Top Domestic Grosser 2018 (U.S only)
⇒ $700,059,566
Top Global Grosser 2018
⇒ $2,048,709,017
| Rank | Title | Distributor | Worldwide gross |
|---|---|---|---|
| 1 | Avengers: Infinity War | Disney | $2,048,709,917 |
| 2 | Black Panther | $1,346,913,161 | |
| 3 | Jurassic World: Fallen Kingdom | Universal | $1,304,944,060 |
| 4 | Incredibles 2 | Disney | $1,242,513,600 |
| 5 | Venom | Sony Pictures | $855,156,907 |
| 6 | Mission: Impossible – Fallout | Paramount | $791,017,452 |
| 7 | Deadpool 2 | 20th Century Fox | $741,547,413 |
| 8 | Bohemian Rhapsody | $669,926,343 | |
| 9 | Aquaman | Warner Bros. | $666,135,000 |
| 10 | Ant-Man and the Wasp | Disney | $622,674,139 |
‘Aquaman’ Remains King For a Second Weekend in a Row at the BO!!!
There were no big surprises in the final weekend of a record-setting 2018 as Warner Bros.‘s Aquaman is once again king of the box office seas with a domestic cume that now tops $188 million and a worldwide tally nearing $750 million. Meanwhile, the weekend’s new wide releases in Annapurna‘s Vice and Sony‘s Holmes & Watson were quiet in their debuts as the bulk of the weekend attention goes to holiday holdovers.
Just slightly outperforming Mojo‘s pre-weekend expectations, WB and DC’s Aquaman delivered the smallest second weekend drop in the DC Extended Universe, dipping just -23.5% for a $51.55 million second weekend, pushing the film’s domestic cume over $188 million. The film now ranks as the eleventh largest domestic release based on a DC Comic after just ten days in release.
Internationally, Aquaman brought in an estimated $85.4 million this weekend from 78 markets for an overseas cume totaling $560 million and a global tally reaching $748.8 million. This makes the film the third largest worldwide release in the DC Extended Universe, topping Suicide Squad. Meanwhile, it’s the fifth largest worldwide release based on a DC Comic and the second largest international release behind only The Dark Knight Rises ($636.8m). China remains Aquaman’s top market with a massive $260.4 million with releases in Italy set for January 1 and Japan serving as the final market to release where the film will open on February 8.
Disney’s Mary Poppins Returns also performed right on par with Mojo’s pre-weekend forecast, delivering an estimated $28 million in its second weekend, a +19% improvement over last weekend, resulting in a domestic cume just shy of $100 million as the film begins to show potential for long legs.
Internationally, Mary Poppins added $28.9 million this weekend from 37 markets for an international cume that now stands just shy of $75 million. The film’s top overseas market remains the UK where it has grossed nearly $30 million so far and it will open in Australia and Russia next weekend.
Paramount’s Bumblebee dipped just -5% in its second weekend, delivering an estimated $20.5 million for a domestic cume that now stands at $66.7 million. The film’s performance will continue to be one to watch as audiences are clearly enjoying it more than the last few films in the Transformers franchise, but the film faces a lot of direct competition in Aquaman and Spider-Man: Into the Spider-Verse, which leaves open the question just how long the three films can thrive in theaters, playing side-by-side.
Internationally, Bumblebee is now playing in 55 markets from which it grossed an estimated $45.7 million this weekend for an overseas cume that now stands at $90 million. Highlights among new openings include a $7.8 million opening in South Korea followed by the UK ($6.3m), France ($4.1m), Brazil ($3m), Taiwan ($2m) and Hong Kong ($1.5m). The film will begin playing in China on January 4 followed by a March 22 release in Japan.
In fourth place, the aforementioned Spider-Man: Into the Spider-Verse followed what was a larger-than-expected drop last weekend with a +11.2% improvement this weekend, delivering an estimated $18.3 million to start its third week in release with a domestic cume that now tops $103 million. The film also added another $27.4 million internationally from 60 markets for a worldwide cume that now totals $213.2 million. Spider-Verse has still yet to open in Brazil where it will debut on January 10 followed by a March 28 opening in Japan.
Rounding out the top five is WB’s The Mule, which saw an impressive +24% improvement compared to last weekend, resulting in an estimated $11.78 million weekend and a domestic cume that now tops $60 million.
Outside the top five, following its Christmas Day debut this past Tuesday, Annapurna’s Vice entered its first weekend, playing in 2,442 locations from which it delivered an estimated $7.79 million. The performance is within range of pre-weekend expectations and slightly ahead of Mojo’s pre-weekend forecast. Looking ahead, this clearly isn’t looking to be the same kind of success as writer/director Adam McKay‘s The Big Short, which waited five weeks to play in as many theaters as Vice opened in, not to mention Big Short received an “A-” CinemaScore compared to the “C+” for Vice. The studio may have been better off with a platform approach, similar to Big Short, targeting a wide release on January 25, three days after the upcoming Oscar nomination announcement.
That being said, Vice is already Annapurna’s highest grossing domestic release of all-time after just six days in release with the picture grossing $17.7 million thus far.
Also following its Christmas Day debut, Sony’s comedy Holmes & Watson wasn’t a hit with critics or audiences. The film received a “D+” CinemaScore from opening day crowds, signaling a steady decline in attendance, which was reflected in this weekend’s performance with the film delivering an estimated $7.3 million from 2,776 locations. The film has now grossed just shy of $20 million after six days in release. To put that into perspective, previous comedies headlined by Will Ferrell and John C. Reilly saw Step Brothers open with $30.9 million ahead of a $100 million domestic run and Talladega Nights: The Ballad of Ricky Bobby opened with $47 million before ending its domestic run just shy of $150 million.
Holmes & Watson also began its international rollout this weekend, playing in eight markets and delivering an estimated $4 million led by a $1.8 million opening in Australia and a $1.7 million debut in the UK. Upcoming key markets include Russia (Jan 24), Germany (Feb 7), Italy (Feb 14), Spain (Feb 22) and France (Feb 27).
In limited release, Reliance‘s release of Simmba debuted with an estimated $1.7 million from 300 locations ($5,751 PTA); Focus’s release of On the Basis of Sex delivered an estimated $690k from 33 theaters ($20,909) after debuting on Christmas Day; Sony Classics’s Stan & Ollie opened with $79,674 from five locations ($15,935); and Annapurna’s Destroyer brought in an estimated $58,472 from three theaters ($19,491 PTA) after it too opened on Christmas Day.
Overall, the weekend’s top twelve were mostly on par with last weekend, grossing just +0.8% more as 2018 will soon come to a close as the highest grossing year at the domestic box office of all-time. So far, 2018 has delivered nearly $11.7 billion in domestic ticket sales and will top 2016’s previous record year by more than $400 million.
Next weekend will see us begin 2019 with the release of the Sony horror film Escape Room, debuting in ~2,500 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Aquaman | $51.6M | $188.8M | 2 |
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Mary Poppins Returns | $28.0M | $98.9M | 2 |
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Bumblebee | $20.5M | $66.8M | 2 |
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Spider-Man: Into the Spider-Verse | $18.3M | $103.6M | 3 |
|
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The Mule | $11.8M | $60.7M | 3 |
|
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Vice | $7.8M | $17.7M | 1 |
|
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Holmes & Watson | $7.3M | $19.7M | 1 |
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Second Act | $7.2M | $21.8M | 2 |
|
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Ralph Breaks the Internet | $6.5M | $175.7M | 6 |
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The Grinch | $4.2M | $265.5M | 8 |
|
‘They Shall Not Grow Old’: Peter Jackson’s WWI Documentary Sets a Box Office Record!!
Peter Jackson’s groundbreaking WWI documentary They Shall Not Grow Old grossed $3.375 million at the domestic box office on Thursday, December 27th, bringing its cumulative gross to $5.702 million and setting a record as the highest-grossing U.S. cinema event to date, both for Fathom Events and for the event-cinema industry. They Shall Not Grow Old, distributed worldwide by Warner Bros. Pictures, restores, colorizes and applies 3D technology to original film footage from World War I, to remarkable effect.
The encore showing on December 27th exceeded all expectations generating the second-highest per-screen average of any U.S. theatrical release. The film played on only 1,007 screens, for a per-screen average of $3,351. Due to such intense interest from moviegoers, some locations sold out of tickets more than a week ago, despite strong competition from wide holiday film releases. In its first North American cinema presentation on December 17th, They Shall Not Grow Old played on more than 1,000 total screens and grossed $2.327 million; it was the second-highest-performing film on that day.
“The success of this release is a result of tremendous teamwork between Fathom Events, Warner Bros. and our exhibition partners,” said Ray Nutt, CEO of Fathom Events. “Peter Jackson has created a film of remarkable technical achievement that is also a deeply emotional and truly unforgettable experience for anyone who sees it. It has been an honor to be part of Mr. Jackson’s cinematic achievement.”
They Shall Not Grow Old now ranks as the largest-ever U.S. event cinema release, far surpassing the recent BTS documentary and eclipsing Fathom’s previous records. In 2015, Fathom’s “Dragon Ball Z: Resurrection F” reached $4.6 million; in 2013, Fathom’s release of “Dr. Who, The Day of the Doctor” delivered $4.49 million and in 2016, Fathom’s “Batman: The Killing Joke” reached $3.4 million in gross revenue.
Cinema audiences can anticipate further showings on January 11, 2019 and February 1, 2019. More details to be released by Warner Bros.
via Collider
‘Aquaman’ Rules Christmas Eve, Crosses $500M at the Worldwide BO!!!
Warner Bros.‘ Aquaman continued to rule the holiday box office Christmas Eve, earning $11.2 million from 4,125 theaters in North America and swimming past the $500 million mark globally.
The DC superhero pic, starring Jason Momoa in the titular role, debuted domestically over the weekend to $67.4 million, easily enough to beat Christmas competitors Mary Poppins Returns and Bumblebee. Aquaman began opening mid-December overseas, where it has earned north of $420 million to date. Its domestic total through Monday is $79 million, including sneaks.
Disney‘s Mary Poppins Returns earned an estimated $6.4 million from 4,090 theaters Monday for a six-day domestic cume of roughly $39 million (the musical launched last Wednesday). The sequel to the iconic 1964 movie stars Emily Blunt and Lin-Manuel Miranda.
Paramount‘s Bumblebee, hoping to revive the Transformers franchise, took in a projected $3.7 million from 3,550 locations million for a four-day gross of $25 million. Hailee Steinfeld stars.
Christmas Eve can be sluggish in terms of moviegoing. Ticket sales should pick up in earnest on the afternoon of Dec. 25 and stay at peak levels through New Year’s Eve. The verdict on the performance of many year-end films will be based on how they fare during the corridor, versus their opening weekend.
One exception is Universal and DreamWorks‘ Welcome to Marwen, which won’t be able to recover after bombing with a $2.4 million debut over the weekend. Directed by Robert Zemeckis and starring Steve Carell, the dramedy will lose $50 million or more. On Monday, the film placed No. 9 with an estimated $488,000 for a four-day total of $2.9 million.
STXfilms‘ romantic comedy Second Act, starring Jennifer Lopez, also opened over the weekend in hopes of serving as counterprogramming to event films such as Aquaman and Mary Poppins Returns. It’s done muted business so far, earning $1 million Monday for a four-day domestic total of $7.5 million. Second Act cost a modest $16 million to produce, according to STX.
The marquee gets even more crowded Christmas Day when filmmaker Adam McKay‘s Dick Cheney pic Vice and the Will Ferrell-John C. Reilly comedy Holmes and Watson open, marking the final nationwide releases of 2018.
Vice, an awards contender, features Christian Bale as Cheney. Amy Adams also stars.
From Sony, Holmes and Watson re-teams Ferrell and Reilly after their turn together in Step Brothers. Sony didn’t make the comedy, a twist on Sherlock Holmes and his loyal biographer, available to reviewers pre-opening. Ethan Cohen directed.
Reilly has double duty this holiday season. He also stars in specialty pic Ollie & Stan opposite Steve Coogan. Sony Pictures opens the Laurel and Hardy biopic Friday.
On Christmas Day, two high-profile specialty titles debut in select theaters: On the Basis of Sex, starring Felicity Jones as a young Ruth Bader Ginsburg, and Destroyer, starring Nicole Kidman.
via The Hollywood Reporter
‘Spider-Man: Into the Spider-Verse’ Opens Big at the China BO!!!
“Spider-Man: Into the Spider-Verse” flew to the top of China’s box office this weekend, earning $26 million. That marked the fourth-largest opening of all time for an animated Hollywood film in the Middle Kingdom.
It also marked the best opening of the year for a foreign animated feature. The figure beat earlier studio projections of $17.5 million for the three-day weekend.
Though already in its third weekend, “Aquaman” stayed a close second in China with a three-day intake of $23.4 million. With a cumulative gross of $233 million, the undersea epic is now one of Warner Bros.’ most profitable titles ever in the country.
The two sailed high above three other local films that all opened Friday. Supernatural slapstick local comedy “Airpocalypse” came in third with $12.3 million, trailed by Chinese historical martial arts flick “Kung Fu Monster” with $7.53 million. “Master Z: The Ip Man Legacy” opened with $6.03 million in its opening weekend
Hayao Miyazaki’s 30-year-old classic “My Neighbor Totoro” came in sixth, with a $3.17 million take that bumped its 10-day gross to $20 million. It was followed by Indian drama “Padman,” which earned $730,000 this weekend.
Despite the holiday season, Illumination’s animated film “The Grinch” still could not charm Chinese audiences, coming in eighth place with a cumulative box office total of just $3.52 million in 10 days.
“Spider-Verse” may have swung to victory this week, but its opening performance still fell far behind that of other top Hollywood animated titles in China. Last summer’s “Despicable Me 3” continues to lead the pack thanks to its $64 million opening, while 2016’s “Kung Fu Panda 3” brought in $53.3 million in its debut.
It was unusual for “Spider-Verse” to get a late December release date during what is usually a blackout period for foreign films during China’s prime moviegoing period. This year, however, authorities admitted a number of non-Chinese titles in what is likely a last-minute push to boost the country’s box office growth figures.
The Aamir Khan vehicle “Thugs of Hindostan” and the Netflix dog-centric family drama “Benji” are two more foreign films set for theatrical release before the end of the year, with both opening on Dec. 28.
via Variety
‘Welcome to Marwen’: Steve Carell Led Film to Lose $50 Million at the BO!!!
It’s shaping up to be a pretty bleak holiday season for Steve Carell and Robert Zemeckis after “Welcome to Marwen” flopped last weekend in spectacular fashion. The $40 million drama about a man’s attempts to overcome his PTSD is one of the biggest bombs of the year, debuting to a disastrous $2.4 million from 1,191 theaters. It stands to lose between $45 million to $50 million when marketing and distribution costs are taken into account, according to rival studio executives, an embarrassing result for both Carell and Zemeckis.
“Welcome to Marwen” is also the worst wide-release major studio debut of 2018 — tying with Johnny Knoxville’s dud “Action Point” for that ignominious distinction — and a career-worst wide-release start for the A-list actor and the director. Compounding the pervasive air of disaster, “Welcome to Marwen” is the second big turkey for Universal Studios in as many weeks. The studio also stands to lose $125 million-plus on “Mortal Engines,” a Peter Jackson fantasy that has grossed an anemic $54.3 million globally.
Universal did limit its exposure on “Welcome to Marwen.” The film is co-financed by DreamWorks and its slate financing partner Perfect World is an investor. Despite ending the year on a sour note, Universal has fielded a number of hits, including “Halloween,” “Dr. Seuss’ The Grinch,” and “Jurassic World: Fallen Kingdom.”
Exhibitors have been privately warning that “Welcome to Marwen” was shaping up to be a bust after previewing the picture. The studio will have trouble holding screens for the film in the coming days and weeks because it’s a competitive time of year and theaters will want to give space to holiday hits such as “Aquaman” and “Mary Poppins Returns.”
“Welcome to Marwen” is based on the 2010 documentary “Marwencol” and centers on the true story of Mark Hogancamp, a man who recovered from a brutal assault by creating a miniature World War II-era village and populating it with figurines. Reviews were not kind. The film holds a meager 25% “rotten” rating on Rotten Tomatoes, with critics such as Variety’s Owen Gleiberman faulting the film for being dramatically inert.
“The film is far from incompetent, and it brims with ambition, but too much of the time what’s happening just sits there,”Gleiberman wrote. “It’s a lavishly odd concoction, like a feel-good movie for OCD miniature-world Barbie-doll fetishists.”
It also continues a downward trajectory at the box office for both Zemeckis and Carell. After creating commercials smashes such as “Forest Gump” and “What Lies Beneath” in the 1990s and early aughts, Zemeckis has faltered of late. His recent films such as “Allied” and “The Walk” have bombed, with only the Denzel Washington drama “Flight” managing to find an audience. Carell has been successful as the voice of Gru in the “Despicable Me” movies, but recent starring vehicles such as “Beautiful Boy” and “Battle of the Sexes” have fared poorly. The actor has a key supporting role playing Donald Rumsfeld in “Vice,” a satire about Dick Cheney that opens on Christmas.
via Variety
‘Aquaman’ Tops With $67.4 Million Debut; While ‘Poppins’ and ‘Bumblebee’ Play Runner-Ups at the BO!!
The long Christmas weekend is underway with Aquaman, Warner Bros.‘s latest entry into their DC Extended Universe, topping the charts, on its way to a $100+ million five-day opening. Meanwhile, Disney‘s Mary Poppins Returns and Paramount‘s Bumblebee finished in runner-up positions over a weekend that played relatively similarly to the same weekend last year, though given the holiday timing its hard to make an apples-to-apples comparison.
Performing almost exactly as expected, WB‘s release of Aquaman easily took the #1 spot at the weekend box office with an estimated $67.4 million over the course of the three-day weekend and a cume that now stands at $72.1 million once you include the $4.7 million in grosses from pre-weekend Amazon Prime showings. The film is now expected to deliver around $105 million over the course of its first five days, which ends on Christmas Day, routinely the busiest day at the box office all year. The film received an “A-” CinemaScore from opening day audiences and played to an opening weekend crowd that was 55% male and 58% aged 25 years or older.
Overall, the performance ranks as one of the top ten December openings of all-time, though it is sixth largest debut within WB‘s DC Extended Universe. That last note, however, will be an interesting stat to watch as Aquaman has enjoyed some of the best reviews of the franchise and audiences seem to be enjoying it to the tune of an 86% audience rating on Rotten Tomatoes.
Worldwide, the film is the #1 release at the global box office for the third week in a row, bringing in another $91.3 million overseas this weekend from 70 markets for an international cume that now stands at $410.7 million and a global tally totaling $482.8 million. Comparing to all overseas markets in release, WB reports Aquaman is tracking as the highest grossing film in the DC Universe (+22% higher than Batman v Superman: Dawn of Justice, +52% higher than Justice League and +86% ahead of Wonder Woman). The film’s top market remains China with an impressive $232.8 million, which ranks as the seventh highest grossing imported title in the market all-time. The film also debuted in South Korea this weekend with $9.9 million along with openings in France ($6.2m), Germany ($4.2m), Spain ($2.8m) and Hong Kong ($2.7m). The film will open in Australia on December 26 followed by openings in Italy (Jan 1) and Japan (Feb 8).
Disney‘s Mary Poppins landed in second position for the three-day after opening on Wednesday. The film brought in an estimated $22.2 million over Friday-Sunday frame for a $31 million five-day cume. This is mostly what was expected heading into the weekend and while this may seem like a light performance this is a film that should play well throughout the holidays and into the new year. The film received strong reviews prior to opening — 65 on Metacritic 77% on Rotten Tomatoes — to go along with an “A-” CinemaScore from opening day crowds. Poppins‘s audience was 59% female with 61% of the opening weekend crowd coming in aged 25 years or older.
Internationally, Mary Poppins Returns delivered an estimated $20.3 million from its first 17 markets, including a #1 start in the UK with an estimated $9.4 million. Additional openings include Italy ($2.8m), France ($2m), Germany ($1.9m) and Spain ($1.4m). The film expands further next weekend, debuting in Mexico, Denmark, Finland, Norway and many more with early January openings set for Australia and Russia and February debuts set for Japan and South Korea.
Paramount‘s release of Bumblebee, the sixth film in the Transformers franchise, landed in third with an estimated $21 million as it too plays to expectations and should also enjoy a lengthy box office run thanks to strong reviews and an “A-” CinemaScore from opening day audiences. That being said, the only real question with this film, as well as Aquaman and Sony Animation‘s Spider-Man: Into the Spider-Verse, is just how well all these films can play alongside one another and not cannibalize each other’s potential box office as they play, mostly, to the same crowd. For now we’re looking for Bumblebee to deliver a $32+ million five-day start.
Internationally, Bumblebee opened in 38 markets with an estimated $31.1 million led by $4.9 million openings in both Russia and Indonesia. Additional openings include Mexico ($3.9m), Australia ($2.8m), Malaysia ($2.6m), Germany ($1.8m), Thailand ($1.2m) and Singapore ($1.2m). The film will expand into 17 additional markets next week including France, UK, Brazil, Korea and Spain with a January 4 release set for China and a March 22 release planned for Japan.
The aforementioned release of Sony Animations‘s Spider-Man: Into the Spider-Verse landed in fourth place with an estimated $16.7 million to kick off its second weekend with a cume that now stands just shy of $65 million. The film’s 53% second weekend drop is a little more than anticipated, which speaks to the amount of competition that’s currently in the marketplace right now, vying for the attention of the same sets of eyeballs.
Spider-Verse also began its run in China this weekend, debuting at #1 with an estimated $26.1 million contributing to a $38 million international weekend and an overseas cume that now stands at $64.8 million. The film is still yet to open in Mexico (Dec 25), Italy (Dec 25), Brazil (Jan 10) and Japan (Mar 28).
Rounding out the top five is WB‘s release of Clint Eastwood‘s The Mule, which enters its second week in release with an estimated $9.95 million and a domestic cume that now stands at $35.6 million.
Universal and Illumination‘s release of The Grinch added an estimated $8.18 million this weekend as its cume now stands at $253.2 million, moving it ahead of Illumination‘s Despicable Me as the animation house’s sixth largest domestic release of all-time. The film is certainly positioned to continue its strong run with Christmas right around the corner.
In seventh position we find STXfilms‘s release of Second Act, which delivered an estimated $6.5 million for the three-day weekend as it looks to deliver $8.5+ million over its first five days in release. The $16 million romantic comedy stars Jennifer Lopez and received a “B+” CinemaScore from opening day audiences while the weekend crowd was 70% female with 51% were of the overall audience coming in between the ages of 25 and 44 and 75% of the total audience aged 25 or older.
Barely finding its way into the top ten, Universal and DreamWorks‘s release of Robert Zemeckis‘s Welcome to Marwen was pretty much a disaster as the $39 million production scored a mere $2.35 million in its first three days from 1,911 locations and a $1,233 per theater average. The film didn’t necessarily sit well with the audiences that did show up, receiving a harmless “B-” CinemaScore, which pretty much guarantees this one’s theatrical tenure will be limited at best. The film played to an audience that was 52% female and 79% of the overall audience was aged 25 or older.
Hot on Marwen’s heels is Focus Features‘s Mary Queen of Scots, which brought in an estimated $2.2 million over the three day as it expanded nationwide, playing in 795 locations (+729) as it enters its third week in release.
Just outside the top five is Fox Searchlight‘s The Favourite as it enters its fifth weekend in release and has now expanded nationwide, playing in 790 locations (+349) where it brought in an estimated $2.06 million for a cumulative gross that now stands at $10 million. The film will add a few additional locations next weekend as it plays throughout the holiday season, hoping to advance even further in the awards season race.
In limited release, Amazon Studios‘s Cold War brought in an estimated $55,727 from three locations for a $18,576 per theater average.
Next week begins early with Christmas debuts of Sony‘s Will Ferrell and John C. Reilly comedy Holmes and Watson and Annapurna releasing Vice in 2,700+ and 2,300+ theaters respectively. Additionally, Annapurna will release the Nicole Kidman-led Destroyer in three theaters and Focus will open On the Basis of Sex in 33 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Aquaman | $67.4M | $72.1M | 1 |
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Mary Poppins Returns | $22.2M | $31.0M | 1 |
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Bumblebee | $21.0M | $21.0M | 1 |
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Spider-Man: Into the Spider-Verse | $16.7M | $64.8M | 2 |
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The Mule | $10.0M | $35.7M | 2 |
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The Grinch | $8.2M | $253.2M | 7 |
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Second Act | $6.5M | $6.5M | 1 |
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Ralph Breaks the Internet | $4.6M | $162.1M | 5 |
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Welcome to Marwen | $2.4M | $2.4M | 1 |
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Mary Queen of Scots | $2.2M | $3.5M | 3 |
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‘Spider-Man: Into the Spider-Verse’ and ‘The Mule’ Opens Strong While ‘Mortal Engines’ Bombs at the BO!!!
