worldwide cume to $259.5 million.
Making it three out of top five for the studio, Fox‘s The Post rounds out the top five after bringing in an estimated $8.85 million. The Steven Spielberg-directed film was nominated for two Oscars this past week, including Best Picture and Best Actress (Meryl Streep), and has now grossed $58.5 million domestically. The film also added five new international markets this weekend where it grossed an estimated $10.2 million, including a #1 debut in France with $3 million. The film’s international cume thus far stands at $24.5 million.
Outside the top five we find The Shape of Water, which received the year’s most Oscar nominations with 13, which certainly helped its box office prospects. The film expanded into 1,854 theaters (+1,001) and brought in an estimated $5.7 million bringing the film’s domestic total to $37.6 million. Internationally the film played in ten markets this weekend and brought in an estimated $3.2 million, pushing its worldwide cume to $51.5 million.
And rounding out the top ten is a stellar performance from Viacom‘s Padmaavat, which kicked off its weekend in 295 IMAX locations on Thursday with $507k and added another 29 locations over the weekend to finish with an estimated $4.2 million for a chart-topping average of $13,188 per theater. The film’s performance breaks the all-time record for the largest Bollywood opening in North America previously held by P.K.s $3.56 million from 2014.
Outside the top ten we find a flurry of Oscar nominees beginning with Three Billboards outside Ebbing, Missouri, which brought in an estimated $3.6 million bringing its domestic cume to $37 million; I, Tonya delivered an estimated $2.9 million from 960 locations for a domestic cume now totaling $18.8 million; Focus‘s Phantom Thread brought in $2.89 million for a cume of $10.6 million; Darkest Hour delivered $2.1 million for a cume topping $45 million; Lady Bird brought in $1.9 million as it continues to pad its lead as A24‘s highest grossing film of all-time, now totaling nearly $42 million.
Disney and Pixar‘s Best Animation contender Coco added an estimated $1.48 million to a domestic cume that now totals $202.7 million and Sony Classics‘ four-time Oscar nominee, including Best Picture, Call Me by Your Name brought in $1.34 million as its domestic total now tops $11 million. In addition to its domestic performance, Call Me by Your Name brought in $1.7 million internationally bringing its worldwide cume to $17.5 million.
Next weekend sees just one new wide release taking on the Super Bowl in Lionsgate and CBS Films‘s Winchester, which will open in ~2,300 locations.
|Maze Runner: The Death Cure||$23.5M||$23.5M||1||
|Jumanji: Welcome to the Jungle||$16.4M||$338.1M||6||
|The Greatest Showman||$9.5M||$126.5M||6||
|Den of Thieves||$8.4M||$28.5M||2||
|The Shape of Water||$5.7M||$37.7M||9||
‘Black Panther’ on Track for a Possible $120 Million Debut at the BO!!!
Early tracking numbers are estimating that Ryan Coogler‘s Black Panther is going to enjoy a Presidents’ Day Weekend opening box office between $100 million and $120 million. That sounds impressive, but I’m of the opinion that it’s an underestimation. Sure, this is early tracking based on facts, figures, and available data, but sometimes you have to go with your gut. Even at $120 million for an opening weekend, that would put Black Panther between Spider-Man: Homecoming and Thor: Ragnarok. With nothing but respect to those films, I think Black Panther will perform much better than that.
THR reports that pre-release surveys suggest a domestic debut north of $100 million, topping out at $120 million, as the first superhero tentpole of 2018. Their comparison to Doctor Strange‘s $85 million debut is a … strange one, especially considering that the Benedict Cumberbatch-starring picture was an origin story that didn’t have a character previously introduced and established in a prior MCU film. Black Panther has that advantage since Chadwick Boseman introduced the character exceptionally well in Captain America: Civil War, and anticipation for his solo outing has been building ever since.
Black Panther also has the added benefit of recognizable names both behind and in front of the cameras. Coogler’s name still carries the success of Creed, even if the general moviegoing public doesn’t also count the excellent Fruitvale Station to his credit. And even if Creed fans don’t know Coogler’s name, they probably know Michael B. Jordan; the Black Panther collaboration is the third for the duo, but the first to put Jordan on the antagonistic side of things. Then there are the Oscar-winners Lupita Nyong’o and Forest Whitaker, with the Oscar-nominated Angela Bassett and Golden Globes-nominated Andy Serkis and Martin Freeman also starring, not to mention the awards-worthy Danai Gurira and Letitia Wright.