For the 13th time this year the top film at the weekend box office was adapted from a Marvel Comics property as Sony‘s animated release of Spider-Man: Into the Spider-Verse took the weekend box office crown with the largest opening ever for an animated film in December. Warner Bros.‘s The Mule also enjoyed a solid debut while Universal‘s release of Mortal Engines crashed and burned. Additionally, ahead of its domestic debut next weekend, WB‘s Aquaman continued its stellar international rollout as the #1 film at the global box office this weekend.
Finishing at #1, Sony Animation‘s Spider-Man: Into the Spider-Verse brought in an estimated $35.4 million for what is the largest three-day animated opening of all-time in the month of December. Previously, Universal and Illumination‘s Sing held that record with its $35.2 million opening. However, that debut does come with the caveat that it was part of a five-day opening that totaled $55.8 million back in December 2016. That being said, this is a great start for the production which should enjoy excellent play throughout the holiday season and beyond. The film received almost universally positive reviews heading into the weekend and earned a coveted “A+” CinemaScore from opening day audiences. Opening weekend crowds were largely male at 63% with 41% of the audience coming in aged 25 or older.
Internationally, Spider-Verse brought in $21 million from 44 overseas markets, led by a $3.3 million opening in South Korea followed by the UK ($2.9m), Russia ($2.3m) and Australia ($2.3m). The film will add an additional 11 markets next weekend including openings in China and Spain.
Finishing in second is Warner Bros.‘s release of Clint Eastwood‘s The Mule, which delivered a $17.2 million opening from just 2,588 locations. The $50 million production received an “A-” CinemaScore from opening day audiences, and played to a crowd that was 54% male and 88% of which were over the age of 25. The film should play well over the coming weeks as a solid piece of counter-programming for adult audiences.
With the best hold in the top ten, Universal and Illumination‘s The Grinch finished third, dropping just -23% for an estimated $11.58 million start to its sixth week in release. The film has now grossed nearly $240 million domestically to go along with $133.4 million internationally after adding an additional $23.3 million overseas this weekend including a $2.9 million opening in China and a $2.3 million debut in Japan.
Disney’s Ralph Breaks the Internet dipped to fourth, falling below The Grinch for the first time since its release, with an estimated $9.58 million as the film’s domestic cume is now just shy of $155 million. Internationally, Ralph added $7.9 million this weekend for a global tally that now tops $285 million. The film will open in Japan and Hong Kong next weekend with several top markets still yet to release.
Rounding out the top five is Universal‘s Mortal Engines, a $100 million production that took in a disastrous $7.5 million this weekend from 3,103 locations. The film entered the weekend with lackluster reviews, a sentiment that was mostly echoed by the audience with a “B-” CinemaScore. Opening weekend crowds were 55% male with 64% of the audience aged 25 or older. We don’t expect this one to be around for too long.
Internationally, Mortal Engines began its overseas run last weekend and added 11 additional markets this weekend for a total of 54 from which it brought in an estimated $11.5 million for a total of $34.8 million so far. Highlights this weekend include a #3 opening in France with an estimated $1.6 million followed by the UK ($1.59m), Germany ($1.3m), Italy ($869k) and Spain ($790k). The film has three major markets yet to be released made up of Mexico (Jan 4), Brazil (Jan 10) and Japan (Mar 1).
Outside the top ten, Fox’s PG-13 re-release of Deadpool 2, Once Upon a Deadpool, brought in an estimated $2.6 million from 1,566 locations. Grosses from the re-release’s two week run are being added to the overall gross for Deadpool 2, which now stands at $322.3 million. The PG-13 edit was also released in 12 markets internationally where it brought in an estimated $1 million.
Fox Searchlight‘s release of The Favourite expanded into 439 locations (+348) this weekend and brought in an estimated $2.57 million (+70.9%). Next weekend the film will expand nationwide, expected to play in 750-800 locations.
In limited release, Annapurna‘s If Beale Street Could Talk opened in four locations with an estimated $219,173 for a chart-topping $54,793 per theater average. The film will expand on Christmas Day to approximately 65 locations with further expansion throughout January. Additional releases include IFC‘s The House that Jack Built, which brought in an estimated $40,436 from 33 locations ($1,225 PTA) and Sony Classics debuted Capernaum on three screens where it brought in an estimated $27,588 ($9,196 PTA).
It must also be mentioned that WB‘s international release of Aquaman followed up its monster debut in China last weekend with a similarly strong performance this weekend as it added an additional 42 markets and brought in an estimated $126.4 million for an international cume that now totals $261.3 million. The DC Comics property added another $54.2 million in China this weekend for a cume totaling over $189 million followed by releases in Brazil ($7.7m), Russia ($7.4m), Mexico ($7.9m), UK ($6.5m), Indonesia ($5.3m), Taiwan ($4.7m), Philippines ($4.3m), India ($4m) and Thailand ($3.5m). To go along with its domestic release next weekend, the film will open in France, South Korea, Germany and Spain with releases in Australia (Dec 26), Italy (Jan 1) and Japan (Feb 8) remain.
Next week sees a flurry of new releases beginning on Wednesday with Disney‘s Mary Poppins Returns, which is set to play in ~3,800 locations. Following that, on Friday Warner Bros. will release Aquaman in over 4,100 theaters; Paramount will debut the latest Transformers feature, Bumblebee in ~3,500 locations; STX‘s romantic comedy Second Act starring Jennifer Lopez will debut in 2,600+ theaters; and Universal‘s Welcome to Marwen arrives in ~1,900 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Spider-Man: Into the Spider-Verse | $35.4M | $35.4M | 1 |
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The Mule | $17.2M | $17.2M | 1 |
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The Grinch | $11.6M | $239.3M | 6 |
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Ralph Breaks the Internet | $9.6M | $154.5M | 4 |
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Mortal Engines | $7.5M | $7.5M | 1 |
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Creed II | $5.4M | $104.9M | 4 |
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Bohemian Rhapsody | $4.1M | $180.4M | 7 |
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Instant Family | $3.7M | $60.2M | 5 |
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Fantastic Beasts: The Crimes of Grindelwald | $3.7M | $151.7M | 5 |
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Green Book | $2.8M | $24.7M | 5 |
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‘Aquaman’ Opens Big in China as ‘Ralph’ Continues Reign at the BO!!
The domestic weekend was, for the most part, as light as was expected. While it wasn’t the lowest grossing weekend of the year so far, it was the second lowest with the top twelve delivering a combined $77.8 million. This is all in advance of what should be a profitable holiday season to come and we got a hint as to just how profitable it could be with the launch of WB‘s Aquaman in China this weekend where the film delivered a massive $93.6 million, becoming the #1 film globally from one market alone.
Beginning with the domestic box office, while it looked like it might be neck-and-neck between Disney‘s Ralph Breaks the Internet and Universal and Illumination‘s The Grinch at the top of the box office following Friday’s estimates, Ralph carried the weekend as expected, though The Grinch wasn’t far behind.
Ralph brought in an estimated $16.1 million for the weekend, pushing its domestic cume just over $140 million. Meanwhile, The Grinch had the second smallest drop in the top ten, dipping just -15% compared to last weekend for a $15.17 million three day and a domestic cume approaching $225 million as the holiday themed animated feature is taking full advantage of the season.
Internationally, Ralph added $18 million for a worldwide cume that currently totals $258.2 million. This weekend the film debuted in Spain with an estimated $4.6 million while China remains the feature’s top market with $38.5 million so far.
As for The Grinch, it added nine markets this weekend including Mexico where it debuted with an estimated $5.2 million. Overall, the film brought in $25.9 million from overseas markets this weekend for an international cume totaling $98.9 million and a global tally reaching $322.4 million.
In third, MGM‘s Creed II brought in an estimated $10.3 million for a domestic cume that now stands at $96.5 million. Internationally, the film added an estimated $5.2 million from 31 overseas markets, bringing the overseas running cume to $23.2m million. The film’s top market remains the UK with $8.9 million.
WB‘s Fantastic Beasts: The Crimes of Grindelwald dipped -40% for an estimated $6.8 million weekend for a domestic cume that now stands at $145.2 million. The film also brought in $22 million overseas this weekend for a global cume that now totals $568.5 million.
Rounding out the top five is Fox‘s Bohemian Rhapsody with an estimated $6 million as the drama is now just shy of $175 million domestically as it enters its sixth week in release. The film also continued its scorching performance overseas with an estimated $29.2 million this weekend for an international cume totaling $423 million and a worldwide tally that is now just $3.5 million shy of $600 million as it becomes one of the top ten worldwide releases of 2018.
Outside the top five, Universal‘s Green Book took advantage of its five Golden Globe nominations and recognition from the National Board of Review and American Film Institute. In fact, the film showed a fractional increase versus last weekend, bringing in an impressive $3.9 million for a domestic cume that is now just shy of $20 million. The film is currently playing in 1,181 locations nationwide.
Just outside the top ten, WB gave A Star is Born a little push this weekend, bringing it back to 1,631 theaters (+550) where it brought in an estimated $2.5 million. The film’s domestic cume is now less than $3 million shy of topping $200 million. Internationally, A Star is Born has now brought in $172.6 million for a global tally just shy of $370 million.
Fox Searchlight‘s The Favourite delivered an estimated $1.4 million from 91 locations (+57) for a domestic cume that now totals $3.5 million. The film will expand into approximately 525 theaters beginning next weekend.
Additionally, Universal‘s re-release of Schindler’s List in celebration of the film’s 25th anniversary brought in an estimated $551k from 1,029 theaters for a minuscule $535 per theater.
In limited release, Focus Features‘s Mary Queen of Scots began its run in four locations with an estimated $200,000 for a chart-topping $50k per theater average. The film will expand next weekend into approximately 70 locations.
Also in limited release, Neon‘s Vox Lux open in six locations with an estimated $162,252 for a $27,042 per theater average; Roadside‘s Ben is Back debuted in four theaters with an estimated $80,972 ($20,243 PTA); and Hannover‘s Frank and Ava opened in one theater with an estimated $3,062. Of the lot, Ben is Back will be expanding to ~30 locations next weekend in five additional markets.
Beyond the domestic box office, the biggest news of the weekend is probably the debut of WB and DC Comics‘s Aquaman in China where the film debuted two weeks ahead of its domestic release to a monster $93.6 million. The performance represents 85% of the total market share for the weekend weekend in China while serving as the studio’s largest opening weekend ever in China as well as the largest industry opening in the market for the month of December. The film will continue its international roll out next weekend, opening in 40+ more overseas markets, including the UK, Russia, Mexico and Brazil. The film opens domestically on December 21.
Also getting a head start on its domestic release, Universal‘s Mortal Engines debuted in 43 markets this weekend with an estimated $17.9 million. Leading the way was a #1 opening in Russia with an estimated $4.1 million followed by Indonesia ($1.6m), South Korea ($1.6m) and Australia ($1m). Key upcoming releases include the December 12 opening in France followed by Italy (Dec 13), Germany (Dec 13), UK (Dec 14), Spain (Dec 14), Mexico (Jan 4), Brazil (Jan 10) and Japan (Mar 1).
Looking ahead, while this weekend didn’t feature any new wide releases, next week gets us back on track with Warner Bros‘s release of Clint Eastwood‘s The Mule in 2,400+ locations; Sony will debut the critically acclaimed animated feature Spider-Man: Into the Spider-Verse into 3,400+ locations; and Universal will release the aforementioned Mortal Engines into ~3,000 theaters. Additionally, Fox will begin the release of the PG-13 rated edit of Deadpool 2 titled Once Upon a Deadpool into ~500 locations beginning on Wednesday.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Ralph Breaks the Internet | $16.1M | $140.9M | 3 |
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The Grinch | $15.2M | $223.5M | 5 |
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Creed II | $10.3M | $96.5M | 3 |
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Fantastic Beasts: The Crimes of Grindelwald | $6.8M | $145.2M | 4 |
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Bohemian Rhapsody | $6.0M | $173.6M | 6 |
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Instant Family | $5.6M | $54.2M | 4 |
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Green Book | $3.9M | $20.0M | 4 |
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Robin Hood | $3.6M | $27.3M | 3 |
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The Possession of Hannah Grace | $3.2M | $11.5M | 2 |
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Widows | $3.1M | $38.2M | 4 |
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‘Ralph Breaks the Internet’ Remains #1 with $26 Million at the Post-Thanksgiving BO!!
Outside of only a couple differences, this weekend’s box office top ten almost mirrors last weekend’s rankings exactly with Disney‘s Ralph Breaks the Internet securing the #1 spot for a second weekend in a row. Among the differences, Universal‘s The Grinch switched places with Creed II as the animated feature took the runner-up position while topping $200 million domestically. In the bottom half of the top ten Sony‘s release of the Screen Gems horror film The Possession of Hannah Grace outperformed expectations and earned a seventh place finish.
There was no change at the top of the box office, however, as Disney‘s Ralph Breaks the Internet is once again the #1 film in North America, delivering an estimated three-day totaling $25.75 million. From a domestic perspective, the film’s performance almost matches that of Moana‘s dollar-for-dollar after 12 days in release with a domestic total just shy of $120 million. Internationally, the film added $33.7 million this weekend for an international cume that now totals $87.7 million and a $207 million worldwide cume.
Landing in second place is Universal and Illumination‘s The Grinch, which brought in an estimated $17.7 million for a domestic cume that now totals $203.5 million. For Illumination, this is now the studio’s eighth film out of nine releases to top $200 million and with Christmas still 23 days away there is yet a lot of time for this one to rake in additional grosses.
Internationally, The Grinch added 20 markets this weekend for 53 total marketplaces now in play. Within those markets, the film delivered an estimated $27.1 million including strong debuts in Germany ($3.7m), France ($3.7m), Australia ($2.9m), Italy ($2.1m) and Spain ($2m). The film’s international cume now totals $64.8 million with a release in Mexico set for next weekend followed by Japan and China on December 14 and Korea and Russia on December 20.
MGM’s Creed II dropped -53% in its second weekend for an estimated $16.8 million and a twelve day gross that now totals over $81 million. The drop is just a couple percentage points below the first film (which is to be expected given the sheer size of the sequel’s five-day debut last weekend), while the twelve day total remains ~$17 million ahead of where the first film was at the same point in release.
Internationally, Creed II started playing in a couple of smaller markets last weekend, but this weekend expanded into 29 total markets and delivered an estimated $10 million for an international cume that stands at $11.4 million. The top market was the UK where it brought in an estimated $3.9 million, placing second beyond Ralph Breaks the Internet, which also opened this weekend and topped the market with an estimated $5.2 million. Creed II also opened in Australia where it debuted with $2.2 million for a #1 finish. The film won’t really begin playing in most key markets until the new year, beginning with Mexico on January 1 followed by France (Jan 9), Russia (Jan 10), Japan (Jan 11), Germany (Jan 24), Italy (Jan 24), Brazil (Jan 24) and Spain (Jan 25).
In fourth we find WB‘s Fantastic Beasts: The Crimes of Grindelwald, which kicked off its third week in release with an estimated $11.2 million and a domestic cume that is now just shy of $135 million. While the film’s domestic performance is a bit of a downer, it has now topped the global box office for three straight weekends as it added another $40.2 million internationally this weekend for an overseas running cume that is now $385.3 million for a global haul just shy of $520 million. Overall, the performance is going to be a far cry from the first film which delivered nearly $235 million domestically and $814 million worldwide, which will make WB‘s future moves concerning the franchise something to keep an eye.
Rounding out the top five is Fox‘s Bohemian Rhapsody, which brought in an estimated $8.1 million as it kicks off its fifth week in release with a domestic total that is now just shy of $165 million. The film is rocking audiences internationally as well, adding an additional $37 million this weekend from 72 markets for an overseas total that now tops $375 million and a global cume just shy of $539 million. Leading the way this weekend was a $6 million, #1 debut in Italy while the UK still leads all overseas markets with a cume now just shy of $55 million.
Outside the top five, in seventh position is Sony‘s release of Screen Gems’s R-rated horror The Possession of Hannah Grace. Heading into the weekend expectations weren’t that high, but the film managed a $6.5 million opening from 2,065 locations. The film received a “C-” CinemaScore from opening day audiences, playing to a crowd that was 51% female and 50% of which were aged 25 years or older.
Internationally, Hannah Grace kicked off its overseas rollout with $4.1 million in 17 markets. Leading the way was Mexico with $1 million followed by Spain with $675,000. Upcoming key market releases include France (Dec 5), Germany (Jan 31), Italy (Jan 31) and Russia (Feb 28).
The best hold in the top ten goes to Universal‘s Green Book, which didn’t have the breakout last weekend the studio might have hoped for, but with a -29% drop this weekend and a further expansion planned for next weekend it might still have some life. The film took advantage of its National Board of Review award win for Best Film this past week to bring in an estimated $3.9 million for the weekend as its domestic total has now topped $14 million.
And topping the charts for a second weekend in a row based on per theater average is Fox Searchlight‘s release of The Favourite, which is now playing in 34 theaters (+30) and brought in an estimated $1.1 million for a $32,500 per theater average. The film’s first weekend average compared very well to 2014’s Birdman (also from Searchlight), which first began its limited release in October and ended up hauling in over $42 million despite playing in a max number of theaters totaling just 1,213. The film eventually went on to win four Oscars, including Best Picture. Look for Searchlight to follow a similar release strategy for The Favourite, which is expected to expand to 80-100 locations next weekend.
In limited release, Orion‘s Anna and the Apocalypse delivered an estimated $50,163 from five locations for a decent $10,033 per theater average. The film is expected to expand next weekend into approximately 30 locations.
Additionally, GKIDS released Mamoru Hosoda‘s MIRAI this weekend where it played in 780 theaters on Thursday evening and brought in over $210k. Following the preview event, the film played in a much smaller theater count over the weekend where it is expected to deliver around $62,000 from a varying count of locations. The film will continue to hold larger scale event screenings throughout the month and into January.
Originally, next weekend wasn’t going to include any new wide releases, but in fact Universal will be re-releasing Steven Spielberg‘s Schindler’s List into over 1,000 locations to commemorate the film’s 25th anniversary. Otherwise, Focus will introduce Mary Queen of Scots to limited audiences along with limited releases of Roadside‘s Ben is Back, and Neon will debut Vox Lux starring Natalie Portman.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Ralph Breaks the Internet | $25.8M | $119.3M | 2 |
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The Grinch | $17.7M | $203.5M | 4 |
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Creed II | $16.8M | $81.2M | 2 |
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Fantastic Beasts: The Crimes of Grindelwald | $11.2M | $134.3M | 3 |
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Bohemian Rhapsody | $8.1M | $164.4M | 5 |
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Instant Family | $7.2M | $45.9M | 3 |
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The Possession of Hannah Grace | $6.5M | $6.5M | 1 |
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Robin Hood | $4.7M | $21.7M | 2 |
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Widows | $4.4M | $33.1M | 3 |
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Green Book | $3.9M | $14.0M | 3 |
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‘Aquaman’ Tracking $100 Million Opening Ahead of ‘Mary Poppins Returns’ and ‘Bumblebee’!!!
Aquaman director James Wan may have said that he feels “worried” about facing Mary Poppins Returns over the Christmas box office, but if tracking is any indication the DC superhero blockbuster is set to score a comfortable victory over the Disney sequel and the Transformers spinoff Bumblebee during the stacked festive period.
According to Deadline, Aquaman – which opens in the U.S. on December 21st – is expected to gross around $100 million over the five-day Friday to Christmas Tuesday period, with a three-day weekend in the region of $65 million.
That would put the Jason Momoa-headlined DC movie ahead of Mary Poppins Returns, which opens two days earlier and is tracking $70 million through to Christmas Tuesday, while Paramount’s Bumblebee meanwhile is expected to find itself in third place with a $40 million five-day opening haul.
From Warner Bros. Pictures and director James Wan comes an action-packed adventure that spans the vast, visually breathtaking underwater world of the seven seas, “Aquaman”, starring Jason Momoa in the title role. The film reveals the origin story of half-human, half-Atlantean Arthur Curry and takes him on the journey of his lifetime — one that will not only force him to face who he really is, but to discover if he is worthy of who he was born to be … a king.”
Aquaman is directed by James Wan (The Conjuring) and stars Jason Momoa as the titular hero, reprising his role from Batman v Superman: Dawn of Justice and Justice League, along with Amber Heard as Mera, Patrick Wilson as Ocean Master, Willem Dafoe as Dr. Vulko, Yahya Abdul-Mateen II as Black Manta, Dolph Lundgren as King Nereus, Nicole Kidman as Atlanna, Temuera Morrison as Tom Curry, Ludi Lin as Murk, Michael Beach as Jesse Kane, Djimon Hounsou as the Fisherman King, Randall Park as Dr. Stephen Shin, Otis Dhanji as a young Arthur Curry, Julie Andrews as Karathen and Graham McTavish in an as-yet-unrevealed role. It is set for release on December 14th in the UK and December 21st in North America.
via Flickering Myth
‘Bohemian Rhapsody’ Crosses $500 Million at the Worldwide BO!!!!
Killer Queen indeed. 20th Century Fox’s Freddie Mercury biopic just keeps slaying at the box office and will cross the $500 million mark worldwide today. The film has grossed $156.3 million domestically and #341. 5 million at the international box office for a global tally of $497.8 million, through Thursday. And it’s not over yet, the film just debuted in Italy and Fox is adding sing-along screenings worldwide, putting Bohemian Rhapsody on track to hit $600 million.
It’s an impressive tally for any musical biopic, but especially considering how the film divided critics and stirred up controversy, both for its depiction of Mercury’s sexuality and for the allegations against director Bryan Singer. Fox fired Singer from the project last December after the director had “unexpected unavailability,” and reportedly ran a chaotic, unreliable set. None of that is putting off audiences however, and Bohemian Rhapsody is soaring both domestically and internationally.
“Some of the more upscale reviewers were critical of the movie, but the most important critics of all, the general public, gave the movie rave reviews and fans are going back for multiple repeat viewings,” said Fox’s president of International Theatrical Distribution, Andrew Cripps.
The box office success is also a strong leg to stroll into awards season on, with Fox pushing Rami Malek in acting categories for his transformation as Mercury, which has earned rave reviews from critics across the board. In the Best Actor category, Malek will face stiff competition from Bradley Cooper, who directed himself in the year’s other big hit musical drama, A Star Is Born. That film just crossed $350 million internationally this week.
via Collider
‘The Favourite’ Achieves Largest Screen Average In The Last Two Years at the Indie BO!!!
After dominating last year’s Oscars with “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri,” Fox Searchlight is right back at it with “The Favourite,” which has earned the largest per screen average in nearly two years.
Released on four screens in New York and Los Angeles, Yorgos Lanthimos’ dark, 18th century satire grossed an estimated $420,000 for a per screen average (PSA) of $105,500. Not only did it blow by the previous 2018 best average of $89,903 set by “Suspiria,” it also topped 2017’s best PSA, which was set by “Call Me by Your Name” with $103,233.
To find a higher average, you have to go back to “La La Land” in December 2016, when it earned a $176,221 PSA from its five-screen release.
When ranked among all of Searchlight’s releases, “The Favourite” currently ranks third and, depending on Sunday’s numbers, could take the No. 2 spot from Best Picture winner “Birdman,” which started its 2014 run with a $106,000 per screen average. The top PSA for a Searchlight release belongs to “The Grand Budapest Hotel” with $202,000 in May 2014.
Written and directed by Lanthimos, “The Favourite” stars Olivia Colman in an Oscar-contending performance as a senile, gout-riddled Queen Anne. With Britain battling France in the War of the Spanish Succession, Anne clings to her close relationship with Sarah Churchill, the Duchess of Marlborough (Rachel Weisz), who uses her status as the Queen’s Favourite to achieve her political ends.
But Sarah’s relationship is put to the test when her cousin, Abigail (Emma Stone), arrives at court and rises quickly from a scullery maid to Sarah’s rival for the title of Favourite, leading the once innocent Abigail to do the unthinkable to keep her newfound power. Nicholas Hoult and Mark Gatiss also star in the film, which won the Grand Jury Prize at the Venice Film Festival and has a 95 percent score from critics on Rotten Tomatoes.
Also releasing this weekend is “Roma,” the acclaimed, Golden Lion-winning film from Alfonso Cuaron. Following a caretaker employed by a family in the richest neighborhood in Mexico City, “Roma” has received a limited theatrical release prior to its streaming release on Netflix on Dec. 14. But while several screenings at the Landmark in Los Angeles have been reported as sellouts, Netflix is not releasing box office returns for the weekend.
Another new release that did post numbers is “Shoplifters,” which hits the U.S. six months after winning the Palme D’Or at Cannes. Directed by acclaimed Japanese filmmaker Hirokazu Kore-eda, the film follows a rag-tag family of shoplifters bound by circumstance rather than blood, challenging societal definitions of what it really means to be a family. Released on five screens by Magnolia Pictures, the film grossed $88,000 for a per screen average of $17,600.
Among holdovers, CBS Films’ “At Eternity’s Gate” expanded to 31 screens on Friday and earned an estimated $286,000 over the five-day holiday weekend, giving it a 10-day total of $398,549. Focus’ “Boy Erased” expanded to 672 screens and added $1.15 million for a total of $4.5 million after four weekends in theaters.
Two other films that expanded wide this weekend, Sony/Stage 6’s “The Front Runner” and Aviron’s “A Private War,” fell flat with averages of less than $1,000. “The Front Runner” added $630,000 from 807 screens for an average of just $781 and a total of $1 million after three weekends. “A Private War” has a total of just $1.4 million after four weekends, making $135,000 from 226 screens for an average of $597.
On the milestone front, National Geographic’s “Free Solo” is close to becoming the fourth documentary this year to earn $10 million, adding $496,000 to push its total to $9.6 million after nine weekends. Fox Searchlight’s “Can You Ever Forgive Me?” has hit $6 million after six weekends with $593,000 from 426 screens, while Amazon’s “Beautiful Boy” has hit $7 million after making $350,000 from 254 screens in its seventh weekend.
via The Wrap
‘Robin Hood’ Is Officially The Biggest Blockbuster Bomb of 2018!!!
Lionsgate’s “Robin Hood” is turning out to be this year’s biggest blockbuster bomb, with a $14 million five-day opening against a budget of just under $100 million.
This year’s Thanksgiving weekend has provided the most lucrative box office ever. But even with all the record-breaking success, there have been some failures in 2018. Most of those bombs, like Paramount’s “Annihilation” and Fox’s “The Darkest Minds,” have had low-to-mid-level budgets that have reduced how much of a financial hit their studios have taken.
With a global launch of just $22.8 million, “Robin Hood” has had the worst start for any film this year with a budget of $90 million or higher. It’s another flop on top of several for Lionsgate, including the sci-fi film “Kin” ($9.9 million grossed against a $30 million budget), and the Kate McKinnon/Mila Kunis spy comedy “The Spy Who Dumped Me” ($75 million/$40 million budget). So far this year, the studio has only grossed $358 million domestically, down 54 percent from this point last year.
Until now, there hasn’t been a bomb as big as ones seen in 2017, like “King Arthur: Legend of the Sword,” which failed to make back its $175 million budget.
This year’s flops were at least able to post global grosses that exceeded their budgets. Fox’s “The Predator,” made for a pricey $88 million, made $160 million worldwide. Disney’s “Solo,” while being the first “Star Wars” film to gross less than $400 million and raise questions about the future of the classic franchise, was at least able to make back all its production and marketing costs through ancillary revenue.
Even the most recent flop, the $120 million “Nutcracker and the Four Realms,” didn’t do as poorly as “Robin Hood” with a $20 million domestic opening. But this critically panned take on the hero of Sherwood Forest needed the extended holiday weekend just to post a start above $10 million, having just made an estimated $9.1 million from Friday through Sunday. Overseas, it has done even worse with $8.7 million from 33 countries. The U.K., home of Robin Hood, was the top country with a mere $1.7 million grossed.
Lionsgate will try to right the course next year with a 2019 lineup headlined by the final installment in Tyler Perry’s “Madea” series, “A Madea Family Funeral,” a reboot of “Hellboy” starring David Harbour, and the third chapter of Keanu Reeves’ “John Wick” saga.
via The Wrap
‘Venom’ Flies Past ‘Wonder Woman’ at the Worldwide BO!!!
The movie theater, much like the internal organs of a petty thief, has so many snacks and so little time to consume them, but audiences around the globe are still sampling Sony’s Venom. Director Ruben Fleischer‘s tale of disgraced journalist Eddie Brock (Tom Hardy) and his gooey alien pal added another $21.3 million at the overseas box office this weekend, pushing it to $822 million worldwide and past Wonder Woman‘s monster 2017 haul. This also nudges Venom past Mission: Impossible – Fallout to become the fifth highest worldwide earner of 2018 so far.
Sony's VENOM ate up another $21.3M internationally this weekend, $610M total, and a box office buffet of $822M worldwide. Yes, it just passed WONDER WOMAN. Insane numbers. Marvel madness continues.
— Exhibitor Relations Co. (@ERCboxoffice) November 25, 2018
It’s been an interesting journey for Venom, and that’s not even counting the insane process it took to get it into production in the first place. The film was ravaged pretty hard by critics when it premiered back in October, and not not for good reason. Venom‘s a bit of a mess, with a story that feels chopped-and-screwed from a darker version and a third act conclusion that thuddingly arrives with all the subtly and set-up of a car crash.
But technical aspects aside, Venom is also just kind of damn entertaining on a pure popcorn level, with Hardy especially putting in the most cranked up Tom Hardy performance we’ve ever seen. While Riz Ahmed and Michelle Williams sleepwalk through roles so shallow it’s shocking they didn’t break their necks diving into them, Hardy does…whatever the exact opposite of sleepwalking is. The dude is three Monster Energy Drinks deep by the 20-minute mark and eyeing every lobster tank in sight. It helps that Hardy’s take on the beloved character—who has been around in comic book form since the 80’s—is the only live-action version fans have other than the tacked on appearance in Sam Raimi‘s Spider-Man 3 played by the significantly less coked up Topher Grace.
With Venom‘s success, it’s all but guaranteed that one of those two 2020 release dates set aside by Sony belongs to a sequel. With that, you have to assume Woody Harrelson and his wonderfully terrible Ronald McDonald wig will return as Carnage. Strap in, the VenomVerse is rolling right along like a turd in the wind.
via Collider
‘Ralph’ and ‘Creed II’ Deliver Strong Thanksgiving Openings as ‘Robin Hood’ Flops at the BO!!!
It was a massive five days at the box office, the last three days of which resulted in the largest Thanksgiving three-day weekend ever with the top twelve films combining for over $206 million. Leading the way was Disney‘s Ralph Breaks the Internet, which brought in the second largest Thanksgiving five-day gross of all-time followed by MGM‘s Creed II with the largest holiday opening ever for a live-action film. Despite the performances of these two films, it wasn’t all success stories, however, as Summit‘s big budget attempt at Robin Hood collapsed both with critics and audiences.
With a massive $84.5 million domestically in its first five days, Disney‘s Ralph Breaks the Internet easily topped the weekend box office with what ranks as the second largest Thanksgiving five-day opening of all-time. This gives Walt Disney Animation Studios the top three Thanksgiving debuts ever while Disney overall holds eleven of the top thirteen Thanksgiving five-day debuts. By comparison, Ralph‘s debut is $2.5 million more than Moana‘s five-day opening back in 2016 before it went on to gross nearly $250 million domestically.
Ralph was a hit with critics heading into the weekend — 33 on Metacritic and 86% on RottenTomatoes — and audiences agreed, giving the film an “A-“ CinemaScore. Similar to Wreck-It Ralph in 2012, the film played to a crowd of which 44% were 25 years of age or older, but one big difference is the sequel played to a crowd that was 51% female compared to the first film which skewed male at 55%.
Internationally, Ralph delivered an estimated $41.5 million from 18 markets for a $125.9 million global debut. Leading the way is China with an estimated $19.5 million debut, which is just behind Incredibles 2‘s $20.9 million opening in the market, while +14% ahead of Coco and +45% ahead of Moana‘s debuts. Additional markets include a $6.3 million debut in Mexico and $5.7 million opening in Russia. The film will open in the UK next weekend followed by openings in Spain (Dec 5), Japan (Dec 21), Australia (Dec 26), Italy (Jan 1), South Korea (Jan 3), Brazil (Jan 3), Germany (Jan 24) and France (Feb 13).
Overall, Disney reports with Ralph Breaks The Internet‘s $41.5 million debut it is currently tracking almost three times greater than the original Wreck-It Ralph compared to the same suite of territories at current exchange rates. The original film went on to gross $281.8 million internationally and over $471 million worldwide.
Finishing in second is MGM‘s Creed II with a massive, $55.8 million five-day debut. The performance is not only the seventh largest Thanksgiving five-day opening of all-time, but the largest opening for a live-action film over the Thanksgiving weekend ever. The performance is also $16 million ahead of the original, which finished with $109.7 million domestic.
Audiences gave Creed II an “A” CinemaScore, matching that of the original, which means word of mouth on the sequel is likely help this one as much as it did the first. The film also played to a more balanced audience than the original, playing to a crowd that was 57% male compared to 66% for the first film while 64% of the audience was aged 25 or older, with the single largest quad being 25-34 year olds at 30%.
WB‘s Fantastic Beasts: The Crimes of Grindelwald landed in third for the five-day holiday, narrowly edging out Universal and Illumination‘s The Grinch. The Fantastic Beasts sequel delivered an estimated $42.9 million for a domestic cume that now stands at $117.1 million. With an additional $83.7 million internationally this weekend, the film was once again the #1 film globally for the second weekend in a row with a worldwide cume that now totals $439.7 million.
As for The Grinch, it brought in an estimated $42 million over the five-day holiday frame for a domestic cume that now totals over $180 million as it will soon find its way into the yearly top ten. Internationally the film opened in 11 additional markets and brought in $7.6 million from 33 total markets for an international cume that now stands at $35.3 million. The film launches in 23 additional markets next weekend, key among them being France, Australia, Italy, Germany and Spain.
Fox‘s Bohemian Rhapsody rounds out the top five with an estimated $19.37 million over the five-day holiday for a domestic cume that now totals over $152 million. The film also added an additional $38 million internationally this weekend, pushing its global tally to $472.1 million.
It isn’t until seventh position that we find Lionsgate‘s release of Summit‘s Robin Hood, a film that carries reported budget around $100 million, which means its meager, $14.2 million five-day opening makes it one of the biggest busts of 2018. Critics panned the film, which scored a 33 on Metacritic and a 11% on RottenTomatoes, and while the “B” CinemaScore isn’t disastrous, the opening result shows there just wasn’t much of an audience for this one in the first place.
Internationally, the film didn’t fair much better, bringing in an estimated $8.7 million from 33 markets. The UK led the way with an estimated $1.7 million while it brought in $1.2 million in the Middle East followed by Australia ($901k), Italy ($885k) and Malaysia ($530k). The film will open in France, Belgium, South Korea, Brazil, Russia, Denmark, Finland, Mexico, Norway and Sweden next weekend followed by a December 5 opening in Spain and a mid-January debut in Germany.
In ninth position we find Universal‘s expansion of Green Book into 1,063 locations (+1,038) after its limited bow last weekend. The film brought in an estimated $7.4 million for the five-day. Carrying a reported budget of $23 million, it would appear the studio may have gone a bit too wide too soon with this one, which is a hit with critics at 82% on RottenTomatoes and audiences also love what they’re seeing, giving the film an “A+” CinemaScore, but is there enough word of mouth to propel this one over the coming weeks?
Rounding out the top ten is WB‘s A Star is Born, which now carries a domestic cume totaling $191 million. This makes the film the eighth largest domestic release that never hit #1 at the domestic weekend box office. The film also added another $3.5 million internationally this weekend as its global cume now stands at an impressive $353.4 million.
Outside the top ten, Focus expanded their release of Boy Erased into 672 locations (+263) where it brought in an estimated $1.5 million over the five-day frame for a $4.5 million domestic cume after 24 days in release. And Sony‘s expansion of The Front Runner into 807 locations (+785), following its Election Day limited bow, struggled to drum up any business, delivering just $885k for a dismal, $1,097 per theater average.
Elsewhere, Fox Searchlight debuted The Favourite in just four locations where the film brought in a hefty, $420,000 in its first three days for a massive, $105,000 per theater average, the best of 2018. The debut is enough to make it one of the top twenty-five opening averages ever. The film will play in 25-30 locations next weekend as it is set to debut in San Francisco, Dallas, Austin, Washington DC, Boston, Chicago, and Phoenix.
Also in limited release, Magnolia‘s Shoplifters brought in $88,000 from five theaters ($17,600 PTA); Greenwich‘s The World Before Your Feet debuted with an estimated $22,000 from two theaters; and Music Box‘s Becoming Astrid brought in $5,121 from three locations ($1,707 PTA).
Next weekend sees one new wide release hitting theaters in the Screen Gems horror The Possession of Hannah Grace, debuting in ~1,900 locations. Warner Bros. will also release the drama Head Full of Honey into four theaters.
Overall, 2018 is now pacing almost +11% ahead of last year’s grosses with $10.68 billion and is also pacing +6.4% ahead of the record setting 2016.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Ralph Breaks the Internet | $55.7M | $84.5M | 1 |
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Creed II | $35.3M | $55.8M | 1 |
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The Grinch | $30.2M | $180.4M | 3 |
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Fantastic Beasts: The Crimes of Grindelwald | $29.7M | $117.1M | 2 |
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Bohemian Rhapsody | $13.9M | $152.0M | 4 |
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Instant Family | $12.5M | $35.8M | 2 |
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Robin Hood | $9.1M | $14.2M | 1 |
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Widows | $8.0M | $25.6M | 2 |
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Green Book | $5.4M | $7.8M | 2 |
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A Star Is Born | $3.0M | $191.0M | 8 |
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‘Fantastic Beasts’ Sequel Stomps Competition With A $253 Million Opening at the Worldwide BO!!!
While still a solid weekend, the performances fell below Mojo‘s pre-weekend expectations almost across the board. Warner Bros.‘s Fantastic Beasts: The Crimes of Grindelwald, the latest entry in the Fantastic Beasts franchise still topped the weekend as expected, but even it fell a bit below the studio’s expectations, though not by as much as both Paramount‘s Instant Family and Fox‘s Widows, neither of which managed to break out among opening weekend audiences, but will hope to take advantage of the holiday weekend to come.
The overall weekend, however, was an improvement over last weekend and while it fell short of the same weekend last year, which saw the debut of Justice League, the month is now pacing slightly ahead of last year’s grosses, which saw the November box office top $1 billion for only the third time ever.
At #1, Warner Bros.‘s release of Fantastic Beasts: The Crimes of Grindelwald fell a bit short of the studio’s anticipated $65 million debut with an estimated $62 million from 4,163 theaters and ~$13 million shy of the debut for the first film. It’s clear that while banking on its connection to the Harry Potter franchise, the Fantastic Beasts features have yet to capture the same kind of fervor. That said, where the sequel’s domestic performance ends up will be something to watch as the $200 million production certainly looks to take advantage of the holiday time frame, but has plenty of competition up ahead.
Reviews for The Crimes of Grindelwald have been relatively weak — 40% on RottenTomatoes and 53 on Metacritic — and the film received a “B+” CinemaScore, which, in CinemaScore terms, is a notable decline compared to the “A” the first film received. The film played to a crowd that was 57% female with 69% of the overall audience coming in aged 25 years or older. While a couple percentage points higher, these numbers mesh almost exactly with the first film. That said, the audience score for Grindelwald on RottenTomatoes comes in at a decent 71% and should it follow in the footsteps of the first film, look for a domestic performance that just might reach $200 million.
Internationally, the film brought in $191 million from 79 markets, including record openings in 18 of them, including Russia ($12.1m) and Brazil ($6.9m) along with performances ahead of the first film in 43 markets, including France ($11.7m), Germany ($12.8m), Russia, Brazil and Mexico ($6.2m). China led all markets with an estimated $37.5 million debut, which is a shade behind the $40.4 million opening for the first film. All told, we’re looking at a $253 million global debut — 38th largest of all-time — with Japan as the lone key market yet to open, where the film will hit theaters this coming Friday, November 23.
Universal and Illumination‘s The Grinch landed in second place, bringing in an estimated $38.2 million as it begins its second week in release. The film’s domestic cume now totals over $126 million as it will face its first real test this coming Wednesday when Disney debuts Ralph Breaks the Internet. While Ralph is sure to deliver big numbers, The Grinch hopes to continue to leverage its holiday theme for many weeks to come. Internationally, The Grinch added $9.4 million from 23 markets for a running cume that now totals $25.2 million. The film didn’t add in any new markets this weekend.
Fox‘s Bohemian Rhapsody began its third week in release with a -49.7% slide, bringing in an estimated $15.7 million for a domestic cume that now totals $127.8 million. Internationally, the film added another $45.5 million this weekend for an overseas cume that now tops $256 million. The film releases in Italy on November 29 and South Africa on the 30th.
In fourth we find the weekend’s second new wide release in Paramount‘s Instant Family, which came in at the lower end of expectations with an estimated $14.7 million. The studio can be happy about the “A” CinemaScore the film received from opening day audiences, hoping it will translate into a strong hold next weekend and throughout the holiday season, though an opening of this size doesn’t give it room to gain much ground. The film played to an audience that was 65% female and 61% of the audience was over 35 years old.
Rounding out the top five is Fox‘s Widows, which fell below the mid-teen opening the studio was expecting, finishing with an estimated $12.3 million from 2,803 locations. The film came into the weekend as the best reviewed feature among new releases and after enjoying a strong run on the festival circuit, but audiences just didn’t turn out.
Internationally, after opening in the UK last weekend, Widows added another 18 markets this weekend where it grossed an estimated $2.8 million for an early international cume totaling $7.3 million. The top new market this weekend was Italy where it grossed an estimated $737,000 and it will look to add another 26 markets next week including Argentina, Australia, Netherlands and Russia.
Elsewhere, Focus expanded the release of Boy Erased into 409 locations (+332) where it delivered an estimated $1.28 million ($3,130 PTA) with the studio planning on adding around another one hundred theaters for Thanksgiving weekend. Not fairing quite so well was Aviron‘s expansion of A Private War into 865 locations (+827), which struggled mightily, bringing in an estimated $725,000 for a meager, $838 per theater average.
In limited release, CBS Films‘s At Eternity’s Gate delivered an estimated $92,000 from four locations for a chart topping, $23,000 per theater average. The film will expand into select theaters in twelve additional cities beginning this coming Wednesday.
Universal also began the platform release of Participant and DreamWorks‘s Green Book, which delivered an estimated $313,000 from 25 locations for a $12,520 per theater average. The film also received an “A+” CinemaScore from opening day audiences, which Universal will hope to take advantage of when they roll the film out nationwide this coming Wednesday into over 1,000 locations. Additionally, China Lion‘s A Cool Fish debuted in 15 theaters with an estimated $65,000 for a $4,333 per theater average.
Next week features plenty of options over the long, Thanksgiving holiday. Beginning on Wednesday, Disney will be releasing Ralph Breaks the Internet into ~3,800 locations, MGM will debut the sequel Creed II and Lionsgate is taking a chance with the latest re-imagining of Robin Hood.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Fantastic Beasts: The Crimes of Grindelwald | $62.2M | $62.2M | 1 |
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The Grinch | $38.2M | $126.5M | 2 |
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Bohemian Rhapsody | $15.7M | $127.9M | 3 |
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Instant Family | $14.7M | $14.7M | 1 |
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Widows | $12.3M | $12.3M | 1 |
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The Nutcracker and the Four Realms | $4.7M | $43.9M | 3 |
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A Star Is Born | $4.4M | $185.8M | 7 |
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Overlord | $3.9M | $17.7M | 2 |
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The Girl in the Spider’s Web | $2.5M | $13.3M | 2 |
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Nobody’s Fool | $2.3M | $28.9M | 3 |
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‘The Grinch’ Opens Strong With $66 Million, While ‘Spider’s Web’ And ‘Overlord’ Struggle at the BO!!
The 2018 box office continues to usher in hits as Universal and Illumination‘s Dr. Seuss’ The Grinch debuted with a chart-topping $66 million this weekend. However, it wasn’t all roses for the weekend’s new wide releases as neither Overlord nor The Girl in the Spider’s Web managed to catch on with audiences. Yet, holdovers such as Bohemian Rhapsody and A Star is Born continued their strong performances while Sony‘s Venom delivered a massive $111 million debut in China.
With an estimated $66 million, Universal and Illumination‘s Dr. Seuss’ The Grinch topped the weekend box office. The performance currently ranks as the third largest opening weekend for an animated title in November behind The Incredibles ($70.4m) and Frozen ($67.39m). The film should play well over the coming weeks and throughout the holidays as it is the only predominantly Christmas-themed wide release on the docket. While reviews for the film trended more mixed-to-negative, audiences gave the film an “A-” CinemaScore to go along with what currently stands at a 71% audience score on RottenTomatoes. The Grinch played to a crowd that was 53% female.
Internationally, The Grinch opened in 23 locations with an estimated $12.7 million for a $78.7 million global debut. Leading the way was a $6.5 million debut in the UK and Ireland followed by Brazil ($1.3m), Norway ($747k) and Sweden ($668k). The film has yet to open in 48 territories including key marketplaces such as France (Nov 28), Australia (Nov 29), Italy (Nov 29), Germany (Nov 29), Spain (Nov 30), Mexico (Dec 7), Japan (Dec 14), China (Dec 14), Korea (Dec 20) and Russia (Dec 22).
Fox‘s Bohemian Rhapsody performed just ahead of Mojo‘s pre-weekend expectations, which means the film’s estimated $30.85 million sophomore session pushed it over $100 million domestically after ten days in release. The film performed equally strong overseas, bringing in an estimated $63 million, for an international total over $185 million and a global cume that now tops $285 million. The film’s top market remains the UK where it dipped just 16% in its third weekend of release for a cume that now tops $38 million. Upcoming markets include releases in India (Nov 16), Italy (Nov 28) and South Africa (Nov 30).
In third place is Paramount‘s release of Overlord, an R-rated, supernatural horror film from producer J.J. Abrams and his Bad Robot banner. The film delivered an estimated $10.1 million for the weekend. While the performance is within the range of Mojo‘s pre-weekend expectation, it’s a bit shy of the low teens debut the studio was anticipating. The film received a “B” CinemaScore and played to an audience that was 69% male.
Internationally, Overlord debuted in 52 markets, grossing an estimated $9.2 million for a global cume coming up shy of $20 million. Given this represents 84% of the international footprint this is a bit light for the $28 million production, which will be looking to a November 21 debut in France and December 6 opening in Australia to help bolster the global performance.
Disney‘s The Nutcracker and the Four Realms played as expected in its sophomore frame, delivering an estimated $9.56 million, pushing the film’s domestic cume over $35 million. Internationally the film added another $13.5 million from 45 markets for a global cume that currently stands at $96.7 million.
Rounding out the top five is Sony‘s The Girl in the Spider’s Web, which delivered a disappointing $8 million. While this is on par with studio expectations heading into the weekend it isn’t an encouraging performance for anyone hoping the studio might return to the second and third books in Stieg Larsson‘s Millennium series, and bring those back to life following the original Swedish adaptations. The film received a “B” CinemaScore from opening day audiences while playing to a crowd that was 52% female with 74% of the overall audience coming in aged 25 years or older.
Internationally, The Girl in the Spider’s Web began its wider roll-out this weekend, expanding to 49 markets where it brought in an estimated $6.2 million for a current international cume that stands at a weak $8.3 million. Among the weekend’s new openings, Russia led the way with an estimated $1.3 million followed by Mexico ($710k), Australia ($605k), Spain ($535k) and Brazil ($415k). To put those performances into perspective, 2011’s The Girl with the Dragon Tattoo debuted with $3.7 million in Russia, $1.2 million in Mexico, $2.4 million in Australia and $1.1 million in Spain. Upcoming key market releases for Girl in the Spider’s Web include France (Nov 14), UK (Nov 21), Germany (Nov 22) and South Korea (Nov 28).
Just outside the top five, Bohemian Rhapsody and A Star is Born were once again able to peacefully coexist with the latter dropping just 27% for an estimated $8 million this weekend, pushing the film’s domestic cume over $178 million. The performance bumps the film up a couple spots on the list of films that never finished #1 at the weekend box office where it now ranks as the twelfth largest and it’s certainly not done yet.