Oh and behind the scenes are Oscar-nominated cinematographer and Coogler-collaborator Rachel Morrison, Oscar-nominated costume designer Ruth E. Carter, and Emmy-nominated production designer/Coogler-collaborator Hannah Beachler. I don’t expect general audience members to know their names, but their veteran experience and work ethic shows through in every single frame of the film; that quality permeates the rest of the movie. Expect those tracking numbers to go up, up, up as we get closer to the February 16th release date, especially once early reviews start to make their way online (as long as they’re positive, of course). How high can it go? The sky’s the limit, but we’re banking on something closer to Guardians of the Galaxy Vol. 2‘s $146.5 million debut as a low estimate based on nothing but pure gut feeling and hope.
‘Secret Superstar’ Crosses Rs. 300 Crores In just 8 days at the China BO!!!
Zaira Wasim starrer ’Secret Superstar’ which released in China last Friday, has crossed 300 crores mark in just 8 days. That’s right. Within 8 days, the film has crossed $ 50 million mark and turned out to be the highest earning Bollywood film of 2018 from foreign markets. Till Thursday, the film managed to earn 293.18 crores and yesterday, i.e. 2nd Friday, the film pocketed $ 4.83 million, taking the grand total to $ 51.50 million i.e. Rs. 327.51 crores. Day wise collection SS in China:
- Friday – $ 6.92 mn
- Saturday – $ 10.59 mn
- Sunday – $ 9.94 mn
- Monday – $ 5.04 mn
- Tuesday – $ 4.91 mn
- Wednesday – $ 4.52 mn
- Thursday – $ 4.23 mn
- 2nd Friday – $ 4.83mn
Total: $ 51.50 million [Rs. 327.51 cr]
Aamir Khan‘s star power has definitely helped the film gain stupendous traction in the Chinese market. Before ‘Secret Superstar‘, his films like ‘Dhoom 3‘, ‘PK‘ and ‘Dangal‘ have done stupendous business in the neighboring country. Some Chinese trade experts believe that ‘Secret Superstar‘ will gross around Rs 540 crore by the end of its lifetime run. If the estimate indeed comes true then with Rs 540 crore from China and around Rs 150 crore from India and other overseas territories, ‘Secret Superstar‘ will become the biggest Bollywood grosser of 2017 worldwide.
‘Jumanji’ Repeats #1 Again as ’12 Strong’ and ‘Den of Thieves’ Open Strong at the BO!!!
The weekend’s new releases all outperformed expectations with both 12 Strong and Den of Thieves placing in the top three. However, neither was able to topple Jumanji: Welcome to the Jungle, which topped the weekend box office for the third straight weekend and in the process passed Skyfall to become Sony‘s fifth-highest grossing film ever.
Sony‘s Jumanji: Welcome to the Jungle delivered a chart-topping $20 million as the film’s domestic cume climbs over $315 million. The film’s international cume added another $32.6 million this weekend as its worldwide total now stands at $767.8 million, moving it into the top 80 all-time.
In second place Warner Bros.’s release of 12 Strong narrowly edged out its new release competition finishing ahead of the $15 million the studio anticipated heading into the weekend, grossing an estimated $16.5 million. The film received an “A” CinemaScore from opening day audiences, which was made up of 55% males vs. 45% females and of that audience, 79% were 25 years or older.
Not too far behind in third place is STX‘s Den of Thieves with an estimated $15.3 million from 2,432 locations. It’s a strong performance, vastly outperforming Mojo‘s weekend forecast as well as the studio’s anticipated debut in the high single digits. The R-rated heist thriller received a “B+” CinemaScore from opening day audience which, to no surprise, skewed male, making for 60% of the opening weekend audience. Also worthy of note, the film over indexed with African American audience members, which made up 30% of the opening day audience, double the MPAA frequent moviegoer index.
Fox‘s The Post finished in fourth as it entered its second weekend in wide release, bringing in an estimated $12.1 million. The film’s domestic cume climbs over $45 million after two weeks in wide release while it is just getting started internationally, bringing in $9.9 million so far from 23 territories with several of the larger markets opening over the coming weeks.
Fox also rounds out the top five with the continued strong performance from The Greatest Showman, which dropped just 12% this weekend, delivering an estimated $11 million as the film’s domestic cume is now approaching $115 million as it enters its fifth week in release. The musical also added an estimated $11 million overseas this weekend, bringing its global cume to $231.4 million.
Outside the top five, Star Wars: The Last Jedi brought in an estimated $6.5 million, pushing its domestic cume over $600 million becoming only the sixth film to ever cross that mark. The film also added another $9.9 million internationally this weekend as its worldwide cume now totals $1.296 billion, passing Disney‘s own Frozen to become the ninth largest worldwide release of all-time.