Additionally, Sony‘s Venom brought in an estimated $4.85 million this weekend for a domestic cume that now stands at $206.2 million. The story for this film, however, is its $111 million opening in China this weekend, the 2nd highest debut ever for a superhero film in the market and Sony’s largest debut in China ever. The overall international performance added $118.2 million this weekend for a global cume that now stands at nearly $675 million.
Outside the top ten, Amazon Studios‘s expanded the reach of Beautiful Boy into 776 theaters (+236) where it brought in an estimated $1.4 million for a domestic cume that now totals $5.18 million.
Sony‘s The Front Runner debuted in four theaters on Tuesday of this past week and continued in those four locations this weekend, bringing in an estimated $56,000 for a cume of $76,000. The film is set to expand into ~48 locations next weekend followed by a continued expansion on November 21.
In limited release, China Lion‘s Last Letter debuted in 18 locations with an estimated $70,000 ($3,889 PTA); The Orchard‘s El Angel brought in an estimated $25,473 from two theaters; and The Film Arcade‘s The Long Dumb Road opened with an estimated $5,000 in one theater.
Next weekend will see Warner Bros. deliver Fantastic Beasts: The Crimes of Grindelwald into over 4,000 theaters along with Paramount‘s Instant Family and Fox‘s Widows, both of which will be opening in over 3,000 locations. Additionally, CBS Films will release the Venice Film Festival standout At Eternity’s Gate and Universal will begin the platform release of Green Book, which will open in 25 locations next weekend before going wide the following Wednesday.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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The Grinch | $66.0M | $66.0M | 1 |
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Bohemian Rhapsody | $30.9M | $100.0M | 2 |
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Overlord | $10.1M | $10.1M | 1 |
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The Nutcracker and the Four Realms | $9.6M | $35.3M | 2 |
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The Girl in the Spider’s Web | $8.0M | $8.0M | 1 |
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A Star Is Born | $8.0M | $178.0M | 6 |
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Nobody’s Fool | $6.5M | $24.3M | 2 |
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Venom | $4.9M | $206.2M | 6 |
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Halloween | $3.8M | $156.8M | 4 |
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The Hate U Give | $2.1M | $26.7M | 6 |
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‘Thugs of Hindostan’: The YRF Film Breaks 9 Box Office Records On Day 1!!
The much talked about and keenly anticipated release Thugs of Hindostan finally released yesterday. Starring Aamir Khan, Amitabh Bachchan, Katrina Kaif, and Fatima Sana Sheikh the film witnessed the widest release for a Bollywood movie in both the domestic and international markets. In fact, Thugs of Hindostan hit a total of 7000 screens worldwide (5000 domestic + 2000 overseas), and was expected to opening on a thunderous note. Well, living up to expectations the film took off to a flying start with a massive Rs. 50.75 cr coming in from the Hindi version alone, making it the Highest Opening Day grosser of 2018. Continuing to look deeper we take a look at a few other records Thugs of Hindostan has managed to set with its opening day collections.
– Highest Day 1 for a DIWALI release.
– Highest Day 1 for a YRF film.
– Highest Day 1 for a Hindi film.
– Highest Day 1 for a Non-Sequel film.
– Highest grossing day in the history of the Hindi film industry.
– First film to collect more than INR 50 Cr NBOC in a single day.
– Aamir Khan’s highest opening day grosser
– Highest opening day grosser of 2018
– Highest ever collections for a movie releasing on 8th Nov
via Bollywoo Hungama
‘Bohemian Rhapsody’ Rocks with $50 Million Debut, While ‘The Nutcracker’ Bombs at the BO!!!
For the first time since early February the top three films at the weekend box office were all new releases and leading the way was Fox‘s Bohemian Rhapsody with a $50 million, chart-topping performance, well above expectations. Disney‘s The Nutcracker and the Four Realms finished at the lower end of industry estimates in second place, followed Paramount‘s release of Nobody’s Fool. That said, the weekend isn’t all about new releases as the holdovers had a solid weekend of their own, with A Star is Born, Venom and Smallfoot all dipping less than 27% in what amounts to their fifth and sixth weekends respectively, helping aid a continually healthy 2018 box office performance overall.
At the top of the charts, Fox‘s Bohemian Rhapsody endured word of a troubled production as the film that was eight years in the making topped the domestic box office with a $50 million debut from 4,000 locations. On top of that, the film’s “A” CinemaScore is a great sign looking ahead as there is little in the way of direct competition over the next month or so. The film played to an audience that was 51% female with 78% of the crowd coming in aged 25 years or older.
Internationally, after getting off to an early start in the UK last weekend, Bohemian Rhapsody expanded to 64 total overseas markets this weekend and delivered an estimated $72.5 million for a global cume totaling $122.5 million. The UK leads the way with a gross that now totals over $26.5 million while other highlights include a $7.7 million debut in France followed by Mexico ($5.8m), Germany ($5.7m), South Korea ($5.7m). Australia ($5.4m), Spain ($4.8m) and the Netherlands ($1.6m). The film will add another 14 markets next weekend, including Japan.
Disney‘s The Nutcracker and the Four Realms was looking for an opening in the low-to-mid twenty millions this weekend and it landed in the lower end of that range with an estimated $20 million finish. Not helping matters are critical reviews, which resulted in a score of 38 on Metacritic, and a “B+” CinemaScore, which is merely satisfactory for a film of this sort not to mention a dismal 41% audience score on RottenTomatoes.
The Nutcracker also debuted in 45 international markets this weekend, bringing in an estimated $38.5 million for a $58.5 million global debut. Leading the way was a $12 million opening in China followed by Italy ($5.5m), Germany ($2.7m), Mexico ($2.3m), Spain ($2.2m), UK ($2.1m) and Brazil ($1.7m). The film will add releases in Australia, France and Japan at the end of the month, with openings in Korea and Russia set for early December.
Finishing in third is Paramount‘s Nobody’s Fool with an estimated $14 million. The R-rated Tyler Perry comedy stars Tiffany Haddish and was well-received by opening day audiences, receiving an “A-” CinemaScore. The film played to an audience that was 61% female with 77% of the audience aged 18-44. Looking ahead, it’s reasonable to expect a domestic run around $35 million or so, if not a bit higher.
In fourth we find a performance that may be just as impressive as Bohemian Rhapsody‘s opening in the fifth weekend hold for Warner Bros.‘s A Star is Born. The drama dipped just 21% for an estimated $11.1 million three-day, pushing its domestic cume over $165 million. It will be incredibly interesting to see how well these two music-driven dramas coexist over the coming weeks as this weekend clearly indicates there is more than enough audience for both. One thing working in their favor is the difference in tone between the two films. The PG-13-rated Bohemian Rhapsody could have gone the R-rated route, which might have taken a huge chunk out of its box office potential, especially considering A Star is Born pretty much owns that segment of the audience right now.
Internationally, A Star is Born also continued its strong global performance this weekend, adding another $13.9 million this weekend for an international running cume totaling $128.3 million and a global tally just shy of $295 million.
Rounding out the top five is Universal‘s Halloween, which dropped a bit more than expected as it entered its third week in release, delivering an estimated $11 million three-day for a domestic cume that now tops $150 million. Including an additional $18.3 million internationally this weekend, the film’s worldwide cume now totals just shy of $230 million.
Just outside the top five, it’s worth mentioning Venom’s strong fifth weekend hold, dropping just 26.3% for an estimated $7.85 million weekend and a domestic cume of $198.6 million as it will cross the $200 million mark later this week. Added to that, the film grosses an estimated $15.6 million internationally this weekend for a global cume that now stands at $541.5 million with a release in China set for next weekend.
Outside the top ten, Amazon Studios expanded the release of Beautiful Boy into 540 theaters (+348) and grossed an estimated $1.4 million, pushing the film’s domestic cume to $3.2 million. The studio currently anticipates expanding Beautiful Boy a bit further into approximately 300 additional locations next weekend.
Amazon also expanded the reach of Suspiria into 311 theaters (+309) this weekend, leading to an estimated $964,722 weekend and a domestic cume totaling $1.2 million as it enters its second weekend in release. The film isn’t expected to expand any further next weekend, calling into question why Amazon didn’t begin Suspiria‘s limited release a week earlier and go wider in advance of Halloween, if not on Halloween night, in an attempt to take advantage of the holiday time frame. The film was always going to largely appeal to a niche audience, but a wider release over the holiday could have helped generate some additional word of mouth.
In limited release this weekend, Focus Features‘s Boy Erased brought in an estimated $220,000 from just five locations for a chart-topping $44,000 per theater average. The Joel Edgerton-directed feature will expand its reach next weekend into 75 theaters in 25 markets. Additionally, Sony Classics released Maria by Callas into 16 theaters for an estimated $152,633 ($9,540 PTA); Aviron‘s A Private War debuted in four locations with an estimated $72,000 ($18,000 PTA); Neon‘s release of Bodied delivered $50,528 from 14 theaters ($3,609 PTA); and Art of Sport‘s In Search of Greatness debuted in 16 locations with an estimated $35,000 ($2,188 PTA).
On a final note, Disney‘s Incredibles 2 added another $1.9 million globally this weekend, pushing the film’s worldwide gross to $1.238 billion, making it the 15th largest global release of all-time.
Next weekend sees the release of Universal and Illumination‘s Dr. Seuss’ The Grinch in over 4,000 locations along with Sony‘s second attempt at the Dragon Tattoo series with The Girl in the Spider’s Web in ~3,000 theaters, and Paramount‘s well-reviewed Overlord debuting in approximately 2,500 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Bohemian Rhapsody | $50.0M | $50.0M | 1 |
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The Nutcracker and the Four Realms | $20.0M | $20.0M | 1 |
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Nobody’s Fool | $14.0M | $14.0M | 1 |
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A Star Is Born | $11.1M | $165.6M | 5 |
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Halloween | $11.0M | $150.4M | 3 |
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Venom | $7.9M | $198.7M | 5 |
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Smallfoot | $3.8M | $77.5M | 6 |
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Goosebumps 2: Haunted Halloween | $3.7M | $43.8M | 4 |
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Hunter Killer | $3.5M | $13.0M | 2 |
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The Hate U Give | $3.4M | $23.5M | 5 |
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‘Halloween’ Repeats #1, While ‘Hunter Killer’ Sinks at the BO!!
The weekend played out mostly as expected with a repeat of last weekend’s top four films, led by Universal‘s Halloween, which has now delivered over $126 million in just ten days in release. Lionsgate‘s release of Summit‘s Hunter Killer led the week’s new wide releases with a top five finish while A24‘s expansion of Jonah Hill‘s Mid90s secured a top ten finish. The biggest news, however, might be the overall month of October, which is now the highest grossing October of all-time with grosses topping $785 million with three days in the month left to go.
Repeating atop the weekend box office is Universal‘s release of Blumhouse and Miramax‘s Halloween. The horror hit dipped 58% in its second weekend, delivering an estimated $32 million as its domestic cume now climbs over $126 million after just ten days in release, all on a reported $10 million production budget.
Halloween is also the #1 film internationally, delivering an estimated $25.6 million from 62 markets for an international total that now stands at $45.6 million and a global cume topping $172 million. The film added 39 markets this weekend including a #1 finish in Germany with an estimated $3.2 million along with openings in France ($2.3m), Australia ($2m), Spain ($1.36m), Brazil ($1.4m) and Italy ($1.27m). The film will open in Thailand and Korea next weekend while it won’t be debuting in Japan until April 12, 2019.
Warner Bros.‘s A Star is Born continues its strong run both at home and abroad, dropping just -26% domestically this weekend for a $14.1 million three-day and a domestic cume that has now climbed to nearly $149 million. Internationally, A Star is Born dipped just -23% this weekend, adding an additional $17.6 million from 75 markets in release for an international total that now stands at $104.6 million and a global tally topping $253 million.
Sony‘s Venom landed in third with an estimated $10.8 million bringing its domestic cume to $187.3 million. The film’s global tally has now topped $500 million after adding an additional $17.3 million overseas this weekend for a worldwide cume that now stands at a $508.4 million.
Sony also lands in fourth position with Goosebumps 2: Haunted Halloween dropping just -23% as it enters its third week in release with an estimated $7.5 million. The film’s domestic cume has now topped $38 million. The film also added $10.3 million to its international total this weekend, which now stands at $24.2 million for a global cume topping $62.5 million.
Finishing in fifth position is Hunter Killer, from Lionsgate‘s Summit Premiere label, which fell short of expectations, delivering an estimated $6.65 million this weekend from 2,720 locations. The film received an “A-” CinemaScore from opening day audiences while playing to a crowd that was 55% male and 93% were aged 25 years or older.
Rounding out the top ten is A24‘s Mid90s, which brought in an estimated $3 million after expanding into 1,206 theaters (+1,202) following a successful limited bow last weekend.
Finishing outside the top ten, Universal‘s Johnny English Strikes Again brought in an estimated $1.6 million from 544 theaters and a $2,989 per theater average. The film played to an audience that was 57% male while 59% of the overall audience was aged 25 and older. The third film in the Johnny English franchise, of course, is more of an international play as it added another $7.1 million internationally this weekend bringing its global cume to a hearty $109.3 million after debuting overseas back in mid-September. The film has already topped the lifetime gross of 2011’s Johnny English Reborn in 36 markets and 2003’s Johnny English in 46 markets with the UK leading the way with $18.2 million as it enters its fourth week in release in the market.
Right behind Johnny was Pure Flix‘s Indivisible, which debuted with an estimated $1.57 million from 830 locations. Indivisible received an “A” CinemaScore from opening day audiences while playing to a crowd that was 55% female with 68% of the overall audience coming in aged 35 years or older.
Elsewhere, Amazon Studios‘s Beautiful Boy expanded into 189 locations (+141) this weekend and brought in an estimated $592,897 for a domestic cume that now stands at $1.4 million. The film will expand to 300-400 theaters next weekend. Right behind it, Fox Searchlight‘s Can You Ever Forgive Me? expanded into 25 locations (+20) with an estimated $380k ($15,200 PTA).
In limited release, Amazon‘s release of Suspiria debuted in two theaters in New York and Los Angeles with an estimated $179,806, delivering a chart-topping $89,903 per theater average. The film will expand into ~250 theaters next weekend.
Additional limited releases include Neon‘s Border, which brought in an estimated $71,565 ($10,224 PTA); Well Go‘s Burning brought in an estimated $28,650 from two theaters; Zipporah Films‘s Monrovia, Indiana debuted in one theater with $6,100; and Abramorama‘s Weed the People also opened in one theater, bringing in an estimated $4,279.
A few additional international notes include Fox releasing The Predator in China this weekend where it finished #1 with an estimated $20 million, helping push the film’s overseas cume over $98 million for a global cume just shy of $150 million.
Fox also made headlines with the early launch of Bohemian Rhapsody in the UK where it delivered an estimated $12.2 million, outperforming the openings of A Star is Born by +127% as well as The Greatest Showman (+95%), La La Land (+46%) and Les Miserables (+15%). Fox will release the film domestically next weekend in approximately 3,800 locations along with an additional 64 international markets including Australia, Brazil, France, Germany, Mexico, Russia, South Korea and Spain.
Additional domestic releases next weekend include Paramount‘s release of Tyler Perry‘s Nobody’s Fool starring Tiffany Haddish into 2,400 theaters and Disney will release their first film since the early August release of Christopher Robin in The Nutcracker and the Four Realms, which will debut in over 3,800 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Halloween | $32.0M | $126.7M | 2 |
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A Star Is Born | $14.1M | $148.7M | 4 |
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Venom | $10.8M | $187.3M | 4 |
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Goosebumps 2: Haunted Halloween | $7.5M | $38.3M | 3 |
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Hunter Killer | $6.7M | $6.7M | 1 |
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The Hate U Give | $5.1M | $18.3M | 4 |
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First Man | $4.9M | $37.9M | 3 |
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Smallfoot | $4.8M | $72.6M | 5 |
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Night School | $3.3M | $71.5M | 5 |
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Mid90s | $3.0M | $3.4M | 2 |
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‘Hichki’: Thanks To China The YRF Film Crosses Rs. 200 Cr at the Worldwide BO!!!
The Rani Mukherji starrer Hichki released a while back in India, however in the overseas market of China the film hot screens a few weeks ago. Directed by Siddharth P Malhotra Hichki has been doing stellar business. Now we hear that Hichki has managed to make it past the Rs. 200 cr mark at the worldwide box office
Collecting Rs. 59.42 cr gross in the domestic market and another Rs. 140.76 cr gross from the overseas markets, the total collections of Hichki are currently pegged well past the Rs. 200 cr mark. Interestingly, a major chunk of the film’s collections have come in from Hichki’s overseas release as compared to others film that usually feature a massive chunk of collections coming in from the domestic market. But if that wasn’t all, with this new benchmark collection Hichki has also managed to become the fifth highest grossing Hindi film of 2018 at the worldwide box office, surpassing the collections of the Alia Bhatt starrer Raazi that had collected Rs. 195.75 cr worldwide.
Though still a long way off from the pack leaders, Hichki has managed to add year another record to its kitty. In fact, apart from crossing the Rs. 200 cr mark and becoming the fifth highest grossing Hindi film of 2018 at the worldwide box office, the film has managed to create history by becoming the highest grossing Indian film which does not have a male lead.
via Bollywood Hungama
‘London Fields’: Amber Heard Led Thriller Marks The 2nd Worst Wide Box Office Debut of All Time!!
Three years after it debuted in Toronto, Amber Heard’s “London Fields” finally hit theaters this weekend — only to set a new record as the second worst wide-release opening in box office history.
Released by GVN Releasing on 613 screens, the film only grossed around $160,000, for a per screen average of just $262.
According to Box Office Mojo, which classifies a wide release as any film that plays on more than 600 screens, that’s the second worst wide opening of all-time behind “Proud American,” a 2008 film with major corporate sponsorship that retold the creation of Walmart and Coca-Cola. That film posted a wide opening of just over $96,000.
The film, based on Martin Amis’ dystopian novel, has made headlines for generating multiple lawsuits on its slow path into theaters.
Nicola Six Limited, the production label created to release the movie, sued Heard for $10 million in 2016 for breach of contract, claiming she refused to do nude scenes for the film despite reading the novel knowing that her role would require such scenes to be shot.
The plaintiffs also accused Heard of violating her contract by refusing to show up at the film’s planned premiere at the 2015 Toronto International Film Festival. The dispute was settled last month, clearing the way for the film’s release.
But the legal troubles aren’t over for Nicola Six Limited. The company was served with a lawsuit from director Matthew Cullen, who accused the producers of tampering with his final cut.
The producers countered that Cullen did not deliver the film under budget and on time and accused Cullen of conspiring with Heard to interfere with the producers’ cut of the film. While Cullen’s cut was the one released this weekend, the lawsuit is still set to go to trial this February.
The film is also noteworthy for also starring Heard’s ex-husband, Johnny Depp, whom she has accused of domestic violence (accusations that he has repeatedly denied).
Heard and Depp, the latter of whom plays a minor role, had been a couple when production began on the film in 2013. They married in 2015 and divorced a year later.
“London Fields” stars Heard as a femme fatale who becomes involved with three different men — a wealthy financier (Theo James), a petty criminal (Jim Sturgess) and a failing author (Billy Bob Thornton). All three intensely desire her, and by the end of the film, one of them murders her.
via The Wrap
‘Fantastic Beasts 2’ Expected to Conjure Up to $75 Million Debut Weekend at the BO!!!
Roughly two years ago, Warner Bros.’ Fantastic Beasts and Where to Find Them took in over $74.4 million at the domestic box office in its debut weekend. That film would go on to make almost $815 million worldwide when it was all said and done, assuring a sequel to the Harry Potter prequel franchise-starter would be on the way. For what it’s worth, Fantastic Beasts was also the lowest domestic box office debut for movies in the Wizarding World of J.K. Rowling, so we’ll see if the new film, the tenth in the series, can top it.
As current box office predictions have it, Fantastic Beasts: The Crimes of Grindelwald should be within striking distance of the first film’s total tally for the weekend, though just barely. Variety reports that anywhere from $65 million to $75 million in ticket sales could pan out for David Yates‘ sequel when it opens November 16th. There shouldn’t be much in the way of competition, however, with Fox’s crime-thriller Widows (which could be a sleeper hit) and Paramount’s Mark Wahlberg comedy Instant Family also debuting. Holiday hangers-on from the weekend before include Dr. Seuss’ The Grinch and the not-so-family-friendly flicks The Girl in the Spider’s Web and Overlord, so it’s Newt Scamander’s weekend to win; by how much remains to be seen.
If you’re unfamiliar with the plot, here’s the synopsis of Fantastic Beasts: The Crimes of Grindelwald, followed by details on how you can check it out in ScreenX for the first time ever:
Warner Bros. Pictures’ “Fantastic Beasts: The Crimes of Grindelwald” is the second of five all new adventures in the Wizarding World™ created by J.K. Rowling.
At the end of the first film, the powerful Dark wizard Gellert Grindelwald (Johnny Depp) was captured by MACUSA (Magical Congress of the United States of America), with the help of Newt Scamander (Eddie Redmayne). But, making good on his threat, Grindelwald escaped custody and has set about gathering followers, most unsuspecting of his true agenda: to raise pure-blood wizards up to rule over all non-magical beings.
The film features an ensemble cast led by Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, with Jude Law and Johnny Depp. The cast also includes, Zoë Kravitz, Callum Turner, Claudia Kim, William Nadylam, Kevin Guthrie, Carmen Ejogo, and Poppy Corby-Tuech.
“Fantastic Beasts: The Crimes of Grindelwald” is directed by David Yates, from a screenplay by J.K. Rowling. The film is produced by David Heyman, J.K. Rowling, Steve Kloves and Lionel Wigram.
Warner Bros. Pictures presents a Heyday Films Production, a David Yates film, “Fantastic Beasts: The Crimes of Grindelwald,” to be distributed worldwide in 2D, 3D, 4D, Dolby Cinema and ScreenX in select theatres and IMAX by Warner Bros. Pictures.
via Collider
‘Halloween’ Slices Up a Huge $77.5 Million Opening at the BO!!!
With a staggering, $77.5 million debut, Universal and Blumhouse‘s Halloween topped the weekend with the second largest October opening weekend of all-time. The horror film headlined a massive weekend overall weekend, that saw the top twelve combine for over $160 million, making this the second largest October weekend ever.
As already mentioned, Halloween’s $77.5 million three-day debut was the second largest October opening weekend of all-time, coming less than $3 million shy of the record set by Venom earlier this month. That said, Halloween did deliver the largest October opening day of all-time, topping Venom‘s $32.5 million. The film’s opening is also the second largest ever for an R-rated horror, topping the $53.8 million opening for The Nun a month ago and behind It’s $123.4 million debut last September.
The film, which carries a tiny, $10 million production budget, features Jamie Lee Curtis in her iconic role of Laurie Strode and beyond landing well with critics in advance of release, it was equally successful with audiences, earning a “B+” CinemaScore, which is a strong grade for a horror film. Overall, it played to a crowd that was 53% male and 59% were age 25 or older, The film should play well over the coming weeks, especially with its namesake holiday just around the corner.
Internationally, Halloween brought in an estimated $14.3 million from 23 markets, with Mexico leading the way with a chart-topping $4.9 million opening followed by the U.K. & Ireland ($3.6m), Russia ($1.79m) and Indonesia ($1.09m). The film still has 46 markets yet to open in including France next weekend followed by Australia, Brazil, Italy, Germany and Spain the following weekend and South Korea on October 31.
Finishing in the runner-up position is A Star is Born, which continues to climb the list of films that never hit #1 at the weekend box office. This weekend the film added an estimated $19.3 million to its domestic total, which now stands at $126.4 million as it enters its third week in release.
Internationally, A Star is Born remained strong, delivering an estimated $22.8 million from 75 overseas markets, pushing the film’s worldwide cume to $201.1 million. This weekend saw #1 openings in Australia ($4.7m) and Hong Kong ($629k) with the UK still leading the way with $19.5 million. The last key market yet to open is Japan where the film will land on December 21.
Sony‘s Venom falls two spots after topping the weekend chart for the past two weekends with an estimated $18.1 million, pushing its domestic cume over $170 million as it too enters its third week in release. While falling from its #1 perch domestically, the film remained the #1 international release for the third straight week, bringing in an estimated $32.3 million from 65 overseas markets for an international cume totaling $290.7 million and a worldwide total of $461.2 million.