Rounding out the top ten was Roadside‘s new release Forever My Girl with an estimated $4.7 million from 1,115 locations. It’s a solid showing for the pic, which served as counter-programming up against two new heavily male-targeted features. The film will add approximately 500 more theaters next weekend, hoping to take advantage of the “A” CinemaScore it received from opening day audiences, which skewed heavily female at 78% and of the total audience 64% were 25 years or older.
Just outside the top ten is Focus‘s release of Paul Thomas Anderson‘s Phantom Thread, which expanded nationwide this weekend into 896 locations (+834) and delivered an estimated $3.37 million. Also expanding nationwide this weekend was Sony Classics‘s Call Me by Your Name, which added 641 theaters for a total of 815 where it grossed an estimated $1.5 million, pushing the film’s domestic cume over $9 million.
Additionally, Universal‘s Pitch Perfect 3 topped $100 million domestically this weekend after pulling in an estimated $3.1 million while Disney and Pixar‘s Coco topped $200 million domestically after bringing in $1.9 million. Coco also added $18.2 million internationally this weekend as the animated film’s global cume now totals more than $655 million with a mid-March opening in Japan yet to come.
Overall, the weekend was down compared to the same weekend last year, though this weekend last year featured the break-out hit Split, which debuted with a surprising $40 million.
Looking to next weekend, one thing to keep in mind beyond new releases are the upcoming Oscar nominations on Tuesday and how they may impact some of next weekend’s performances. Otherwise, next weekend’s new wide releases include Fox‘s Maze Runner: The Death Cure opening in ~3,800 locations while Entertainment Studios will go nationwide with Hostiles, expanding into ~3,000 theaters.
|Jumanji: Welcome to the Jungle||$20.0M||$317.0M||5||
|Den of Thieves||$15.3M||$15.3M||1||
|The Greatest Showman||$11.0M||$113.5M||5||
|Star Wars: Episode VIII – The Last Jedi||$6.6M||$604.3M||6||
|Insidious: The Last Key||$5.9M||$58.7M||3||
|Forever My Girl||$4.7M||$4.7M||1||
‘Tiger Zinda Hai’ Makes Rs. 188 Cr. as Profit at the BO!!
The sequel to the previously released film Ek Tha Tiger, that was titled Tiger Zinda Hai and starred Salman Khan and Katrina Kaif in title roles released a while back. Directed by Ali Abbas Zafar and produced by Yash Raj Films, Tiger Zinda Hai which set a record by witnessing one of the widest releases across 5825 screens (domestic 4600 + overseas 1225) has been a rage at the box office in both the domestic and international markets.
In this box office report we take a look at the overall profitability of Tiger Zinda Hai for its makers. Developed on a budget of Rs. 150 cr. (CoP Rs. 120 cr. + P&A Rs. 30 cr.) Tiger Zinda Hai apart from being one of the highest grossing films of 2017 also is one of the costliest ventures of the year. However, given the wide release pattern and of course Salman Khan’s ardent diehard fan following, Tiger Zinda Hai has not just managed to break even, but has also turned a huge profit for its makers.
With an estimated Rs. 148.50 cr. coming in as the Distributor’s share from the domestic box office collections, Rs. 15 cr. from the Music and Merchandising, Rs. 49.8 cr. as the Distributor’s share from the overseas box office, Rs. 70 cr. from the satellite rights and Rs. 55 cr. from the sale of the film’s digital rights, the makers of Tiger Zinda Hai stand to rake in a staggering Rs. 338.30 cr.
However, given the budget of Tiger Zinda Hai, which was Rs. 150 cr, Yash Raj Films at the end of the day stand to make a profit of Rs. 188.30 cr with a 125.53% rate of Return on Investment (RoI). With this massive profit, Tiger Zinda Hai might just prove to be the most successful release of 2017.
Economics of Tiger Zinda Hai:
Cost of Production – 120 Cr.
Cost of Marketing (P&A) – 30 Cr.
TOTAL COST – 150 Cr.
India Theatrical Box Office – 330 Cr. (Estimated box office)
Distributor’s share (A) – 148.50 Cr.
Music and Merchandising (B) – 15 Cr.
Overseas Theatrical Box Office – 124.50 Cr. (Estimated box office)
Distributor’s share (C) – 49.80 Cr.
Satellite Rights (D) – 70 Cr.
Digital Rights ( E) – 55 Cr.
TOTAL RECOVERIES (A+B+C+D+E) – 338.30 Cr.
PROFIT – 188.30 Cr.
RETURN ON INVESTMENT (ROI) – 125.53%
Disclaimer: The Box Office figures are compiled from various sources and our own research. The figures can be approximate and Bollywood Hungama does not make any claims about the authenticity of the data. However, they are adequately indicative of the box-office performance of the film(s).
via Bollywood Hungama
‘Pad Man’ To Lose 25-30% of its Business Due to Clash with ‘Padmaavat’!!!
Clashes have now become a part of life for Bollywood and trade. But nobody had anticipated that Akshay Kumar-starrer Pad Man, which looked exciting and easily seemed like 2018’s first Rs. 100 Crore film would have to clash with the season’s biggest controversial film Padmaavat. The historical action film was to release initially on December 1, 2017 but got pushed ahead to the Censor woes and violent protests. After the makers got a go-ahead from the Central Board of Film Certification (CBFC), the makers started looking for a date and announced that they would be arriving on Republic Day and thereby clash with Pad Man. Pad Man was in a better space earlier as it was clashing with Sidharth Malhotra-starrer Aiyaary, which was a smaller film and had limited buzz. But now, Pad Man will face the heat as Padmaavat is way bigger in terms of scale, team and obviously, the buzz.
We asked people in the trade how much Pad Man would be affected if it releases with Padmaavat. Trade analyst Atul Mohan says, “It depends what kind of welcome Padmaavat gets. As of now, Rajasthan and Madhya Pradesh have banned the film and other states may join. Depending on where all it gets a release, we can gauge about the losses that Pad Man might face. Exhibitors are also skeptical as they fear that their properties might get damaged if they screen Padmaavat. Years ago, when Bandit Queen faced issues, the Central government had made it clear that they approve of the film and no state can ban it. As of now, the film is facing problems in those states that have a BJP rule, which is also at the Centre. Hence, Padmaavat ’s screen count might be less than Pad Man overall. Anyways, Pad Man and Aiyaary were to release and a lot of exhibitors had already committed to showing Pad Man. So in such a scenario, 10% of Pad Man’s business can get affected. And if Padmaavat gets a smooth, peaceful release pan-India, then 30% of Pad Man’s collections can be affected.”
Leading distributor Rajesh Thadani meanwhile says, “Pad Man would lose around 20-30% provided Padmaavat releases smoothly”. According to Harveen Singh, distributor from Rajasthan, “Pad Man would lose 25% of its business.” Taran Adarsh doesn’t give a number and simply says, “If Padmaavat and Pad Man release together, then not just screens and shows but even footfalls will get divided.”
Trade expert Komal Nahta also gives an in-depth analysis as he says, “It’s difficult to say how much its earnings are going to be affected but yes, it will be affected in 2 major ways. One, If Pad Man was coming with Aiyaary, then it would have got 65% of the shows and the latter would have got 35% of the shows. Now it’s going to be a reverse case of sorts. Now Padmaavat would get 60% while Pad Man will get 40% of the shows. Secondly, since Padmaavat looks like a family film, is in the news, has a more exciting star cast and is directed by Sanjay Leela Bhansali, it will become the first choice for many audiences. Pad Man would become the second choice. With Aiyaary, Pad Man would have been the first choice.” He continues, “This does not mean Padmaavat won’t be affected. After all, the audiences will be divided. Had Padmaavat come solo and Pad Man come solo, both would have been at advantage. But the one that would be affected more is Pad Man, unless God forbid, Padmaavat is a bad film.”
One more disadvantage for Pad Man is that if certain groups vandalize theaters showing Padmaavat, then even Pad Man can get affected in these places. When asked to comment on this aspect, Komal Nahta states, “In that case, both films will get affected. People might just keep away from the cinemas. Hence, Pad Man can definitely come in the cross fire.” Komal also says, “Pad Man will have an advantage in the states where Padmaavat is not releasing.”
Harveen Singh agrees with Komal Nahta as he says, “If theatres showing Padmaavat are vandalized, even Pad Man can get affected as people would be scared to venture out. The crucial first three days might be affected then for both the movies.” Taran Adarsh’s views on this bit were on the same lines, “If disturbances do arise, then both films can get affected.” Rajesh Thadani makes a very crucial observation, “Yes, Pad Man can get affected if Padmaavat faces protests post-release. But on the other hand, it can also benefit as exhibitors might remove Padmaavat and put Pad Man instead”
Girish Johar, film trade and business analyst, emphasizes, “The situation is very peculiar this time. It’s not just two films coming together on a particular date. Padmaavat is facing issues from certain influential groups. Hence, audiences might shy away not just from Padmaavat, but also Pad Man since they don’t want to get into problems. So it’s difficult to ascertain as to will what extent will Pad Man be affected. But definitely there will be some dent in Pad Man’s collections due to it clashing with a bigger film and the expected disruptions in the screening. As of now, it’s difficult to give a number as we don’t know yet which states will not be showcasing the film.” He signs off by saying, “Eventually, the best film will run. It’s a holiday weekend and both the movies can do well. The film that would be good is bound to work in the long run. Pad Man may comparatively have a lesser start. But definitely it can catch up later on.”