Sony also took the fourth spot on the weekend chart with Goosebumps 2: Haunted Halloween, which brought in an estimated $9.7 million for a domestic cume that now totals $28.8 million after ten days in release. The film also added another $6.2 million internationally this weekend bringing its global cume to $39.9 million.
Universal‘s First Man rounds out the top five, dropping -46% in its second weekend for an estimated $2.35 million three-day and a domestic cume that now stands at $30 million. It’s an unfortunate performance for the Universal title, which was hoping to play along the same lines of films such as Bridge of Spies and Argo, but it seems to have been lost in the shuffle. Internationally the film added 25 new markets, now playing in 47 total where it brought in an estimated $13.4 million for an overseas cume totaling $25.5 million. South Korea led the weekend’s new markets with a #1 finish and estimated $3.5 million performance.
Just outside the top five is Fox‘s expansion of The Hate U Give, which played in 2,303 locations (+2,055) and delivered an estimated $7.5 million for a domestic cume that now tops $10.5 million. The film could be looking at a healthy run moving forward after receiving an impressive “A+” CinemaScore from Friday’s audiences. The film played to an audience that was 64% female with 51% of the audience coming in aged 25 or older.
Rounding out the top ten is Fox Searchlight‘s expansion of The Old Man & the Gun, which expanded to 802 locations (+574) and delivered an estimated $2.05 million for the weekend, and a domestic cume that now totals $4.2 million.
Landing outside the top ten is Annapurna‘s expansion of The Sisters Brothers into 1,141 locations (+1,012) for a disappointing $742,014 and a per theater average of just $650.
In limited release, A24‘s release of Jonah Hill‘s Mid90s brought in an estimated $249,500 from just four locations for a chart-topping $62,375 per theater average. It’s a great start for the film which will expand nationwide next weekend.
Additional limited releases include Fox Searchlight‘s Can You Ever Forgive Me? which brought in $150,000 from five theaters ($30,000 PTA); IFC‘s Wildlife debuted with $05,614 from five locations ($26,404 PTA); Bleecker‘s What They Had debuted with $18,845 from four locations ($4,711 PTA); Abramorama‘s The Price of Everything delivered $17,280 from one theater; Janus‘s re-release of Win Wenders‘s Wings of Desire brought in $11,635 from one location; The Film Arcade‘s An Evening with Beverly Luff Linn opened with just $4,800 from 16 theaters; Oscilloscope‘s On Her Shoulders opened with $4,500 from one location; Cinema Libre‘s The Advocates opened in one theater with $4,000; and Abramorama‘s Horn from the Heart debuted with $2,357 from one theater.
Next weekend sees the release of the submarine action-thriller Hunter Killer opening in ~2,600 locations along with Pure Flix‘s Indivisible. Additionally, Universal will debut Johnny English Strikes Again in moderate release following what has already been a strong overseas performance where the film has currently grossed $96 million from 57 markets. Amazon Studios will also begin its platform release of Suspiria and Neon will open Border while Roadside debuts Viper Club.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Halloween | $77.5M | $77.5M | 1 |
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A Star Is Born | $19.3M | $126.4M | 3 |
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Venom | $18.1M | $171.1M | 3 |
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Goosebumps 2: Haunted Halloween | $9.7M | $28.8M | 2 |
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First Man | $8.6M | $30.0M | 2 |
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The Hate U Give | $7.5M | $10.6M | 3 |
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Smallfoot | $6.6M | $66.4M | 4 |
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Night School | $5.0M | $66.9M | 4 |
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Bad Times at the El Royale | $3.3M | $13.3M | 2 |
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The Old Man & the Gun | $2.1M | $4.2M | 4 |
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‘AndhaDhun’ Emerges As Ayushmann Khurrana’s Highest Grosser!!!
The Sriram Raghavan directed film AndhaDhun starring Ayushmann Khurrana released a while back. After opening on a good note the business of the film continued to rake in the moolah with audience taking a liking to it. In fact, despite the competition from other releases AndhaDhun which was inspired from the French short film L’Accordeur (The Piano Tuner) received positive reviews from the critics that bolstered its box office performance. Now two weeks after its release the film has managed to become Ayushmann Khurrana’s highest ever lifetime grosser.
Collecting approx. Rs. 50 cr. till date at the domestic box office, AndhaDhun has managed to surpass the lifetime collections of Ayushmann Khurrana’s previous releases like Shub Mangal Saavdhan that collected Rs. 43.11 cr, Vicky Donor that collected Rs. 35.50 cr, Bareilly Ki Barfi that collected Rs. 34.55 cr, Dum Laga Ke Haisha that collected Rs. 30.19 cr and Nautanki Saala that collected Rs. 21.7 cr.
But if that wasn’t all, given the fact that AndhaDhun still continues to run despite new releases hitting screens expectations are that the film will manage to reach the Rs. 55 cr mark in the coming few days.
Movie Name – Life time collections
AndhaDhun – Rs. 50 cr [approx.]
Shub Mangal Saavdhan – Rs. 43.11 cr
Vicky Donor – Rs. 35.50 cr
Bareilly Ki Barfi – Rs. 34.55 cr
Dum Laga Ke Haisha – Rs. 30.19 cr
Nautanki Saala – Rs. 21.7 cr
Bewakoofiyaan – Rs. 14.01 cr
Meri Pyaari Bindu – Rs. 9.59 cr
Hawaizaada – Rs. 3.53 cr
via Bollywood Hungama
‘Sui Dhaaga’: The Yash Raj Film Clocks In Rs. 50 Crore Profit at the BO!!
The Sharat Katariya directed film Sui Dhaaga – Made in India featuring Varun Dhawan and Anushka Sharma released a while back. After starting off on a sluggish note the business of the film witnessed immense growth over the subsequent days. In fact, with positive reviews and strong word of mouth Sui Dhaaga fast raked in the moolah at the box office.
In this special report we take a look at the collections of Sui Dhaaga while juxta positioning it alongside the Cost of Production to gain a better understanding of how profitable the venture was for its makers. Developed on a budget of Rs. 45 cr (Cost of Production CoP Rs. 35 cr + Print & Publicity Rs. 10 cr) Sui Dhaaga has managed to recover a major chunk from its box office collections. With Rs. 34.88 cr coming in from the domestic box office and another Rs. 10.58 cr from the overseas markets Sui Dhaaga managed to recover Rs. 45.45 cr at the box office window itself. Coupled with this, the Varun Dhawan – Anushka Sharma starrer managed to rake in a further Rs. 50 cr from other streams. In fact, given the audience feedback the satellite rights of Sui Dhaaga fetched its makers a staggering Rs. 25 cr, while the Digital rights brought in Rs. 16 cr. If that wasn’t enough, the in film branding/ advertising and sale of music and ancillary rights further drew in Rs. 5 cr and Rs. 4 cr respectively
With this, the total earnings of Sui Dhaaga – Made in India stand at a whopping Rs. 95.45 cr. After deducting the costs, the makers of Sui Dhaaga have earned Rs. 50.45 cr. as pure profit with a 112.11% of Return on Investment (RoI).
Economics of Sui Dhaaga – Made in India
Cost Of Production (A) – 35 Cr.
Cost Of Prints/Marketing (P&A) (B) – 10 Cr.
TOTAL COST (A+B) – 45 Cr.
India Theatrical Box Office – 77.50 Cr.
Distributor’s share (A) – 34.88 Cr.
Overseas Theatrical Box Office – 23.50 Cr.
Distributor’s share (B) – 10.58 Cr.
Satellite Rights ( C) – 25 Cr.
Digital Rights (D) – 16 Cr. (Sold to Amazon)
In Film Placements ( E) – 5 Cr.
Music Rights and Miscellaneous (F) – 4 Cr.
TOTAL RECOVERIES (A+B+C+D+E) – 95.45 Cr.
PROFIT – 50.45 Cr.
RETURN ON INVESTMENT (ROI) – 112.11%
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
‘Halloween’: David Gordon Green’s Film Tracking Toward Franchise-Best $50 Million Opening!!!
Director David Gordon Green‘s Halloween sorta-sequel is tracking toward a weekend box office so big it’s scary. Some would even say it’s killer. It’s going to murder the…okay, sorry, Universal is currently thinking modestly at $50 million, but Variety reports the latest chapter in the Michael Myers slasher saga could bank an opening somewhere over the $70 million line. Considering the film was made on a $10 million budget, any of these numbers would mean a hefty profit.
While this wouldn’t touch the bonkers record-breaking $80 million that Venom pulled in, it would easily be the best opening for the 11-movie Halloween franchise, a distinction formerly held by the Rob Zombie’s 2007 reboot, which banked $26 million. If predictions hold true, Halloween would also land among the highest-earning R-rated horror debuts like The Nun ($53 million) and Hannibal ($58 million). Andrés Muschietti‘s IT remains the clown-king at $123 million.
This new Halloween—which ignores every film in the franchise except for John Carpenter’s original—sees Jamie Lee Curtis reprising the role of Laurie Strode, 40 years after deranged serial killer Michael Myers butchered her babysitter friends on All Hallow’s Eve. Green co-wrote the script with Jeff Fradley and Danny McBride, with Carpenter himself providing a brand new score. The film also stars Judy Greer, Andi Matichak, Will Patton, and Nick Castle reprising his role as The Shape with help fro, James Jude Courtney.
Halloween hits theaters on October 19.
via Collider
‘Venom’ And ‘Star is Born’ Continue Reign While New Releases Falls Short at the BO!!!
It wasn’t quite as close as we thought it might be at the top of the box office, but last weekend’s top two films definitely didn’t disappoint. Sony‘s Venom held on even better than expected, delivering a second weekend at #1 while Warner Bros.‘s A Star is Born continued to shine. As for the weekend’s three new wide releases, Universal‘s First Man led the way, narrowly edging out Sony‘s Goosebumps 2: Haunted Halloween for third place on the weekend chart while Fox‘s Bad Times at the El Royale fell outside the top five.
With an estimated $35.7 million, Sony‘s Venom dropped just 55% in its second weekend as the film’s domestic cume now totals $143 million after just ten days in release. Heading into the weekend a drop of 60%+ seemed most likely considering historical precedence, but the film continues to outperform expectations, holding on similarly to Logan, which dipped just 56.9% in its second weekend.
Internationally, Venom remained the #1 film at the global box office delivering an estimated $69.7 million from 54 overseas markets for an international cume now totaling $235.3 million. New markets this weekend include France where the film launched with an estimated $6.7 million. The film’s top market is South Korea with $25.4 million and it won’t be adding any additional territories until its November 2 release in Japan while a release in China is still yet to be determined.
In the runner-up position for a second weekend in a row is WB‘s A Star is Born, which dropped just 35% in its sophomore frame for an estimated $28 million. The film’s domestic cume is now just shy of $95 million after ten days in release.
Internationally, A Star is Born dipped just -14% compared to last weekend, bringing in an estimated $20.2 million from 65 markets for an overseas cume that now tops $41 million. Among the weekend’s new markets, Italy led the way with a $2 million debut followed by openings in Brazil ($1.4m); Mexico ($1.3m); South Korea ($1.2m); and Taiwan ($1.1m). The film’s top market is the UK with $12.3 million and next weekend sees A Star is Born open in Australia after which Japan will be the only market where the film is still to release as it doesn’t debut there until December 21.
In third we come to the weekend’s first new wide release in Universal‘s First Man, which managed to deliver on studio expectations, but fell short of Mojo‘s pre-weekend forecast. The film delivered a $16.5 million, three-day which is just over one million more than the $15.3 million opening for Bridge of Spies back in October 2015. That film went on to deliver a 4.7x multiplier with over $72 million domestically and Universal is hoping for a similar performance from First Man, which received a rather light “B+” CinemaScore from opening day audiences (Bridge of Spies received an “A”) while playing well with critics to the tune of an 88% rating on RottenTomatoes. The film played to an audience that was 56% male, playing to an audience of which 52% were 35 years of age or older.
Internationally, First Man launched in 22 markets and brought in an estimated $8.6 million. bringing the worldwide total to $25.1 million. Leading the way was a $3.1 million debut in the UK followed by Australia ($1.67m), Spain ($1m) and Russia ($573k). Upcoming markets include France, Brazil and South Korea next weekend followed by Italy (Oct 31), Germany (Nov 8), Mexico (Nov 9) and Japan (Feb 8).
Right behind First Man in fourth place is Sony‘s Goosebumps 2 with an estimated $16.2 million, which is right on par with Mojo‘s pre-weekend expectations. This was a tough film to forecast given it is a sequel in which the star from the first film — Jack Black playing author R.L. Stine — has a limited role and wasn’t even featured in the marketing until just a couple weeks before release due to him playing what appeared on the outside as a very similar role in Universal‘s The House with a Clock in Its Walls, which is still in theaters and even placed eighth for the weekend with an estimated $3.9 million this weekend. That being said, a debut in the mid-teens for the $35 million production isn’t too bad, though it might need a little help if audiences are hoping to see a third film round out the would-be trilogy.
Overall, the film played to an audience that was split 50-50 male to female with 72% of the audience coming in under the age of 25. Goosebumps 2 received a “B” CinemaScore from opening day audiences.
Internationally, Goosebumps 2 debuted in 16 markets this weekend with an estimated $3.7 million with Mexico leading the way with $1.7 million. The film will open in Italy and the UK next weekend followed by releases in France (Oct 24), Australia (Oct 25), Germany (Oct 25), Spain (Oct 26), Russia (Nov 1) and Spain (Nov 8).
Rounding out the top five is WB‘s animated feature Smallfoot with an estimated $9.3 million for a domestic cume that now stands at $57.8 million. Internationally the film grossed an estimated $14.5 million from 57 overseas markets for an international cume that now stands at now $52.6 million.
Outside the top five it isn’t until seventh that we find Fox‘s release of Bad Times at the El Royale, which debuted with an estimated $7.2 million. The film received a disappointing “B-” CinemaScore from opening day audiences while playing to a crowd that was 53% male and 73% of the overall audience was 25 years of age or older.
Internationally, Bad Times debuted in 36 markets with an estimated $4.05 million. Russia led the way with a $913k debut followed by Australia ($884k); UK ($620k); and Germany ($315k). The film will open in Sweden, Denmark and Norway next weekend.
Finishing ninth is Fox‘s The Hate U Give with an estimated $1.765 million from just 248 locations ($7,117 PTA). This is the film’s second weekend in limited release in advance of its nationwide expansion next weekend into ~2,300 theaters.
Additionally, rounding out the top twelve is GVN‘s moderate release of Gosnell: The Trial of America’s Biggest Serial Killer into 673 locations, debuting with an estimated $1.2 million.
In limited release Amazon Studios‘s Beautiful Boy opened in four locations in NY and LA with an estimated $221,437 for a chart-topping $55,359 per theater average. Additionally, Excel‘s Jane and Emma opened with $122,000 in 21 theaters ($5,810 PTA); Sony Classics‘s The Happy Prince brought in an estimated $40,267 from eight theaters ($5,033 PTA) after opening on Wednesday; Freestyle‘s Bigger debuted with $32,500 from 61 locations ($533 PTA); Roadside‘s release of The Oath in ten locations brought in an estimated $29,237 ($2,923 PTA); and Abramorama‘s Liyana opened with $5,030 in just one theater.
Also of note is Crazy Rich Asians, which brought in an estimated $1.07 million this weekend, has now topped $171 million becoming only the sixth romantic comedy to ever reach that milestone.
Overall, the weekend’s top twelve films combined for an estimated $130.5 million, which ranks as the sixth largest October weekend of all-time on the heels of last weekend’s record breaking performance. For the year, 2018 is currently pacing 10.2% ahead of last year and 5.1% ahead of 2016’s record-breaking performance.
Next weekend sees the release of Universal‘s Halloween, which is tracking for a big number, debuting in ~3,700 theaters. Additionally, Fox will expand the release of The Hate U Give into 2,300 theaters and Fox Searchlight will push The Old Man & the Gun into over 600 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Venom | $35.7M | $142.8M | 2 |
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A Star Is Born | $28.0M | $94.2M | 2 |
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First Man | $16.5M | $16.5M | 1 |
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| |
Goosebumps 2: Haunted Halloween | $16.2M | $16.2M | 1 |
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Smallfoot | $9.3M | $57.6M | 3 |
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| |
Night School | $8.0M | $59.8M | 3 |
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| |
Bad Times at the El Royale | $7.2M | $7.2M | 1 |
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The House with a Clock in Its Walls | $4.0M | $62.3M | 4 |
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| |
The Hate U Give | $1.8M | $2.5M | 2 |
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A Simple Favor | $1.4M | $52.0M | 5 |
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‘Venom’ Delivers October Opening Weekend Record While ‘A Star Is Born’ Shines at the BO!!!
It was a record weekend at the box office for Sony‘s release of Venom, which delivered a massive $80 million, topping the previous October opening weekend record by more than $20 million. Additionally, Warner Bros.‘s A Star is Born more than carried its own weight with a stellar debut of its own, topping $40 million for its opening weekend and helping this become the largest October weekend of all-time.
With an estimated $80 million, Sony‘s release of Venom into 4,250 locations not only topped the weekend box office, but it topped the previous October opening weekend record of $55.7 million set by Gravity in 2013 by over $20 million. The debut ranks ahead of the $75.8 million opening for Ant-Man and the Wasp earlier this year and just behind the $84.4 million opening for Solo: A Star Wars Story. Both films went on to gross over $210 million domestically, but before we get that far, one thing everyone will have their eye on is just how well it holds over next weekend.
Critic’s reviews for Venom were largely negative while the film received a “B+” CinemaScore from opening day audiences, a score that matches the grades for both Suicide Squad and Justice League and is a notch behind the “A-” for Ant-Man and the Wasp. Of the three, Justice League‘s 56% second weekend drop is the best of the lot while the three carry an average second weekend drop of ~61%, which, in this case, is probably what should be expected with anything better perceived as something of a positive sign as Venom doesn’t have any superhero competition in theaters until the releases of Spider-Man: Into the Spider-Verse and Aquaman in December.
One interesting note is while Venom‘s audience was predictably male leaning at 59%, only 36% of the overall audience was 25 years of age or older. Comparatively, 46% of Ant-Man and the Wasp‘s audience was 25+, 46% of Suicide Squad and 69% of Justice League. In fact, Venom had a younger overall audience than even Spider-Man: Homecoming which played to an audience of which 49% was 25 years of age or older.
Internationally, Venom delivered $125.2 million from 58 markets for a record October global opening over $205 million. South Korea led all markets with an estimated $15.7 million opening, the second largest opening for Sony in the market behind Spider-Man: Homecoming‘s $19.1 million. Additional notable markets include Russia ($11.7m), the UK where it topped the opening weekend for Johnny English Strikes Again with an estimated $9.3 million; Mexico ($7.1m); Australia ($6.4m); Germany ($5.2m); and Brazil ($5.2m). Upcoming markets include France next weekend, Japan in early November and a release in China that is yet to be dated.
In second place is Warner Bros.‘s release of A Star is Born, which delivered a hefty $41.25 million debut from 3,686 locations. Once you add the $1.35 million in grosses from early Tuesday and Wednesday sneak peeks, the film’s current domestic cume stands at $42.6 million. The film’s opening performance contributes to a massive overall weekend, and serves as the tenth largest October opening weekend of all-time. The film’s audience was 66% female and of the overall audience 86% were 25 years of age or older. Where the film goes from here is really anyone’s guess, but a lengthy run deep into awards season is certainly in the offing, fueled by strong critical reviews and audience word of mouth — the film received an “A” CinemaScore — to go along with that stellar opening.
Internationally, A Star is Born delivered $14 million from 31 markets including a $5.3 million launch in the UK along with a $2.1 million second place opening in France and a $1.9 million debut in Germany. Several markets have yet to open including South Korea (Oct 9), Italy (Oct 11), Brazil (Oct 11), Mexico (Oct 12), Australia (Oct 18) and Japan (Dec 21).
WB also took third place with their animated feature Smallfoot, which dipped 35% this weekend for an estimated $14.9 million three-day and a domestic cume that is now just shy of $43 million after ten days in release. The film also added $11.7 million internationally this weekend for a global cume that now tops $75 million.
Landing in fourth place is Universal‘s Night School, which dipped 55% in its second weekend, pulling in an estimated $12.275 million for the three-day, boosting the film’s domestic cume to $46.7 million. The film brought in $3.4 million internationally this weekend from 21 markets for an overseas cume that now totals $12 million and a global tally nearing $60 million.
Rounding out the top five is another Universal title in The House with a Clock in Its Walls, which dipped 42% as it enters its third weekend in release with an estimated $7.3 million for a domestic cume that now stands at $55 million.
Just outside the top ten, National Geographic‘s Free Solo had an impressive expansion, bringing in an estimated $540k from 41 theaters (+37) for a $13,171 per theater average. Right behind it was Fox‘s limited release of The Hate U Give, which delivered an estimated $500k from just 36 theaters for an impressive $13,889 per theater average. The Hate U Give will expand even further next weekend, expected to land in ~200 locations.
Additional limited releases include GVN‘s Shine, which opened with $218,789 from 609 locations ($359 PTA); Universal‘s Loving Pablo which opened with $16,000 from 15 theaters ($1,067 PTA); Zeitgeist‘s Studio 54 brought in $15,000 from one location; Ammo‘s Chasing the Blues opened with $8,980 in nine theaters ($998 PTA); and Cohen Media‘s The Great Buster delivered $7,234 in two locations.
Overall, the weekend’s top twelve delivered nearly $168 million, making it the largest October weekend of all-time, topping the first weekend of October 2014 by more than $25 million.
Next weekend Universal will debut First Man into ~3,500 theaters; Sony will release Goosebumps 2: Haunted Halloween into ~3,400 locations; and Fox is releasing Bad Times at the El Royale in approximately 2,800 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Venom | $80.0M | $80.0M | 1 |
|
| |
A Star Is Born | $41.3M | $42.6M | 1 |
|
| |
Smallfoot | $14.9M | $42.8M | 2 |
|
| |
Night School | $12.3M | $46.8M | 2 |
|
| |
The House with a Clock in Its Walls | $7.3M | $55.1M | 3 |
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| |
A Simple Favor | $3.4M | $49.0M | 4 |
|
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The Nun | $2.6M | $113.4M | 5 |
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Hell Fest | $2.1M | $8.9M | 2 |
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Crazy Rich Asians | $2.1M | $169.1M | 8 |
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The Predator | $0.9M | $50.0M | 4 |
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‘Night School’ and ‘Smallfoot’ Top Weekend Strongly at the BO!!!
Universal topped the weekend box office for the second weekend in a row, this time with the comedy Night School starring Kevin Hart and Tiffany Haddish. At the same time Warner Bros.‘s animated feature Smallfoot finished in the runner-up position while the studio’s horror hit The Nun became the highest grossing international and worldwide release in the Conjuring universe. All-in-all the weekend top twelve fell a bit shy of Mojo‘s pre-weekend expectations but this weekend did provide more than enough in terms of box office receipts to help deliver the second largest September on record behind last year’s record breaking grosses.
Universal‘s PG-13 comedy Night School from producer Will Packer topped the weekend chart with an estimated $28 million. While short of BoxOfficeMojo‘s pre-weekend forecast, this is a solid start for the $29 million production, which received an “A-” CinemaScore from opening day audiences, a grade contrary to the mixed reviews from critics. Additionally, the film played to an audience that was split 50-50 male-to-female and of the overall audience, 59% was aged 25 or older.
How the film plays from here, however, will be interesting. Looking at past releases starring Hart, the opening is ahead of 2014’s About Last Night ($25.6m opening) and just behind Think Like a Man Too ($29.2m opening). About Last Night, however, could only manage a 1.9x multiplier and Think Like a Man Too just 2.23x, which would suggest a run anywhere from $53-62 million if Night School follows suit.
Internationally, Night School brought in an estimated $5.5 million from 19 markets including a $2 million debut in the UK and a $1.2 million opening in Australia. The film will open in Spain in mid-October followed by openings in Italy (Nov 8), Mexico (Nov 9), Germany (Nov 15), Russia (Nov 29), France (Dec 5) and Brazil (Dec 20).
In second is Warner Bros.‘s animated title Smallfoot with a performance pretty much spot on expectations, pulling in an estimated $23 million for the three-day. Heading into the weekend the studio was anticipating a performance right around $20-25 million with the obvious comp being WB‘s 2016 animated feature Storks, which opened with $21.3 million in late September before finishing with $72.6 million domestically. Smallfoot received a “A-” CinemaScore and played to an audience that was 55% female with 52% of the overall audience coming in aged 25 years or older.