As of now, it’s a wait-and-watch situation as nobody is sure about the screen-sharing ratio and also most importantly, how many states are going to allow Padmaavat to have a release. Harveen Singh says, “I guess by January 20, we’ll know what the situation is. If everything is in control, then there shouldn’t be a problem. Padmaavat is one of the biggest films of the year and even the exhibitors would want to screen it.” Taran Adarsh agrees to this and states, “As of now, no one can predict because you never know how the situation might change in the next 14 days.”
via Bollywood Hungama
‘Jumanji’ Stays #1 as ‘The Post’ and ‘The Commuter’ Open Strong at the BO!!!
For a second weekend in a row Sony‘s Jumanji: Welcome to the Jungle takes the weekend’s top spot, this time holding off three new wide releases over the Martin Luther King Jr. holiday weekend as well as Fox‘s nationwide expansion of Steven Spielberg‘s The Post, which finished in the runner-up position. As for the weekend’s three brand new releases, Lionsgate‘s The Commuter managed to exceed expectations while both Paddington 2 and Proud Mary fell a bit short. Meanwhile Fox‘s The Greatest Showman continues to attempt to make up for its soft opening, dropping just 14% in its fourth weekend in release.
With an estimated $27 million, Sony‘s holiday smash hit Jumanji: Welcome to the Jungle finished atop the weekend box office and is expected to deliver a four-day weekend approaching $34 million, which would push the film’s domestic cume near $290 million. Internationally, the film roared into China this weekend bringing in an estimated $40 million, pushing it’s worldwide cume to $667 million. Jumanji‘s final major market yet to see release is Japan, where it is scheduled to hit theaters on April 6.
Finishing in second is Fox‘s nationwide expansion of Steven Spielberg‘s The Post, which brought in an estimated $18.6 million over the three-day weekend and is expected to finish north of $22 million for the four-day. The film received an “A” CinemaScore and played to an audience that was 55% female vs. 45% male and 66% of which were over the age of 35.
Delivering a third place finish over the three-day is Lionsgate‘s The Commuter, which outperformed Mojo‘s forecast, delivering an estimated $13.45 million and is expected to finish with $16 million over the holiday frame. The film received a “B” CinemaScore from opening day audiences, playing to an audience that was 54% male vs. 46% female and of the overall audience, 83% were 25 years or older.
Finishing in fourth is Universal and Blumhouse‘s Insidious: The Last Key, dipping an expected 59% for a $12.1 million three-day and is expected to finish around $14 million for the four-day weekend, which would push its domestic cume over $50 million. The fourth film in the Insidious franchise also added another $17.7 million internationally this weekend as its worldwide cume climbs over $92 million, pushing the franchise’s worldwide total over $460 million.
Rounding out the top five is Fox‘s second film in the top five, The Greatest Showman, which continues to deliver stellar week-to-week numbers. This weekend it dipped just 14%, bringing in an estimated $11.8 million for the three-day and is expected to finish around $14.5 million for the four-day weekend, pushing its cume north of $97 million. While the film’s opening weekend was certainly soft it has shown great legs ever since, delivering the best holds each of the last three weekends among wide release holdovers in the top ten. We are still waiting on its international performance this weekend as of publication.
Disney and Lucasfilm‘s Star Wars: The Last Jedi dipped even more than expected after losing 1,142 locations this weekend, down 52.5% and finishing with an estimated $11.27 million for the three-day. The film is expected to bring in ~$14.7 million for the four-day pushing its domestic cume just shy of $595 million. Additionally, with an estimated $19 million internationally the film’s worldwide cume climbs to $1.265 billion, passing Beauty and the Beast to become the tenth largest worldwide release of all-time.
It isn’t until seventh that we find WB‘s release of Paddington 2. The studio picked up the film from The Weinstein Co. as it looked to offload the picture before filing for bankruptcy protection. Unfortunately, despite a 100% rating on RottenTomatoes the film didn’t catch on in North America, delivering a meager $10.6 million for the three-day, which the studio anticipates will climb to $14.5 million for the four-day opening. The film’s opening weekend audience was 57% female and 55% was over the age of 25.
Screen Gems‘ Proud Mary also delivered a soft opening based on expectations. Finishing with an estimated $10 million for the three-day, the film is expected to deliver a $12 million four-day debut. The film received a “B+” CinemaScore from opening day audiences of which 58% were female and 77% were 25 years or older.
Outside the top ten, Neon‘s I, Tonya brought in an estimated $3.3 million as it expanded into 517 theaters (+261) and after winning four Golden Globe awards this past weekend Fox Searchlight‘s Three Billboards outside Epping, Missouri expanded back into wide release and brought in an estimated $2.3 million for a domestic cume currently totaling $28.5 million.
After expanding into 62 theaters (+56), Focus‘s release of Paul Thomas Anderson‘s Phantom Thread brought in an estimated $1.14 million for a chart-topping $18,468 per theater average. The film will expand nationwide next weekend with the expectation it will play on over 500 screens.
In limited release this weekend, Lionsgate‘s Condorito brought in an estimated $236k from 153 theaters ($1,542 PTA); Cohen Media‘s The Insult opened with $24,957 from three locations ($8,319 PTA); IFC‘s Freak Show opened in one theater with an estimated $6,024; and Music Box‘s Vazante also debuted in one location, grossing an estimated $3,511.
Next weekend Warner Bros. will release 12 Strong into 2,900+ locations; STX‘s Den of Thieves debuts in 2,400+ theaters and Roadside will release Forever My Girl. Additionally, look for Entertainment Studios‘ Hostiles to expand nationwide into a massive 3,000+ locations. The film has so far generated an estimated $276,000 after 24 days in release.
|Jumanji: Welcome to the Jungle||$27.0M||$283.2M||4||
|Insidious: The Last Key||$12.1M||$48.4M||2||
|The Greatest Showman||$11.8M||$94.6M||4||
|Star Wars: Episode VIII – The Last Jedi||$11.3M||$591.5M||5||
|Pitch Perfect 3||$5.7M||$94.7M||4||
‘Jumanji’ Tops Weekend as ‘Insidious 4’ Scares Up a Strong Debut at the BO!!!
Heading into the weekend Sony‘s Jumanji: Welcome to the Jungle ranked #7 on the list of movies that had never reached #1 at the weekend box office. After Friday’s estimates the film ranked fourth on the list, but as of today it no longer occupies a position after a stellar third weekend saw the action comedy lead the way at the weekend box office while topping $500 million globally. Additionally, Universal‘s release of Blumhouse‘s Insidious: The Last Key finished with a strong second place debut and even outperformed the franchise’s third installment as 2018 is officially underway and off to a solid start.
With an estimated $36 million, Jumanji: Welcome to the Jungle finished #1 at the weekend box office for the first time since releasing on December 20. With a domestic cume that now stands at $244.3 million, the film serves as the highest grossing live action release of all-time for star Kevin Hart and is the second largest live action release for Dwayne Johnson behind only Furious 7′s massive $353 million domestic haul and it’s showing little sign of slowing down after dropping just 28% this weekend.
Internationally, Jumanji brought in an estimated $70 million, pushing its international cume to $275 million for a global tally reaching $514 million. The film now places within the top 20 among films released in 2017 with a release in China set for next weekend followed by an early April release in Japan.
In second place with an impressive $29.26 million, Insidious: The Last Key delivered the second largest debut of the franchise, topping the third chapter by over $7 million. It’s also the ninth largest opening for a Blumhouse Production, just topping the $29 million opening for Paranormal Activity 4. The franchise has now grossed over $400 million worldwide.
Looking ahead, a domestic run around $55-67 million seems likely when looking at the multipliers for previous Insidious and Paranormal Activity sequels. The Last Key received a “B-” CinemaScore from opening day audiences, the lowest audience score of the franchise, and opening weekend exit polls show the film playing to an audience that was 51% female vs. 49% male, of which 41% of the audience was over the age of 25. This is similar to Chapter 3, which was 54% female and 40% were over the age of 25.
Internationally, Insidious: The Last Key brought in an estimated $20.1 million, which is the highest opening take for any of the four films for the same group of 33 markets. Leading the charge was a $4.1 million opening in Mexico followed by France ($2.2m), Germany ($2m), Malaysia ($1.6m), India ($1.3m) and Spain ($1.2m). The film opens in the UK next weekend followed by releases in Russia, Brazil and Italy on January 18, South Korea at the end of the month and Australia in early February.
Finishing third, Disney and Lucasfilm‘s Star Wars: The Last Jedi delivered an estimated $23.5 million, pushing the film’s domestic cume to $572.5 million. It remains the sixth largest domestic release of all-time and won’t challenge for a spot in the top five until it can top The Avengers‘ $623 million performance from 2012. Internationally, the film added another $64.7 million for an international gross totaling $632.7 million and a worldwide gross over $1.2 billion. The film now ranks as the 13th largest worldwide release of all-time, passing Captain America: Civil War ($1.153 billion) and Minions ($1.159 billion) this weekend.