Internationally, Smallfoot opened in 49 markets this weekend with an estimated $14 million, pushing the film’s overseas cume to $15.6 million after opening in just a couple markets last weekend. Leading the way was Mexico with an estimated $3.6 million followed by Australia with $1.4 million and Brazil with $1.3 million. The film opens in Italy next weekend followed by openings in Spain (Oct 11), Germany (Oct 11), UK (Oct 12), Japan (Oct 12), France (Oct 17), China (Oct 19) and Russia (Oct 25).
Universal also landed in third with last weekend’s number one pic The House With a Clock in Its Walls, which dipped 53% for an estimated $12.5 million sophomore frame, putting the film’s domestic gross just shy of $45 million after ten days.
Lionsgate‘s A Simple Favor continues its rock solid performance, dipping just 36% in its third weekend for an estimated $6.6 million. The film’s domestic cume now stands at $43 million after 17 days in release, which puts it just a couple million shy of where star Blake Lively‘s The Shallows was at the same point before finishing with over $55 million domestically.
Rounding out the top five is WB‘s The Nun with an estimated $5.4 million as it enters its fourth weekend in release. The film’s domestic box office now stands at $109 million, but the story doesn’t end there. The Nun brought in another $16.2 million overseas, pushing the film’s international cume to $221 million for a global tally topping $330 million. The result makes The Nun the highest grossing film in the Conjuring universe internationally and globally.
Just outside the top five is Lionsgate‘s release of CBS Films‘s horror-thriller Hell Fest, which debuted with an estimated $5.075 million. The performance is on the higher end of expectations for the $5.5 million production. The film received a “C” CinemaScore from opening day audiences of which were 53% female and 49% of the overall audience was aged 25 years or older.
WB‘s Crazy Rich Asians added an estimated $4.15 million to its domestic total, which now stands at $165.7 million. This pushes the film past The Proposal making it the sixth highest grossing romantic comedy of all-time.
Outside the top ten we find Pinnacle Peak‘s Little Women debuting with an estimated $747,000 from 643 locations.
Leading the charge in limited release, National Geographic‘s Free Solo delivered an estimated $300,804 from four locations for a chart-topping $75,201 per theater average. The performance delivers the highest opening per theater average of 2018 and the best ever opening per theater average for a documentary, besting 2006’s Inconvenient Truth ($70,333 PTA). Next weekend the film will add 27 screens in markets such as DC, Boston, Dallas, San Diego, Minneapolis and Phoenix, while expanding over into over 100 theaters in week three.
Fox Searchlight‘s The Old Man & the Gun starring Robert Redford, in what the actor says will be his final screen performance, brought in an estimated $150,000 from five theaters ($30,000 PTA). The film will add eight more markets next weekend (Austin TX., Dallas, Boston, Washington DC, Toronto, San Francisco, Phoenix, and Chicago) as well as expand further in New York and Los Angeles, anticipating a theater count around 35-40 locations.
Additional limited releases include Neon‘s Monsters and Men finished with an estimated $130,979 from 18 locations ($7,277 PTA); Abramorama‘s documentary Matangi/Maya/M.I.A. delivered an estimated $51,373 from two theaters; The Orchard‘s All About Nina brought in $30,614 from four locations ($7,654 PTA); IFC‘s Black ’47 debuted with $9,006 from one theater; and El Tigre‘s 306 Hollywood opened with an estimated $8,150 at the Quad Cinema in New York.
Next weekend could be a big one with the release of Venom in over 4,000 locations as it looks to kick off October with what could be a record breaking opening for the month. Additionally, Warner Bros. will be looking for a great start for A Star is Born, which has already energized the festival circuit and will debut in over 3,500 theaters as it kicks off what it hopes will be a long awards season run. Also, in limited release, Fox will debut The Hate U Give in 34 locations and Universal will be releasing Loving Pablo into 10 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Night School | $28.0M | $28.0M | 1 |
|
| |
Smallfoot | $23.0M | $23.0M | 1 |
|
| |
The House with a Clock in Its Walls | $12.5M | $44.8M | 2 |
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| |
A Simple Favor | $6.6M | $43.1M | 3 |
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| |
The Nun | $5.4M | $109.0M | 4 |
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| |
Hell Fest | $5.1M | $5.1M | 1 |
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Crazy Rich Asians | $4.2M | $165.7M | 7 |
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The Predator | $3.7M | $47.6M | 3 |
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White Boy Rick | $2.4M | $21.7M | 3 |
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Peppermint | $1.8M | $33.5M | 4 |
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‘House With a Clock In Its Walls’ Debuts with $26.8M While Other Releases Crash at the BO!!!
Despite the over performance of Universal‘s new release The House with a Clock in Its Walls and the strong hold from Lionsgate‘s A Simple Favor, this weekend is still one of the worst of the year. Things weren’t helped by the soft openings from Fahrenheit 11/9, Life Itself and Assassination Nation as the three other new wide releases struggled to find an audience. Additionally, for the second weekend in a row, the previous weekend’s #1 film dipped mightily in its sophomore session.
At the top of the weekend box office is Universal and Amblin Entertainment‘s The House with a Clock in Its Walls with an estimated $26.85 million. Heading into the weekend the expectation was for a debut in the low twenties as it wasn’t quite clear whether this one could match the performance of the previous Jack Black kid-targeted family horror Goosebumps, but in fact it managed to outperform the 2015 release, which debuted with $23.6 million before going on to gross just over $80 million domestically. Goosebumps did receive slightly better reviews and the “B+” CinemaScore for Clock is a bit below the “A” for Goosebumps so there’s no telling if these variations will have any kind of major effect, but given the release timing of Clock it is positioned well to play throughout the Halloween holiday.
Of the film,’s 3,592 theaters, House with a Clock in Its Walls opened on 400 IMAX screens in North America, generating an estimated $2.5 million of the film’s opening weekend gross. Included with those showings was an exclusive IMAX 3D version of Michael Jackson’s Thriller. How much of a draw the music video may have been isn’t clear, but it’s an interesting side note to a solid debut for the $42 million production.
Internationally, Clock debuted in just 14 markets, bringing in an estimated $3.1 million led by Germany with an estimated $789k. Next weekend the film will open in France, Russia and Thailand.
Landing in second is the strong hold from Lionsgate‘s A Simple Favor. The thriller from Paul Feig and starring Blake Lively and Anna Kendrick dipped just 35% in its second weekend, pulling in an estimated $10.4 million for the three-day, pushing the film’s domestic cume to $32.56 million. Internationally, the film added $5.2 million from 36 markets for an overseas total that now stands at $10 million. The film’s international reach expands much further next weekend with openings in France, Belgium, Brazil, Netherlands, Mexico, Spain and Sweden.
Warner Bros. and New Line‘s The Nun dropped 44% this weekend, finishing with an estimated $10.2 million for the weekend as the film’s cume now tops $100 million domestically. The Nun is the fourth film in the Conjuring franchise to reach the century mark and it will soon become the second highest grossing film in the franchise, behind The Conjuring, which grossed $137.4 million domestically back in 2013.
Internationally, The Nun released in its final 18 markets and for the third weekend in a row is the #1 film overseas bringing in an estimated $35.4 million from 80 total markets, pushing the film’s global tally to $292.6 million. The film’s release in Mexico continues to be the top grossing market with just over $20 million while openings this weekend included South Korea ($4.6m), France ($4.4m), Russia ($4.3m) and Italy ($2.9m).
Fox‘s The Predator took a steep dive from its chart-topping position last weekend, dropping 65% this weekend for an estimated $8.7 million three-day. The film’s domestic cume is now over $40 million, but it is falling fast.
Internationally, The Predator brought in an estimated $15.3 million from 82 markets for an international cume reaching $54.5 million. This weekend’s new openings included Mexico ($3.2m) and Colombia ($609k) with Russia remaining the film’s top market with an estimated $6.5 million. Upcoming major market releases include Belgium (Oct 3), France (Oct 17) and Italy (Oct 11).
Rounding out the top five is Warner Bros.’s Crazy Rich Asians, which dropped only 25% as it enters its sixth week in release, delivering an estimated $6.5 million. The film’s domestic cume is now just shy of $160 million, currently ranking as the seventh largest romantic comedy of all-time and soon to pass The Proposal ($163.95m).
Internationally, Crazy Rich Asians brought in an estimated $5.1 million from 35 markets for an overseas total that now stands at $47 million. The film’s worldwide gross is now $206.4 million.
In search of the weekend’s three other new wide releases we first come to Fahrenheit 11/9 in eighth with in an estimated $3.1 million from 1,719 locations. The film’s debut ranks as the 15th largest ever for a documentary, but the $1,804 per theater average is a bit disconcerting. Opening day audiences, however, did give the film an “A” CinemaScore.
Just outside the top ten we come to Amazon Studios‘s Life Itself, which, according to estimates, delivered the second worst opening weekend of all-time for a film debuting in over 2,500 locations. With an estimated $2.1 million from 2,609 theaters the reported $10 million acquisition could only manage $807 per location. After debuting at the Toronto Film Festival in September the film received largely negative reviews, which seem to have clearly had an impact on its release this weekend. Life Itself received a “B+” CinemaScore from opening day audiences.
Faring even worse is Neon‘s Assassination Nation, which only averaged $733 per location as it opened in 1,403 theaters with an estimated $1 million. The studio’s response to the opening, while disappointed in the turnout, remains supportive: “Sam Levinson has created a bold, visionary and ultimately cathartic response to the dumpster fire that is 2018. We’re admittedly disappointed more people didn’t come out this weekend, but those that did were loud and overwhelmingly positive. It’s going to take more time for Assassination Nation to find its audience, but even Heathers wasn’t made in a weekend (total box office $1,108,462).”
In limited release Bleecker‘s Colette delivered an estimated $156,788 from four locations for a strong $39,197 per theater average while Annapurna‘s The Sisters Brothers also delivered solid results from four theaters, debuting with an estimated $122,028 ($30,507 PTA). Additionally, IFC‘s Tea with the Dames brought in $15,031 from one theater and Parade Deck‘s Half Brothers opened with $1,100 from three theaters ($367 PTA).
Overall, the weekend’s top twelve generated $82.5 million making it the third worst weekend of the year from that perspective. We’ll have to wait and see how things stack up once actuals roll in to see how the overall weekend compared.
Next weekend Warner Bros. will debut their newest animated title Smallfoot into 4,000 locations while Lionsgate gets a head start on Halloween with Hell Fest in 2,200 theaters; Universal brings the Kevin Hart and Tiffany Haddish comedy Night School to 2,800 locations; and Pinnacle Peak will debut the moderate release of Little Women into ~600 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
The House with a Clock in Its Walls | $26.9M | $26.9M | 1 |
|
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A Simple Favor | $10.4M | $32.6M | 2 |
|
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The Nun | $10.3M | $100.9M | 3 |
|
| |
The Predator | $8.7M | $40.4M | 2 |
|
| |
Crazy Rich Asians | $6.5M | $159.4M | 6 |
|
| |
White Boy Rick | $5.0M | $17.4M | 2 |
|
| |
Peppermint | $3.7M | $30.3M | 3 |
|
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Fahrenheit 11/9 | $3.1M | $3.1M | 1 |
|
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The Meg | $2.4M | $140.5M | 7 |
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Searching | $2.2M | $23.1M | 5 |
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‘The Predator’ Crashes With a Soft $24M, While ‘A Simple Favor’ Opens Strong at the BO!!!
20th Century Fox‘s release of The Predator may have topped the weekend box office, but whether it was the controversy swirling around the film, dwindling franchise interest or a combination of both, the film delivered the lowest opening weekend gross for a live-action film debuting in over 4,000 theaters. Meanwhile, Lionsgate‘s A Simple Favor delivered solid numbers in a third place finish, Studio 8‘s White Boy Rick debuted with moderate results and Pure Flix‘s Unbroken: Path to Redemption debuted on the lower end of expectations.
With an estimated $24 million, 20th Century Fox‘s The Predator took the weekend’s #1 spot, but the film has little to celebrate. Debuting in 4,037 theaters, the film’s opening is the worst for a live-action film opening in over 4,000 locations, unseating The Mummy, which previously held the distinction after its $31.6 million opening in 4,035 theaters last summer. The opening currently falls short of even 2010’s Predators which opened with $24.76 million in just 2,669 locations. That film went on to gross just over $52 million.
The Predator received a disappointing “C+” CinemaScore from opening day audiences. Weekend crowds were 62% male with 66% of the audience coming in 25 years of age or older. These are the exact same demos Alien: Covenant saw last year, and should The Predator deliver a similar 2.05x multiplier we’re looking at a domestic run just shy of $50 million.
Internationally, The Predator debuted in 72 markets with an estimated $30.7 million. Leading the way was Russia with an estimated $4.7 million followed by the UK ($3.1m), Thailand ($1.1m) and Hong Kong ($948k). Next weekend, the film opens in 11 additional markets including Argentina (Sep 20) and Mexico (Sep 21) followed by October releases in Belgium, France and Italy.
In the runner-up position, Warner Bros. release of New Line‘s The Nun has delivered yet another franchise record. After its franchise-best debut last weekend, the film dipped a franchise worst, 66% this weekend, delivering an estimated $18.2 million for a domestic gross that now tops $85 million, soon to become the fourth film in the franchise to top $100 million domestically.
Internationally, The Nun added another $33.1 million, pushing its running international cume to $143.6 million, taking the global tally to $228.7 million. Mexico remains the film’s top international market with $17 million and it will get a nice boost next weekend with releases in France, South Korea, Russia, Italy and Japan.
Lionsgate‘s release of A Simple Favor landed in third position with an estimated $16 million. The R-rated thriller from Paul Feig stars Blake Lively and Anna Kendrick and both audiences and critics seemed to like what they saw. The film scored a 68 with critics on Metacritic and earned a “B+” CinemaScore from opening day audiences. Carrying a reported $20 million budget the question now is whether it will barely top $30 million domestically or if it has a chance at reaching $40 million.
Internationally, A Simple Favor brought in an estimated $3.5 million from 28 markets including $1.5 million in Australia, where the film has now brought in $2 million after bringing in $437k from previews last weekend. The film will debut in the UK, Russia and Finland next weekend followed by openings in France (Sep 26), Belgium (Sep 26), Brazil (Sep 27), The Netherlands (Sep 27), Mexico (Sep 28), Spain (Sep 28), Sweden (Sep 28), Norway (Oct 19) and Germany (Nov 8).
Sony‘s release of Studio 8‘s White Boy Rick landed in fourth place with an estimated $8.8 million debut from 2,504 theaters. The drug-fueled drama brought in a so-so “B” CinemaScore from opening day audiences while the studio has yet to provide weekend audience demographics.
Rounding out the top five is WB‘s Crazy Rich Asians, which is now just shy of $150 million domestically after taking in an estimate $8.7 million as it kicks off its fifth week in release. Internationally, the romantic comedy added another $7.3 million for an overseas cume now totaling $37.9 million for a global tally over $187 million. The film will debut in Mexico next weekend followed by Japan on September 28.
Outside the top five is where we find Pure Flix‘s Unbroken: Path to Redemption, which fell to the lower end of industry expectations and couldn’t even muster half of Mojo‘s pre-weekend $5 million forecast. The film debuted in 1,620 locations and brought in an estimated $2.35 million for a disappointing $1,451 per theater average.
Elsewhere in the top ten, however, a few milestones were reached beginning with WB‘s The Meg, which added $3.8 million this weekend for a domestic total reaching $137 million. The film also added over $6 million internationally this weekend, bringing its international running cume to $368.2 million for a global tally topping $505 million.
Additionally, Paramount‘s Mission: Impossible – Fallout rounded out the weekend top ten with an estimated $2.3 million, pushing the film’s domestic cume over $216 million. The result makes Fallout the highest grossing release in the Mission franchise, topping Mission: Impossible II‘s $215.4 million domestic run back in 2000. The film also added $15.9 million internationally this weekend as its global cume continues to rise, now topping $760 million.
Also, joining The Meg in the $500 million club is Sony‘s Hotel Transylvania 3, which brought in over $4 million globally this weekend for a worldwide cume that now totals $503 million.
In limited release, Vertical‘s Where Hands Touch opened with an estimated $70,000 in 103 locations ($680 PTA); Roadside debuted Lizzie in four locations for an estimated $49,895 ($12,473 PTA); Hannover‘s The Riot Act brought in an estimated $28,275 from nine locations ($3,142 PTA); A24‘s The Children Act opened with an estimated $20,362 in three theaters ($6,787 PTA); Vitagraph‘s Museo debuted with an estimated $17,500 from one theater; Screen Media‘s Bel Canto delivered $14,036 in two locations; National Geographic‘s Science Fair opened with $12,250 in one theater; Cinema Guild‘s # opened in two locations with an estimated $9,914; and Sony Classics‘s American Chaos could muster only $7,963 from 26 locations for a per theater average of just $306.
Next weekend Universal will release the family targeted feature The House with a Clock in its Walls in 3,300+ locations; Amazon Studios will debut Life Itself into 2,500 locations; and Briarcliff will release the Michael Moore documentary Fahrenheit 11/9 into ~1,500 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
The Predator | $24.0M | $24.0M | 1 |
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The Nun | $18.2M | $85.1M | 2 |
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A Simple Favor | $16.1M | $16.1M | 1 |
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White Boy Rick | $8.8M | $8.8M | 1 |
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Crazy Rich Asians | $8.7M | $149.6M | 5 |
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Peppermint | $6.1M | $24.2M | 2 |
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The Meg | $3.8M | $137.1M | 6 |
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Searching | $3.2M | $19.6M | 4 |
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Unbroken: Path to Redemption | $2.4M | $2.4M | 1 |
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Mission: Impossible – Fallout | $2.3M | $216.1M | 8 |
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‘The Nun’ Delivers ‘Conjuring’ Franchise Record Debut at the BO!!!!
Warner Bros. and New Line‘s The Nun made good on expectations, setting a new franchise opening weekend record (both globally and domestically) and delivering the second largest September opening ever. Meanwhile, STX‘s release of Peppermint delivered on expectations, and Mission: Impossible – Fallout became Tom Cruise‘s highest grossing worldwide release of all-time, topping $725 million globally.
With an estimated $53.5 million, Warner Bros.‘s release of New Line‘s The Nun destroyed the previous franchise opening weekend record set by the very first The Conjuring at $41.8 million. The debut is also the second largest September opening ever, topping the $48.4 million set by Hotel Transylvania 2 in 2015, while placing well behind the massive, $123.4 million opening for WB‘s It just last year. In fact, The Nun‘s $53.5 million debut is also the second largest opening ever for an R-rated horror film, again placing behind WB‘s It.
This is the fifth straight weekend Warner Bros. has held the #1 spot at the weekend box office, doing so with three different films (The Meg and Crazy Rich Asians). To that point, this is also the fourth straight weekend WB has held the #1 and #2 spot at the weekend box office, an achievement that hasn’t happened in over 25 years.
The Nun played to an audience that was 51% male and 44% were 25 years or older. Interestingly enough, this is the first film in the Conjuring Universe to play to an audience that was not majority female while at the same time this is the youngest audience a film in the franchise has played to, a couple percentage points lower than Annabelle‘s audience, of which 46% were 25 years of age or older.
Multiples for films in the Conjuring Universe are all across the board, though if The Nun plays like Annabelle: Creation we’re looking at a domestic performance topping $155 million, though a run similar to the first Annabelle would mean a $121 million performance. Should it play to the franchise average a performance just shy of $150 million would be most likely.
The Nun was also a hit internationally, delivering $77.5 million from 60 overseas markets for a massive $131 million global debut. Building on its domestic dominance, this is the highest grossing international opening among films in the Conjuring Universe in like-for-like markets, including the largest opening ever for a horror film in 19 of those markets, including including Brazil ($6.8m), Indonesia ($7.7m), Spain ($3.3m) and the United Arab Emirates ($1.6m). The film’s top market was Mexico where it delivered a $10.7 million opening followed by the likes of India ($5.2m), UK ($5.2m), Germany ($2.7m) and Australia ($2.7m). Looking ahead The Nun has yet to open in France (Sep 19), South Korea (Sep 19), Italy (Sep 20), Russia (Sep 20), Hong Kong (Sep 20) and Japan (Sep 21).
WB also landed in second place with Crazy Rich Asians, which brought in an estimated $13.6 million, pushing the film’s domestic cume over $136 million. The film also added another $5.6 million in 23 markets, bringing the overseas running cume to $28.5 million and a global cume just shy of $165 million. The film will open in the UK this coming Friday followed by debuts in Mexico (Sep 21) and Japan (Sep 28).
STX‘s Peppermint debuted within industry expectations, while outperforming BoxOfficeMojo‘s forecast, delivering an estimated $13.26 million opening. The debut is just ahead of the pre-weekend comp to MGM‘s Death Wish and just a shade behind the $14.4 million debut for John Wick. In fact, the “B+” CinemaScore from opening day audiences is an improvement on Wick‘s “B” and on par with Death Wish. From an audience perspective, the film’s opening weekend played to an audience that was 56% female while 78% was 25 and over.
STX did not finance the $25 million (net) production, which should push toward a $35+ million domestic run while the studio is anticipating a strong performance overseas where it began its run this weekend in 17 markets, grossing an estimated $1.4 million. The film’s top market was the Netherlands with a $370k opening. Peppermint will open in France and Russia next weekend followed by openings in the UK, Brazil and South Korea in October as well as Mexico (Nov 9), Spain (Nov 9), Australia (Nov 15) and Italy (Jan 24) with a release in China yet to be set.
In fourth is WB‘s The Meg, which pushed its domestic cume over $131 million after an estimated $6 million this weekend, giving WB three of the weekend’s top four films. Internationally the film grossed another $11.3 million in 67 territories, including a $3.3 million opening in Japan, taking the international running cume to $360.4 million for a global tally just shy of $492 million.
Sony‘s Searching rounded out the top five with an estimated $4.5 million, dropping just 26% as it expanded further this weekend into 2,009 locations (+802). The film also added $7.5 million internationally this weekend from just eight markets, bringing the overseas cume to $17.7 million. Still ahead, the film opens in France and Australia next weekend followed by releases in Germany (Sep 20), Brazil (Sep 20), Mexico (Sep 21), Russia (Sep 27), Spain (Sep 28), Italy (Oct 18) and Japan (Oct 26).
Just outside the top five is Mission: Impossible – Fallout, which brought in an estimated $3.8 million, bringing its domestic cume to $212.1 million, just $3.3 million shy of topping Mission: Impossible II to become the highest grossing domestic release in the franchise. That said, with an estimated $38.6 million internationally this weekend, the film’s global cume now totals $726.6 million making it the highest grossing worldwide release not only in the Mission franchise, but the highest grossing worldwide release in Tom Cruise‘s career.
Finishing outside the top ten is Freestyle‘s God Bless the Broken Road, which fell well behind the studio’s $4-4.5 million expectations, delivering just $1.56 million over its three-day debut.
In limited release, Magnolia‘s Kusama: Infinity opened with $30,400 from two locations; 4th Row‘s Bisbee ’17 brought in $6,650 from one theater; Oscilloscope‘s Hal opened at New York’s IFC Center with an estimated $5,150; Cinema Libre‘s Nelly also opened in one location with an estimated $1,500; and Film Arcade‘s Realms delivered just $118 from three locations for a $39 per theater average.
Next weekend will see the release of Fox‘s The Predator into ~3,900 locations. Additionally, Lionsgate will release A Simple Favor into ~3,000 theaters; Sony‘s Studio 8 will debut White Boy Rick into approximately 2,400 locations and Pure Flix is expected to open Unbroken: Path to Redemption into 1,500-1,550 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
The Nun | $53.5M | $53.5M | 1 |
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Crazy Rich Asians | $13.6M | $136.2M | 4 |
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Peppermint | $13.3M | $13.3M | 1 |
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The Meg | $6.0M | $131.6M | 5 |
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Searching | $4.5M | $14.3M | 3 |
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Mission: Impossible – Fallout | $3.8M | $212.1M | 7 |
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Christopher Robin | $3.2M | $91.7M | 6 |
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Operation Finale | $3.0M | $14.1M | 2 |
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Alpha | $2.5M | $32.4M | 4 |
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BlacKkKlansman | $1.6M | $43.5M | 5 |
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‘Venom’ Box-Office Opening Supposedly Outpacing ‘Gravity’!!!
If box office predictions are to be believed, Sony’s in for some good news with their latest Spider-Verse venture, Venom. The outright villain-turned-antihero in the pages of Marvel Comics and throughout all other media will get his first title treatment in Ruben Fleischer‘s decidedly different take on comic book superhero cinema, one that has Oscar-nominee Tom Hardy set to play the title role and his human alter ego, Eddie Brock.