Notable this weekend was The Last Jedi‘s debut in China, which is estimated at $28.7 million. This ranks behind the $30 million opening weekend for Rogue One, which finished with $69.4 million in China, and well behind the $52.3 million debut for Force Awakens, which grossed nearly $125 million in China.
Fox‘s The Greatest Showman continues to hold strong, dropping just 11% this weekend for a third place finish with an estimated $13.8 million for a $75.9 million domestic total thus far. The film is now looking at a $100+ million domestic performance. Internationally, the film added another $24 million this weekend from 74 markets bringing its international cume just shy of $75 million for a global tally topping $150 million.
Universal‘s Pitch Perfect 3 rounds out the top five with an estimated $10.2 million for a domestic cume that now totals $85.9 million. Internationally the film brought in another $18.1 million this weekend for an international total reaching $55 million and a $141 million global tally.
Outside the top five, STX delivered Molly’s Game nationwide this weekend, expanding into 1,608 locations (+1,337) where it brought in an estimated $7 million, which is right on expectation. The film has benefit from strong critical reviews and just this week received PGA, WGA and ACE nominations and will be among the nominees at tonight’s Golden Globe Awards with two nominations. Molly’s Game‘s domestic total currently stands at $14.2 million after 14 days in release.
Right behind Molly’s Game is Focus’ Darkest Hour with an estimated $6.35 million as it continued to expand this weekend, playing in 1,733 theaters (+790). The film’s domestic cume currently stands at $28.3 million and is also looking to benefit from awards season as star Gary Oldman is expected to take home a Golden Globe tonight, not to mention is a strong favorite to win his first Oscar this year. The film also added six new international markets this weekend where it brought in an estimated $1.8 million bringing its worldwide cume to $35.8 million.
Outside the top ten, Neon‘s I, Tonya brought in an estimated $2.4 million after expanding into 242 theaters (+193). The film’s next expansion will see it reach ~500 locations starting January 12.
Additionally, Steven Spielberg‘s much-talked about film The Post brought in an estimated $1.7 million from just 36 locations for a chart-topping $47,222 per theater average. The film will expand nationwide next weekend into ~2,800 locations. Tracking as of a few days ago anticipated a $18-24 million expansion next weekend, but given the film’s strong performance this weekend we could see those numbers increase over the coming days.
The second best per theater average for the weekend belongs to Paul Thomas Anderson‘s Phantom Thread, which brought in an estimated $245,000 from six locations for a $40,833 average. Next week, the film is looking to expand into approximately 50 theaters.
One final international note finds Kingsman: The Golden Circle making its debut in Japan with an estimated $4.3 million, which pushes the film’s international cume over $300 million for a global cume over $400 million, nearly on par with the first film’s $414.3 million worldwide tally.
Looking at the weekend overall it’s a tough apples-to-apples comparison based on when New Year’s day falls. That said, looking at direct comparisons in 2007 and 2001, both saw the top twelve deliver a combined $104.4 million compared to this weekend’s $148.5 million. Of course, the conversation right now is looking closely at estimated tickets sold after 2017 finished with just 1.239 billion estimated tickets sold, placing a disappointing 26th all-time. That said, using average ticket sales, the ~16.6 million tickets for the top twelve this weekend does beat the ~15.18 million sold in 2007, but falls short of the ~18.45 million sold in 2001. Whether this is a fair assessment of the weekend overall is up for debate given the multimedia marketplace, but this weekend’s estimated 16.6 million tickets sold is the best since 2009 if you don’t include 2016 or 2010, both of which included New Year’s day.
Next weekend Liam Neeson stars in The Commuter, opening in ~2,800 locations; WB releases Paddington 2, which previously resided at The Weinstein Co.; Universal releases Proud Mary starring Taraji P. Henson; Fox goes nationwide with The Post and Lionsgate will release Condorito into ~150 locations.
via Box Office Mojo
|Jumanji: Welcome to the Jungle||$36.0M||$244.4M||3||
|Insidious: The Last Key||$29.3M||$29.3M||1||
|Star Wars: Episode VIII – The Last Jedi||$23.6M||$572.5M||4||
|The Greatest Showman||$13.8M||$75.9M||3||
|Pitch Perfect 3||$10.2M||$86.0M||3||
|All the Money in the World||$3.6M||$20.1M||2||
‘Pitch Perfect 3’ Is Performing Lower Than its Predecessors at the BO!!!
“Pitch Perfect 3” may have pushed its franchise past the $500 million mark worldwide, but it’s still performing lower than previous movies in the series.
The studio made the announcement of the milestone on Tuesday, with “Pitch Perfect 3” having grossed $67.5 million domestically in its first 12 days and another $30.3 million in international grosses. It noted that the series’ third installment — with an estimated $45 million budget — is also due to cross $100 million at the global box office Tuesday and will open in eight additional markets this week including Australia and Italy.
But the performance of “Pitch Perfect 3” has been far less robust than “Pitch Perfect 2,” which had grossed $128.6 million domestically in its first dozen days in May 2015, on its way to a $184 million final domestic total. “Pitch Perfect 3” is the last movie in the series and could be suffering from franchise fatigue. The threequel garned an A- Cinemascore, but reviews were savage, with a 31% on Rotten Tomatoes, compared with 80% for 2012’s “Pitch Perfect” and 65% for “Pitch Perfect 2.”
Additionally, Universal opted to open “Pitch Perfect 3” amid formidable competition: one week after “Star Wars: The Last Jedi” launched and two days after Sony’s “Jumanji: Welcome to the Jungle.” “The Last Jedi” went on to take $532 million in less than three weeks and “Jumanji” grossed $186 million domestically in its first 13 days.
“Pitch Perfect 3” opened slightly below expectations with $19.9 million on Dec. 22-24, then declined 17% to $16.8 million in its second weekend. But there’s still money on the table with little competition domestically this weekend, when the only new title launching is horror movie “Insidious: The Last Key.” Additionally, “Pitch Perfect 3” has opened in only 33 international markets with dozens of territories not yet launched.
Among the holiday season openers, “Pitch Perfect 3” outperformed Fox’s “The Greatest Showman,” which has grossed $54 million domestically, and a pair of films that showed little traction — Paramount’s “Downsizing” and Warner-Alcon’s “Father Figures,” which have combined for $33 million.
The original “Pitch Perfect” was a surprise success in 2012 with a $115 million worldwide gross on a $17 million budget, and then became one of the top-performing DVD, VOD and pay-cable titles of 2013. The film’s soundtrack went platinum with more than 1 million units sold, and the single “Cups” achieved triple platinum status with combined sales of more than 3 million units.
2015’s “Pitch Perfect 2” was an even bigger success, with $287 worldwide on a $29 million budget with Elizabeth Banks directing. It has the distinction of being the highest-grossing musical comedy film of all time.
Trish Sie directed “Pitch Perfect 3” from a script by Kay Cannon and Mike White, set three years after the events of “Pitch Perfect 2” in which the Bellas have graduated college, but have jobs which they all hate. Sie was previously best known for “Step Up All In,” as well as music video and commercial work.
Reprising their roles as the Bellas are Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, Hana Mae Lee, and Ester Dean. “Pitch Perfect 3” is again produced by Paul Brooks of Gold Circle Entertainment and Max Handelman & Elizabeth Banks of Brownstone Productions.
‘The Last Jedi’ Passes $1 Billion at the Global BO!!!
Well, it happened. With 2018 less than 12 hours away, Star Wars: The Last Jedi has passed $1 billion at the global box office, joining an elite tier of movies from 2017 to do so, including Beauty and the Beast and The Fate of the Furious. Not exactly surprisingly, The Last Jedi has the dubious honor of being the only genuinely good movie to pass the mark this year. It’s also now the highest grossing film of 2017 domestically, beating out serious competition from Wonder Woman, Beauty and the Beast, and Guardians of the Galaxy, Vol. 2 for the prize. None of this should come as a surprise to anyone who is masochistic enough to keep an eye on these numbers.
The Last Jedi also ended up on top for the third weekend in a row, making $52.4 million at the domestic box office. It just narrowly beat Jumanji: Welcome to the Jungle, which remained strong in second place with $50.5 million, pushing the reboot past the $150 million mark domestically. Below that, things remained the same since Friday’s showings, with Pitch Perfect 3 bringing in $17.7 million in third and The Greatest Showman bringing in some $15.2 million in fourth. The only animated movie in the top five currently, Ferdinand, held at fifth with $11.6 million.
This will likely be Ferdinand‘s last week in the top five, what with Insidious: The Lost Key hitting multiplexes next weekend. There likely won’t be a major shake-up in the top ten until Maze Runner: The Death Curse hits theaters in late January, and we likely won’t see a real box office champ until Black Panther arrives in February. For now, Star Wars and Disney are once again on top of all at the box office, as it was in 2016 and likely as it will be in 2018. See you in the new year!