As THR reports, box office targets for Venom are currently somewhere in the range of $55 to $65 million in domestic ticket sales during the weekend of October 5th. THR’s sources, whoever they may be, place the pic on the high end, while Sony insiders are playing a bit more conservative with their estimates. Either way, Venom is poised to perform better than the top October debut weekend of all time, Alfonso Cuarón‘s 2013 sci-fi pic Gravity, which took home $55.8 million (not adjusted for inflation). Comparable competition includes The Martian with $54.3 million and Paranormal Activity 3 with $52.6 million. Venom could either eke by these marks or blow them out of the water. Hardy stars alongside Woody Harrelson, Riz Ahmed, Michelle Williams, Jenny Slate and Scott Haze in the $100 million-budgeted film co-produced by China’s multinational conglomerate, Tencent.
Complicating matters will be the same-date release of Warner Bros.’ A Star Is Born, the feature directorial debut of star Bradley Cooper that co-stars Lady Gaga in the lead. The studio is aiming for a $25 million domestic debut while insiders are more confident, predicting $28 to $30 million. The buzzworthy film is already a critical darling. Its debut at the Venice International Film Festival was well-received, and the praise continued during its recent screening at TIFF. Collider‘s Adam Chitwood likes its Oscar chances, and Matt Goldberg gave it a B+ in his review.
The official synopsis describes the film as a “new take on the tragic love story, [Cooper] plays seasoned musician Jackson Maine, who discovers—and falls in love with—struggling artist Ally (Gaga). She has just about given up on her dream to make it big as a singer… until Jack coaxes her into the spotlight. But even as Ally’s career takes off, the personal side of their relationship is breaking down, as Jack fights an ongoing battle with his own internal demons.”
via Collider
‘Crazy Rich Asians’ Continues Its Excellent Run at the BO!!!
It was a big weekend for milestones as Crazy Rich Asians continued its stellar run, finishing atop the weekend box office for the third weekend in a row and topping $110 million domestically. Meanwhile, Sony‘s Searching delivered a strong performance in expanded release while Paramount‘s Mission: Impossible – Fallout made a big splash in China and Disney and Pixar‘s Incredibles 2 became only the ninth film ever to top $600 million at the domestic box office.
At the top of the domestic weekend box office, WB‘s Crazy Rich Asians delivered a three-day gross totaling an estimated $22.2 million, which marks just a 10% drop compared to last weekend as the film’s domestic gross now totals over $110 million. The film is expected to generate around $28 million for the four-day holiday for a domestic gross topping $116 million.
The film’s overseas cume is now just shy of $20 million after bringing in an estimated $10.4 million from 24 markets, including a $5.4 million opening in Australia this weekend making for the largest opening for a rom-com in the market ever. Australia already serves as the film’s largest international market followed by Singapore ($3.4m), Philippines ($2.8m), Malaysia ($1.4m) and Taiwan ($1.1m). The next key market to open will be the UK on September 14.
WB also took second place for the third weekend in a row as The Meg ate up an estimated $10.5 million, pushing the film’s domestic gross over $120 million. Current expectation is for a four-day weekend topping $13 million.
Internationally, The Meg brought in another $17.7 million from 65 markets for an international cume now totaling $342 million and a worldwide gross nearing $463 million. The film’s top market continues to be China where the film’s cume has now topped $150 million while the last market to open will be Japan, which opens this coming Friday.
Paramount‘s Mission: Impossible – Fallout dipped just 13.4% as it enters its sixth weekend in release pulling in an estimated $7 million. The film is expected to deliver $9 million for the four-day weekend, pushing its domestic gross over $206 million.
Internationally is where the big story is when it comes to Fallout as the film added another $89.1 million overseas this weekend, thanks in large part to an estimated $77.3 million opening in China. The performance is 84% ahead of Mission: Impossible – Rogue Nation‘s Friday-Sunday debut* before it went on to bring in over $135 million in the market. At this point, Fallout has brought in nearly $443 million internationally for a global tally reaching $647 million. The film is now just $12 million behind Rogue Nation globally, which currently stands as the highest grossing worldwide release in the franchise.
Finishing in fourth is MGM‘s Operation Finale, which delivered an estimated $6 million over the three-day weekend after it began playing in theaters on Wednesday. The film is expected to deliver a $7.7 million four-day for a six-day total right around $9.5 million. Opening weekend audience was 51% male and 65% of the audience was aged 35 or older. Overall, 69% of the audience was Caucasian.
Rounding out the top five is Sony‘s Searching, which expanded into 1,207 locations (+1,198) this weekend after a strong limited debut last week. The film generated an estimated $5.7 million over the three-day and a $4,672 per theater average. The film is expected to push to $7 million for the four-day holiday weekend and a domestic cume topping $7.5 million by Monday. The film’s audience was split 50/50 male-to-female and overall 61% of the film’s audience was aged 25 years or older.
Just outside the top ten is Disney and Pixar‘s Incredibles 2, which bulked up its theater count this weekend to 2,890 locations (+1,830) and saw a +92.5% increase for a $3.16 million three-day, pushing the film’s domestic gross to $601 million, becoming only the ninth film ever to top $600 million at the domestic box office.
In fact, when it comes to milestones, on top of Crazy Rich Asians topping $100 million, Mission: Impossible – Fallout topping $200 million, Incredibles 2 topping $600 million, Sony‘s The Equalizer 2 topped $100 million thanks to a $1.46 million weekend.
Meanwhile, it isn’t until the 12th slot on the weekend chart that we find Lionsgate‘s Kin, which debuted in 2,141 theaters this weekend and brought in an estimated $3 million over the three-day and should top $3.6 million for the four-day holiday. The film played to an audience that was 56% male and of the overall audience 65% were 25 years of age or older.
Internationally, Kin opened in 23 markets with an estimated $1.8 million, the bulk of which comes from France where it opened with $1.4 million. The film will open in Brazil and Russia next weekend followed by openings in Germany (Sep 13), Belgium (Sep 19), Netherlands (Sep 20), Mexico (Oct 26) and Spain (Nov 23).
Leading the weekend’s limited releases, Lionsgate‘s release of Panetlion‘s Ya Veremos brought in a solid $1.8 million over the three-day weekend from just 369 locations ($4,878 per theater average) and is expected to near $2.3 million for the four-day holiday. The film received an “A” CinemaScore from opening day audiences, which broke down 59% female and 67% of the overall audience was 25 years of age or older.
Also in limited release, Focus Features released The Little Stranger into 474 locations where it brought in an estimated $417,000 for a soft $880 per theater average. IFC‘s Pick of the Litter brought in an estimated $19,078 from two theaters; Kino Lorber had a pair of limited releases in Let the Corpses Tan, which brought in an estimated $12,138 from three theaters ($4,046 PTA); Super LTD‘s documentary Active Measures debuted in two theaters after its stellar run on iTunes with an estimated $8,143; and Kino Lorber‘s A Paris Education opened with $3,358 from one theater.
Next weekend sees the return of the Conjuring franchise to theaters as The Nun debuts in over 3,700 theaters. Additionally, STX will release Peppermint starring Jennifer Garner into over 2,850 locations and Freestyle will debut God Bless the Broken Road into over 1,200 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Crazy Rich Asians | $22.2M | $111.0M | 3 |
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The Meg | $10.5M | $120.5M | 4 |
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Mission: Impossible – Fallout | $7.0M | $204.3M | 6 |
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Operation Finale | $6.0M | $7.7M | 1 |
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Searching | $5.7M | $6.2M | 2 |
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Christopher Robin | $5.0M | $85.4M | 5 |
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Alpha | $4.5M | $27.4M | 3 |
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The Happytime Murders | $4.4M | $17.0M | 2 |
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BlacKkKlansman | $4.1M | $38.3M | 4 |
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Mile 22 | $3.6M | $31.8M | 3 |
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‘Crazy Rich Asians’ Dominates Second Weekend As ‘The Happytime Murders’ Flops at the BO!!
It was another crazy rich weekend for Warner Bros.‘s Crazy Rich Asians, which dropped just 5.7% in its second weekend based on estimates, and if last weekend’s performance is any indication, don’t be surprised to see that weekend number climb once actuals are received on Monday afternoon. As for the weekend’s new wide releases, both The Happytime Murders and A.X.L. struggled, though Sony‘s limited release of Searching delivered a chart-topping per theater average in limited release, in advance of going wide next weekend.
With an impressive $25 million, WB‘s Crazy Rich Asians dropped just 5.7% compared to its opening weekend, easily remaining the #1 film at the weekend box office. The film’s domestic gross now totals over $76 million after just 12 days in release, on its way to what looks like it could be a $150+ million domestic run.
The film’s second weekend drop is one of the smallest of all-time and to have done it without the benefit of a holiday weekend makes it even more impressive. To that point, how the film performs over the four-day Labor Day holiday next week may end up being just as impressive as this weekend’s hold.
Crazy Rich Asians also bumped up its international presence this weekend, adding 12 markets for a total of 18, from which it brought in an estimated $6 million for an early overseas cume totaling $7.1 million. This weekend it brought in $1.8 million from Singapore, the largest opening for a romantic comedy ever in the market, followed by a $1.5 million opening in the Philippines. Looking ahead, the film will open in Australia on August 30 followed by a mid-September debut in the UK.
In a repeat of last weekend, WB scored both the number one and two slots as The Meg once again finished in the runner-up position. This weekend the shark feature devoured an estimated $13 million bringing the film’s domestic total to an impressive $105.3 million. The film is now the 17th release of 2018 to top the century mark and there is still plenty of chum in the water.
Internationally, The Meg chomped down another $32.7 million this weekend from 65 territories for an international total that now stands at $303.3 million for a worldwide tally totaling $408.6 million. This weekend the film opened in France where it brought in an estimated $4.5 million while China remains the film’s top market with $143 million followed by Mexico ($17m), UK ($15.3m), Russia ($11.9m) and Spain ($8.4m). The film has still yet to open in Japan where it will begin hunting unsuspecting moviegoers on September 7.
In third is STX‘s The Happytime Murders, debuting with a disappointing $10 million. There were signals heading into the weekend that this one could underperform, the final of them being the troubling critical reception resulting in a 27 on Metacritic. The rating is well below pre-weekend comps such as star Melissa McCarthy‘s own Life of the Party (46) and Mike and Dave Need Wedding Dates (51), neither of which would be described as a critical darling. Following that, audiences gave the film a “C-” CinemaScore, compared to the “B” both Life of the Party and Mike and Dave received before opening with $17.8 million and $16.6 million respectively.
From an audience perspective, 59% of the opening weekend crowd was male and 63% was 25 or older, both of which tell of a more male-dominated and younger crowd than turned out for Life of the Party. Mike and Dave also played to a majority female audience, but its crowd was even younger than Happytime.
Paramount‘s Mission: Impossible – Fallout dipped just 26% this weekend, delivering an estimated $8 million. The film’s domestic total is now just shy of $194 million as it enters its fifth week in release. The film continues to pace ahead of domestic franchise-leader Mission: Impossible II by ~$5 million as Paramount is surely hoping this one rides it out to a franchise best performance. The film also added another $13 million internationally this weekend from 61 markets, pushing the its worldwide total over $538 million.
Rounding out the top five is Disney‘s Christopher Robin with an estimated $6.3 million, signaling just a 28.5% drop as the film’s domestic gross now stands at $77.6 million. The film has so far brought in $35.1 million internationally for a worldwide cume that currently totals $112.7 million.
It isn’t until ninth position that we find Global Road‘s A.X.L., which debuted in 1,710 locations this weekend and brought in an estimated $2.9 million for a weak, $1,719 per theater average. While the performance is definitely nothing to celebrate, the studio has more to worry about as it has been reported “the company’s domestic feature production and distribution division will now be overseen by its financial backers” and the next step may be to declare bankruptcy. While a pair of film’s remain on Global Road‘s upcoming slate, it may not be Global Road that releases any of them.
Outside the top ten we find Bleecker Street‘s debut of Papillon starring Charlie Hunnam and Rami Malek. The remake delivered an estimated $1.15 million from 544 locations for a $2,115 per theater average.
Further down the list we come to Sony‘s release of Searching. The cyber-thriller debuted in just nine locations this weekend and brought in an estimated $360,000 for a strong, $40k per theater average. Sony is expected to expand the film’s reach next weekend into over 1,100 locations.
Additional limited releases include Greenwich‘s release of The Bookshop into four theaters where it brought in an estimated $48,000 ($12,000 PTA); Janus‘s re-release of Andrei Rublev delivered $12,979 from two locations; and Oscilloscope‘s John McEnroe: In the Realm of Perfection debuted with $8,060 from New York’s Film Forum this weekend.
One final note is the debut of Ant-Man and the Wasp in China where it brought in an estimated $68 million, the fourth largest opening for a film in the Marvel Cinematic Universe in the market. The performance pushes the film’s global tally over $544 million. Ant-Man and the Wasp opens in Japan, its final major market, next weekend.
Next weekend marks the “official” end of the summer movie season, and on top of the expanded release of Sony‘s Searching, Lionsgate will release Kin in ~2,100 theaters. The weekend will also feature a couple of moderate releases in Focus‘s The Little Stranger in 475 theaters and Pantelion‘s Ya Veremos in 350 sites.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Crazy Rich Asians | $25.0M | $76.8M | 2 |
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The Meg | $13.0M | $105.3M | 3 |
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The Happytime Murders | $10.0M | $10.0M | 1 |
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Mission: Impossible – Fallout | $8.0M | $193.9M | 5 |
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Christopher Robin | $6.3M | $77.6M | 4 |
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Mile 22 | $6.0M | $25.2M | 2 |
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Alpha | $5.6M | $20.2M | 2 |
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BlacKkKlansman | $5.3M | $32.0M | 3 |
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A-X-L | $2.9M | $2.9M | 1 |
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Slender Man | $2.8M | $25.4M | 3 |
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‘Ant-Man and the Wasp’: The Marvel Film Crosses $500 million at the Worldwide BO!!!
It may not have enjoyed the same kind of runaway success as recent entries in the Marvel Cinematic Universe, but the superhero sequel Ant-Man and the Wasp has now passed the half billion dollar mark at the global box office thanks to a bumper opening in China.
On Friday, the movie banked $24 million in China, putting it ahead of Black Panther ($22.7 million) and Spider-Man: Homecoming ($21.6 million), followed by another $23.4 million on Saturday to leave it just shy of the original Ant-Man’s $519.3 million haul.
Ant-Man and the Wasp is expected to earn around $70 million in the Middle Kingdom this weekend, which would be the biggest Chinese opening weekend for a Marvel movie that doesn’t have Avengers or Civil War in the title.
Overall, box office analysts are predicting that Ant-Man and the Wasp could finish its run with around $650 million in total, which would surely all but guarantee a third outing for Scott Lang and Hope Van Dyne.
From the Marvel Cinematic Universe comes Ant-Man and The Wasp, a new chapter featuring heroes with the astonishing ability to shrink. In the aftermath of Captain America: Civil War, Scott Lang grapples with the consequences of his choices as both a super hero and a father. As he struggles to rebalance his life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne and Dr. Hank Pym with an urgent new mission. Scott must once again put on the suit and learn to fight alongside the Wasp as the team works together to uncover secrets from the past.
Ant-Man and the Wasp sees Peyton Reed returning to the director’s chair and stars Paul Rudd (Scott Lang), Evangeline Lilly (Hope Van Dyne), Michael Douglas (Hank Pym), Michael Pena (Luis), David Dastmalchian (Kurt), Abby Ryder Fortson (Cassie Lang), Judy Greer (Maggie), Bobby Cannavale (Paxton) and T.I. (Dave), while new additions to the cast include Michelle Pfeiffer as Janet Van Dyne, Laurence Fishburne as Dr. Bill Foster/Goliath, Hannah John-Kamen as The Ghost, Walton Goggins as Sonny Burch and Randall Park as Jimmy Woo.
via Flickering Myth
‘Gold’ and ‘Satyameva Jayate’ Do Exceptionally Well at the Indian BO!!!
This Independence Day we witnessed releases of two big films, Gold and Satyameva Jayate. Gold, which features Akshay Kumar and Mouni Roy in the lead and Satyameva Jayate, which features John Abraham and Manoj Bajpayee in the pivotal roles, both these films excel at Box-Office.
Both these films opened well at Box-Office and in its opening weekend, both these films managed to do well. Despite being the two big films both these films fared well.
Trade Analyst Taran Adarsh shared the Box-Office figures on Twitter about both the films.
Sharing the Box-Office numbers for Gold he wrote, “#Gold has an EXCELLENT *extended* opening weekend… Took a dip on Day 2, but gradually picked up from Day 3 to Day 5… All eyes on Mon-Thu biz… Wed 25.25 cr, Thu 8.10 cr, Fri 10.10 cr, Sat 12.30 cr, Sun 15.55 cr. Total: ₹ 71.30 cr. India biz.”
While sharing the Box-Office numbers about Satyameva Jayate he wrote, “#SatyamevaJayate packs a STRONG *extended* opening weekend total… Went downhill on Day 2, but remained consistent from Day 3 to Day 5… Weekdays biz is crucial… Wed 20.52 cr, Thu 7.92 cr, Fri 9.18 cr, Sat 9.03 cr, Sun 10.26 cr. Total: ₹ 56.91 cr. India biz.”
Gold showcases the dream of Tapan Das played by Akshay Kumar, who wishes to win India’s first gold medal in hockey as an independent nation. He coaches the team for the 1948 Olympics in London, inspiring the athletes to make a mark against the British on their own turf. Subsequently, India won the gold medal on August 12, 1948.
Satyameva Jayate is an action drama film with corruption being the center point.
via SantaBanta
‘Mission: Impossible – Fallout’ Passes $500 Million at the Worldwide BO!!!
Having set a franchise high opening last month, Paramount Pictures and Skydance Productions’ acclaimed spy sequel Mission: Impossible – Fallout has now taken its box office haul beyond the $500 million mark.
The film, which marks Tom Cruise’s sixth outing as Ethan Hunt, has pulled in $180.7 million domestically, with a further $320.7 million internationally, for a grand total of $501.4 million and counting.
Fallout is currently some 15% ahead of Mission: Impossible – Rogue Nation at the same point of its release cycle, and is the fourth highest-grossing chapter of the seires after Mission: Impossible II ($546.4 million), Mission: Impossible – Rogue Nation ($682.7 million) and Mission: Impossible – Ghost Protocol ($694.7 million).
Fallout is set to make its way to China on August 31st, and if the film proves to be a hit in the Middle Kingdom, then analysts are predicting it will go on to surpass Ghost Protocol to become both the highest-grossing Mission: Impossible movie and the biggest film of Cruise’s career to date.
The best intentions often come back to haunt you. MISSION: IMPOSSIBLE – FALLOUT finds Ethan Hunt (Tom Cruise) and his IMF team (Alec Baldwin, Simon Pegg, Ving Rhames) along with some familiar allies (Rebecca Ferguson, Michelle Monaghan) in a race against time after a mission gone wrong. Henry Cavill, Angela Bassett, and Vanessa Kirby also join the dynamic cast with filmmaker Christopher McQuarrie returning to the helm.
Mission: Impossible – Fallout sees Tom Cruise joined by returning stars Rebecca Ferguson, Simon Pegg, Ving Rhames, Alec Baldwin, Sean Harris and Michelle Monaghan, along with new additions Henry Cavill (Batman v Superman: Dawn of Justice), Sian Brooke (Sherlock), Angela Bassett (American Horror Story) and Vanessa Kirby (The Crown).
via Flickering Myth
‘The Meg’ Crosses $300 Million at the Worldwide BO!!!
The Meg has officially crossed the $300 million mark at the international box office, definitively proving once and for all that the formula of Jason Statham plus a dinosaur shark equals money. Director Jon Turteltaub‘s film ruled the domestic box office when it opened—before it was de-throned by fellow Warner Bros. project Crazy Rich Asians—but has since settled in as a smash hit in China, where it has earned $117.2 million since its debut.
The Meg‘s worldwide success doubles as an interesting what-could-have-been story. By all accounts, both the film’s star and director originally envisioned The Meg as a much bloodier, much darker R-rated film before settling on a slightly tamer end result. When Collider spoke to Statham, the action star admitted he thought he was signing up for an all-out bloodbath:
I’m just saying it was radically different. I guess in some ways your imagination and your own perception of what it’s going to be is its worst enemy. Just because you should always try and not narrow that down and imagine what you want it to be and just go for the ride. John’s interpretation of this is a fun end of summer [movie]. It’s full of humor. It’s a little bit more directed to a different taste of what my own is in terms of I like more gory adult stuff. I’m a lot older but I can’t speak for what this film could possibly speak to a younger audience.
You almost have to wonder whether an R-rated limb-chomper could have reached the financial heights of this more family-friendly popcorn flick. (Although, as the Deadpool films have taught us, an R-rating isn’t even close to an automatic box office death knell). As things stand now, the world has a perfectly fine, if a bit toothless film in which Jason Statham has personal beef with a massive prehistoric shark, and that, friends, is a good thing.
via Collider
‘Venom’: The Marvel-Sony Film Is Tracking For A Record October Opening at the Domestic BO!!!
This October sees the launch of ‘Sony’s Universe of Marvel Characters’ with the release of Venom, which sees Tom Hardy taking on the role of fan-favourite Spider-Man villain Eddie Brock and his symbiote alter-ego.
Sony has a lot riding on the film, with the studio hoping to use it as the launch pad for a series of Spider-Man spinoff movies including the likes of Morbius, Kraven the Hunter, Silk, Nightwatch, solo movies for both Silver Sable and Black Cat, and Jackpot (in total, Sony is said to have around 900 Marvel characters at its disposal).
Well, if early tracking is to be believed, it looks like Sony will have a solid hit on its hands, with Pro Box Office reporting that Venom is tracking a domestic opening weekend of between $55 million and $85 million.
While that is well short of the $100 million plus of many superhero blockbusters, Venom has a much more modest budget than its Marvel and DC rivals, with some reports claiming it could be as low as $40 million. It could also set a new October record, currently held by Alfonso Cuaron’s Gravity which opened with $55.8 million back in 2013 on its way to $732 million worldwide.
One of Marvel’s most enigmatic, complex and badass characters comes to the big screen, starring Academy Award nominated actor Tom Hardy as the lethal protector Venom.
Directed by Ruben Fleischer (Zombieland), Venom is set for release on October 5th 2018 and features a cast that includes Tom Hardy, Riz Ahmed, Michelle Williams, Woody Harrelson, Jenny Slate, Reid Scott, Scott Haze and Sope Aluko.
via Flickering Myth
‘Crazy Rich Asians’ Delivers Strong $34M Five-Day Opening While ‘Mile 22’ and ‘Alpha’ Open Low at the BO!!
August may be a notoriously slow month at the box office, but Warner Bros. has now delivered back-to-back strong performers. Last weekend The Meg topped all expectations and continued its strong global performance this weekend, while the new release of Crazy Rich Asians delivered an estimated $34 million in its first five days of release. Between the two films, WB secured the weekend’s top two spots, and helped deliver the third straight August weekend this year to top the same weekend last year. Unfortunately, the weekend’s two other new wide releases, STX‘s Mile 22 and Sony‘s Alpha, weren’t able to have such splashy debuts.
With an estimated $34 million, Crazy Rich Asians topped industry expectations and came up just shy of Mojo‘s aggressive, pre-weekend forecast. The film is having a profound impact as the first Asian-led studio film to hit theaters since The Joy Luck Club 25 years ago and word of mouth continues to spread following the film’s Wednesday opening.
Made on a reported $30 million production budget*, the film was met with plenty of fanfare heading into the weekend, including a strong 74 rating on Metacritic, and audiences agreed to the tune of an “A” CinemaScore on opening day. Following the film’s Wednesday opening, it entered the weekend with $8.8 million in its coffers and is now estimated to have delivered just shy of $25.2 million over the three-day weekend. Looking ahead, the film should surely top $100 million domestically.
Internationally, Crazy Rich Asians debuted in just six markets this weekend, bringing in an estimated $730,000 led by the Netherlands with $208k. The film is following a staggered release pattern overseas, with key markets such as Australia opening on August 30 followed by a mid-September release in the UK.
WB also snagged the second spot on the weekend chart with a solid sophomore showing from The Meg. The creature feature followed up its stellar opening weekend with an estimated $21.15 million (-53%) this weekend, pushing the film’s domestic cume over $84 million after just ten days in release.
Internationally, The Meg continues its strong performance, bringing in an estimated $67 million from 55 markets, pushing the film’s overseas gross to $230.4 million for a global cume totaling nearly $315 million. China leads the way with $117.2 million followed by Mexico ($13.6m), UK ($11m), Russia ($10m), Spain ($6m), Indonesia ($5.1m), Malaysia ($4.2m), Brazil ($4.5m), Italy ($3.8m), Germany ($3.6m), UAE ($3.52m) and Taiwan ($3.5m). The film opens in France this week and will then debut in Japan in early September.
STX‘s Mile 22 came in a bit behind expectations, delivering an estimated $13.6 million from 3,520 locations. Working against the film domestically is a negative critical reception (40 on Metacritic) and opening day audiences scored the film with a lackluster “B-” CinemaScore. Of that audience, 60% were male and 73% were 25 years of age or older.
Carrying a reported $35 million budget, the Mark Wahlberg feature was developed as a potential franchise starter for the star and director Peter Berg. However, after the softer-than-expected domestic debut, eyes turn to the international markets where it is expected to have its largest impact, especially in Asia and Latin America. That said, the film debuted in just six territories this weekend, delivering an estimated $538,000. Leading the way was a $137k debut in Singapore followed by a $124k opening in Taiwan. Looking ahead, the film will open in the Middle East, Hong Kong and Russia next week followed by openings in France (Aug 29), Australia, (Aug 30), New Zealand (Aug 30), Mexico (Aug 31), Germany (Sep 13), United Kingdom (Sep 19), Brazil (Sep 20), Spain (Sep 28) and Italy (Nov 15). A China release date has not yet been set.
Sony‘s Alpha, finished with an estimated $10.5 million for the weekend. The performance is on par with studio expectations and easily outperforms Mojo‘s pre-weekend expectations. The film was made on what is being reported as a “$50+ million” budget, which will put a little pressure on its overseas performance after this domestic debut. The film was, however, well received by critics (62 on Metacritic) and audiences gave it a “B+” CinemaScore. Of that audience, 56% were male and 41% were 25 years or older.
Rounding out the top five (currently in a tie for fourth with Alpha) is Paramount‘s Mission: Impossible – Fallout, which continues its strong run, adding an estimated $10.5 million to its domestic total this weekend, pushing the film’s cume over $180 million. Internationally, the film grossed an estimated $20.5 million this weekend in 61 markets, pushing the film’s global cume over $500 million while maintaining a ~17% lead internationally over Mission: Impossible – Rogue Nation for the same group of markets currently in release. Fallout hits theaters in Italy on August 29 and China on August 31.
Outside the top five, Focus‘s BlacKkKlansman dipped just 35.5% for an estimated $7 million weekend and a domestic cume that now tops $23 million.
In ninth position Hotel Transylvania 3 added $3.67 million for a domestic cume that now totals over $158 million, but it’s internationally where we turn our attention. The third film in the franchise opened in China this weekend with a reported $16.9 million, surpassing the lifetime gross of Hotel Transylvania 2 in the market in just three days. The film’s international cume has now blossomed to $272.1 million for a worldwide gross totaling $426 million, topping the global cume for the first film and just ~$47 million behind Hotel Transylvania 2.
In limited release, Sony Classics‘s The Wife brought in an estimated $111,137 from four theaters ($27,784 PTA); The Orchard‘s We the Animals delivered $66,261 from three theaters ($22,087 PTA); Roadside debuted Juliet, Naked in four theaters to the tune of $60,922 ($15,231 PTA); IFC‘s Blaze opened in three theaters with $45,342 ($15,114 PTA); and Music Box released Memoir of War into two theaters where it brought in an estimated $10,710.
Overall, the weekend was up ~41% compared to the same weekend last year while August is currently pacing ~24% ahead of last year. That said, last year saw the worst August grosses in 20 years, so the comparison, while positive, does come with a caveat.
Next weekend sees the release of STX‘s R-rated puppet comedy The Happytime Murders, debuting in ~3,000 locations, and Global Road‘s latest effort A.X.L., which will open in 1,590 theaters. Additionally, Sony will release Searching in nine theaters prior to going nationwide the following weekend and Bleecker Street will release their Papillon remake into a limited number of locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Crazy Rich Asians | $25.2M | $34.0M | 1 |
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The Meg | $21.2M | $83.8M | 2 |
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Mile 22 | $13.6M | $13.6M | 1 |
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Alpha | $10.5M | $10.5M | 1 |
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Mission: Impossible – Fallout | $10.5M | $180.7M | 4 |
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Christopher Robin | $8.9M | $66.9M | 3 |
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BlacKkKlansman | $7.0M | $23.0M | 2 |
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Slender Man | $5.0M | $20.7M | 2 |
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Hotel Transylvania 3: Summer Vacation | $3.7M | $153.9M | 6 |
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Mamma Mia! Here We Go Again | $3.4M | $111.2M | 5 |
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‘The Meg’ Starts off Strong with a $44.5 Million debut at the BO!!!
“The Meg” devoured the competition at the domestic box office.
Warner Bros.’ big-budget shark thriller opened well above expectations, biting off $44.5 million when it opened in 4,118 North American locations. That was easily enough to nab the No. 1 slot over “Mission: Impossible – Fallout,” which picked up $20 million in its third outing for a domestic tally of $162 million.
“The Meg,” which is a co-production with China, will still have to secure big returns overseas to justify its expensive $130 million production budget. It’s not quite in the black yet, but it’s off to a good start given a $96.8 million international tally, including a strong $50 million in the Middle Kingdom. Imax screens accounted for $13.6 million of “The Meg’s” $141.3 million global total.
With $44.5 million, “The Meg” secured the best opening of the year for Warner Bros., ahead of “Ready Player One” ($41.7 million) and “Ocean’s 8” ($41.6 million).
Jeff Goldstein, Warner Bros.’ head of domestic distribution, attributes the better-than-expected opening to the studio’s marketing campaign, along with a non-competitive August debut.
“It’s just good popcorn entertainment that didn’t take itself too seriously,” he said. “It’s silly, it’s fun, and it lets audiences have a good time.”
Fellow newcomer “BlacKkKlansman” debuted in fifth place with $10.8 million in 1,500 locations, earning director Spike Lee his best opening in over a decade. Lee’s Cannes Grand Prix-winning crime drama, which debuted on the first anniversary of the deadly Charlottesville rally, has maintained enthusiasm with a promising 97% Rotten Tomatoes rating and an A- CinemaScore.
“Theaters told us repeatedly over the weekend that audiences were applauding, laughing, emotional, and some in tears by the film,” Focus Features’ president of distribution Lisa Bunnell said. “Spike has been able to bring something to the conversation of America that people haven’t been able to have.”
Horror auteurs Jason Blum and Jordan Peele co-produced the Focus Features title, which tells the true story of black detective Ron Stallworth (John David Washington), who goes undercover — with the help of Jewish cop Flip Zimmerman (Adam Driver) — to infiltrate the Colorado Springs chapter of the Ku Klux Klan.
Prior to “BlacKkKlansman,” Lee’s recent biggest opening was his 2006 film, “Inside Man,” which launched with $28 million. His latest outing, “Chi-Raq,” picked up $2.5 million during its limited theatrical run ahead of an Amazon release.
Sony’s “Slender Man” also bowed nationwide this weekend, landing in fourth with $11.3 million in 2,358 locations. That’s a solid start given the low-budget thriller carries a $10 million price tag.
The final weekend opener, “Dog Days,” picked up $2.6 million when it launched in 2,442 locations.
Meanwhile, Disney’s “Christopher Robin” earned $12.7 million in its sophomore frame, landing the fantasy drama based on the characters from Winnie the Pooh in third place. To date, it has generated $50.3 million in North America.
Universal’s jukebox musical “Mamma Mia! Here We Go Again” reached a major milestone this weekend, crossing $100 million at the domestic box office. The sequel has generated over $280 million worldwide.
A24’s “Eighth Grade” hit an achievement of its own. Bo Burnham’s coming of age drama picked up another $1.6 million in its fifth frame, taking its domestic tally past $10 million.
At the specialty box office, Magnolia Pictures’ “Skate Kitchen” bowed with $17,000 when it opened in just one location. The best per-screen average, however, went to Oscilloscope’s “Madeline’s Madeline,” which pocketed $20,000 from one venue.
The summer box office remains strong, up a promising 11.2% from last year, according to comScore. Thanks to a surprisingly powerful debut from “The Meg,” the weekend-to-date number is up 23.7% from the same frame last year, when “Annabelle: Creation” launched with $35 million.
via Variety
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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The Meg | $44.5M | $44.5M | 1 |
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Mission: Impossible – Fallout | $20.0M | $162.0M | 3 |
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Christopher Robin | $12.4M | $50.0M | 2 |
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Slender Man | $11.3M | $11.3M | 1 |
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BlacKkKlansman | $10.8M | $10.8M | 1 |
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The Spy Who Dumped Me | $6.6M | $24.6M | 2 |
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Mamma Mia! Here We Go Again | $5.8M | $103.8M | 4 |
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The Equalizer 2 | $5.5M | $89.6M | 4 |
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Hotel Transylvania 3: Summer Vacation | $5.1M | $146.9M | 5 |
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Ant-Man and the Wasp | $4.0M | $203.5M | 6 |
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Pixar’s ‘Incredibles 2’ Crosses $1 Billion at the Worldwide BO!!!
As of last week’s ticket sales tally, Disney/Pixar’s Incredibles 2 crossed the $1 billion mark at the worldwide box office after only six weeks in theaters. Brad Bird‘s animated, family-friendly flick brings back the superheroic Parr family for another round of super-powered drama, truly incredible action, and heartfelt storytelling that’ll hit every parent out there right in the feels. Incredibles 2 defies most of the tropes associated with sequels, not just in the narrative sense but at the box office as well. Rather than trend downward from the first film, Incredibles 2 has benefitted from strong storytelling, a superhero trend that shows no signs of slowing down, and perhaps less intuitively, a long drought at the big screen that has left fans begging for more Incredibles since the original’s 2004 debut.
Incredibles 2 currently holds the #1 positions for Pixar’s biggest domestic opening weekend at over $182 million and their biggest domestic gross so far with over $572 million, making it the best performer in the U.S. not just where the Disney-acquired computer-generated animation studio is concerned, but among all animated features by a wide margin. That’s crazy, even when considering that Pixar now has 20 feature films in its history. But as of Monday night, Incredibles 2 crossed the $1 billion mark globally after ending this past weekend with a total tally of $999,259,730. (For those keeping score at home, that’s three billion-dollar earners for Disney just this year, and we’re halfway through 2018.)
In total worldwide amounts, that currently puts Incredibles 2 just behind Toy Story 3‘s $1.067 billion and Finding Dory‘s $1.029 billion where Pixar is concerned; those totals are both easily within reach for the Parr family adventure, especially when you consider that the film’s international rollout continues through August and September. It just opened in Japan and expands throughout Europe over the next two months. Other box office tallies from animated features that Incredibles 2 will likely pass include Disney’s own Zootopia ($1.024 billion) and Universal’s Despicable Me 3, with $1.035 billion. Other animated efforts that may prove to be out of reach are the unstoppable Minions ($1.159 billion for 17th at the worldwide box office, all-time) and Disney’s reigning queen, Frozen, with $1.277 billion and 12th all-time. That film is the highest-earning animated feature ever, so if Incredibles 2 can perform so well after 14 years out of the zeitgeist, imagine what a juggernaut Frozen 2 is going to be when it opens November 27th of next year.
via Collider
‘Mission: Impossible – Fallout’ Debuts with Franchise best $61.5M opening at the BO!!!
This weekend saw Paramount‘s Mission: Impossible – Fallout top the weekend box office with the franchise’s largest three-day opening as well as star Tom Cruise‘s second largest opening of his career. Meanwhile, Warner Bros.‘s animated feature Teen Titans Go! To the Movies struggled and fell short of expectations. Overall, the weekend was up ~6% compared to last weekend and up ~8% compared to the same weekend last year.
With an estimated $61.5 million, Paramount‘s Mission: Impossible – Fallout fell a bit shy of Mojo‘s pre-weekend expectations, but still managed to deliver the franchise’s largest three-day opening, topping the $57.8 million opening for Mission: Impossible II back in 2000. The opening also represents the second largest debut for Tom Cruise after the $64.8 million debut for War of the Worlds in 2005 and for Paramount this is the studio’s largest opening since 2014’s Teenage Mutant Ninja Turtles ($65.5m). Given the film’s position as the last major blockbuster of summer 2018 and the positive reaction from both audiences and critics, Fallout should exhibit strong legs looking ahead.
Fallout not only carried the best reviews of the franchise (97% on Rotten Tomatoes and an 86 on Metacritic), but opening day audiences gave the film a franchise-best “A” CinemaScore. The film played to an audience that was 55% male, which is much more balanced when compared to the 62% for Mission: Impossible – Rogue Nation. Speaking of which, after opening with $55.5 million, and receiving an “A-” CinemaScore in 2015, Rogue Nation went on to deliver $195 million at the domestic box office. A similar performance for Fallout would put the film’s domestic run over $215 million.
Internationally, the last two Mission films delivered nearly $700 million globally and Fallout is already looking to top those figures after debuting in 36 markets this weekend and delivering an estimated $92 million. Paramount reports the performance as being 19% ahead of Rogue Nation making it the biggest opening for the franchise.
Highlights include a $24.6 million opening in South Korea, 22% above Rogue Nation, followed by the UK ($9m), India ($7m), Indonesia ($5.5m), Taiwan ($5.4m), Mexico ($4.8m), Russia ($4m), Brazil ($3.8m), United Arab Emirates ($3m), Hong Kong ($2.8m), Malaysia ($2.6m), Philippines ($2.2m), Singapore ($1.8m), Spain ($1.7m), Vietnam ($1.2m) and Colombia ($1m). The film’s overseas opening represented approximately 40% of the international marketplace with openings in France, Australia, Germany and Japan planned for this coming weekend followed by Italy on August 29 and China on August 31.
Universal‘s Mamma Mia! Here We Go Again dropped a hefty 57%, resulting in a second weekend, estimated at $15 million, pushing the film’s domestic cume over $70 million. It will be interesting to see where the film goes from here as this is a larger drop than anticipated, especially given the lack of competition among the film’s target demographic.
Sony‘s The Equalizer 2 topped the box office last weekend, but, as expected, dropped heavily in its second weekend as it lost a large segment of its audience to the release of Mission: Impossible. That said, like Mamma Mia!, the dip was larger than expected, dropping 61% for a second weekend totaling an estimated $14 million for a domestic cume coming up just shy of $65 million after ten days in release. The first film dropped just 45% in its second weekend despite both Gone Girl and Annabelle opening over its second weekend.
Sony also landed in second with Hotel Transylvania 3: Summer Vacation, which brought in an estimated $12.3 million for a domestic cume just shy of $120 million as it begins its third week in release.
Rounding out the top five is Warner Bros.‘s animated feature Teen Titans Go! To the Movies, which was expected to finish in the mid-teens, but could only manage $10.5 million over its debut weekend. The DC Comics adaptation, which is based on the television series “Teen Titans Go!“, carries a reported budget of just $10 million, which softens the film’s disappointing performance a little, especially when you compare it to a film such as Sherlock Gnomes, which debuted with just $10.6 million earlier this year, but carried a budget nearly six times the size of Teen Titans.
Internationally, Teen Titans opened in just eight smaller markets, bringing in an estimated $1 million. The largest market was the film’s opening in Argentina, where it brought in $464,000. Looking ahead, the film will debut in the UK on August 3 followed by releases in Germany (Aug 16), Mexico (Aug 24), Brazil (Aug 30), Spain (Aug 31), France (Sep 5) and Italy (Sep 6).
Elsewhere in the top ten, Disney and Marvel‘s Ant-Man and the Wasp brought in an estimated $8.4 million, pushing the film’s domestic cume to $183.2 million. The result pushes the film over Ant-Man ($180.2m) and Thor ($181m) to become the 16th largest release in the Marvel Cinematic Universe.
Disney also occupied the seventh slot at the weekend box office with Pixar‘s Incredibles 2, which has now grossed nearly $575 million domestically and has a worldwide cume nearing $1 billion. The film will soon become the 36th film to ever reach $1 billion worldwide and it won’t be stopping there as it will open in Japan and Spain next weekend followed by debuts in Italy and Germany in September.
Outside the top ten, A24‘s Eighth Grade expanded into 158 theaters (+125) and delivered a strong $1.3 million for a $8,339 per theater average. The film will expand nationwide next weekend.
Right behind Eighth Grade is Lionsgate‘s Blindspotting, which took in an estimated $1.3 million after expanding to 532 locations (+509) for a domestic cume that now totals $1.79 million.
In limited release, Well Go‘s Detective Dee: The Four Heavenly Kings opened in 31 theaters with an estimated $132,000 ($4,285 PTA); Sony Classics debuted Puzzle in five locations where it brought in an estimated $63,364 ($12,673 PTA); Greenwich‘s documentary Scotty and the Secret History of Hollywood opened in Los Angeles’ Arclight Cinemas with an estimated $30,941; and Music Box‘s The Captain brought in $8,279 from one theater.
Next weekend will see the release of Disney‘s Christopher Robin in ~3,500 theaters; Lionsgate will open the R-rated action-comedy The Spy Who Dumped Me into 3,500 locations; Fox‘s sci-fi thriller The Darkest Minds will debut in approximately 3,000 theaters; and Quality Flix will release Dinesh D’Souza‘s political documentary Death of a Nation into 1,000+ theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Mission: Impossible – Fallout | $61.5M | $61.5M | 1 |
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Mamma Mia! Here We Go Again | $15.0M | $70.4M | 2 |
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The Equalizer 2 | $14.0M | $64.2M | 2 |
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Hotel Transylvania 3: Summer Vacation | $12.3M | $119.2M | 3 |
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Teen Titans Go! To the Movies | $10.5M | $10.5M | 1 |
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Ant-Man and the Wasp | $8.4M | $183.1M | 4 |
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Incredibles 2 | $7.2M | $572.8M | 7 |
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Jurassic World: Fallen Kingdom | $6.8M | $397.6M | 6 |
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Skyscraper | $5.4M | $59.2M | 3 |
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The First Purge | $2.2M | $65.5M | 4 |
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‘Won’t You Be My Neighbor?’ Is Now The Top-Grossing Biographical Documentary Of All Time!!!
The feel-good biographical documentary Won’t You Be My Neighbor? is delivering big box office returns along with a heaping helping of uplifting nostalgia and positive messaging. The Fred Rogers retrospective from Oscar-winning documentary filmmaker Morgan Neville and Focus Features is on pace to cross $20 million at the domestic box office this weekend, a tally that only a handful of previous documentaries have reached. Won’t You Be My Neighbor? is easily the top-grossing biographical documentary of all time, earning that distinction once it passed the $8.4 million mark for the 2015 Amy Winehouse pic, Amy. It’s also got the biggest documentary box office in five years and is currently placed 14th all-time in this list, without adjusting for inflation.
As THR reports, that success was a surprise even to the filmmaker himself. Last year’s top-earning documentary was Disney’s nature picture Born in China with $13.9 million; the closest biographical doc, Raoul Peck‘s James Baldwin picture I Am Not Your Nego, came in at about half that. That film earned an Oscar nod for Best Documentary Feature, though the award ultimately went to ESPN’s O.J. Made in America. So not only is Won’t You Be My Neighbor? reclaiming some of that big-screen audience for bio-docs, it’s also showing that the box office potential for such films still exists.
Neville commented on just that phenomenon:
“Anybody who says they aren’t surprised how how well our film has done is lying … A year ago, it seems like you couldn’t pay people to go see documentaries in theaters. There were a bunch of big acquisitions at Sundance in 2017, but nothing did so well. People thought the market for documentaries was extinct … We thought that if our film did anything close to $10 million, it would be a home run.”
Neville’s Oscar-winning work Twenty Feet from Stardom topped out at just under $5 million at the box office back in 2013; Won’t You Be My Neighbor? has already eclipsed that four times over and shows no signs of stopping anytime soon. Box-office prognosticators see Won’t You Be My Neighbor? grossing between $22 million and $25 million by the end of its run, putting it on par with Michael Moore‘s 2012 Oscar-winner pic Bowling for Columbine ($21.6 million, when adjusted for inflation).
Universal, parent company of Focus, recently announced that Won’t You Be My Neighbor? will be released digitally on August 21, followed by a DVD/Blu-ray release on September 4th, continuing to expand the picture’s reach and revenue, and propagating its positive message.
“Won’t You Be My Neighbor? has become a phenomenon. It’s cathartic,” said Focus president of distribution Lisa Bunnell. Neville added, “Documentaries in general are telling the types of complex adult stories that aren’t getting told in Hollywood very often anymore. They are contagious.”
via Collider
‘Dhadak’ Becomes A Success With Rs. 33.67 Cr Opening at the BO!!!
Dhadak is set to be yet another Hit this #WinningSeason as the film continued to find momentum right through the weekend. The numbers kept coming in and that ensured a healthy weekend, what with Rs. 33.67 crore been accumulated. This was after Sunday showed growth again and saw Rs. 13.92 crore been collected at the Box Office.
What has to be seen is that where does the film go from here. The start has ensured that the film would comfortably enter the Rs. 50 Crore Club during the weekdays as well even with a normal fall. However, if the film ends up collecting quite well on Monday as well with minimal fall from Friday then anything is possible for this Ishaan Khatter and Janhvi Kapoor film.
Right now, director Shashank Khaitan can well be assured of at least a Hit in hand. However there is a good possibility that the film could emerge as a Superhit at the Box Office. Though there have been quite a few Hits, Superhits and Blockbusters in 2018, none of it has been a pure love story. That void too has been filled by Karan Johar’s Dhadak which is a clean musical romantic entertainer, hence adding on to the varied genre of films that has worked this year.
via Bollywood Hungama
Denzel’s ‘Equalizer 2’ Dominates ‘Mamma Mia! 2’ With A Strong Opening at the BO!!!
A different kind of record was set this weekend in that it was the first weekend ever where eight of the top ten films at the weekend box office were sequels. Of those eight, two of the weekend’s new follow-up films are locked in a tight race at the top with Sony’s The Equalizer 2 pulling off a surprise upset, edging out Universal‘s Mamma Mia! Here We Go Again, which looked as if it might top $40 million at one point over the weekend, but settled down well below that mark. Overall, the weekend showed a slight improvement over last weekend while falling ~7% behind the same weekend last year.
At the top of the box office, Sony‘s release of The Equalizer 2, starring Denzel Washington and directed by Antoine Fuqua, delivered an estimated $35.8 million, topping the $34.1 million opening for the first film. The film’s second place performance comes as a result of holding on just a bit better than the Mamma Mia! sequel on Saturday, though once weekend actuals are in it could turn into a slightly tighter race than the $1.44 million that currently separate the two. That said, we aren’t expecting the top two positions to change.
Equalizer 2 received an “A” CinemaScore (better than the “A-” for the original) and played to an audience that was 58% male, a bit higher than the 52/48 split for the original. Looking ahead, the film will likely suffer a bit of a steep drop next weekend as Tom Cruise returns as Ethan Hunt in Mission: Impossible – Fallout, taking a lot of Equalizer‘s audience. Overall, it seems likely the sequel will fall short of the first film’s $101.5 million haul.
Internationally, Equalizer 2 debuted in 11 markets and brought in an estimated $3.3 million, which Sony reports is 30% higher than the original for the same group of markets at current exchange rates. Leading the way was Australia with an estimated $2.2 million, which is 31% ahead of The Equalizer. Over the coming weeks, the film will debut in Spain on August 10 followed by openings in France (Aug 15), Brazil (Aug 16), Germany (Aug 16), Mexico (Aug 17), UK (Aug 17), Russia (Sep 6), Italy (Sep 13), South Korea (Sep 13) and Japan (Oct 5).
Universal‘s Mamma Mia! Here We Go Again brought in an estimated $34.38 million for a second place finish. While this is a bit below earlier weekend estimates, this is still a very strong debut for the sequel, outperforming the first film by nearly $7 million. In 2008, Mamma Mia! finished its run with $144.1 million and while it wouldn’t be fair to expect the sequel to deliver a similar 5x+ multiplier, this is still the fourth largest opening ever for a musical and ranks similarly to 2007’s Enchanted, which finished its domestic run with $127.8 million. Here We Go Again‘s “A-” CinemaScore is promising as is the fact the film plays to a targeted female demographic (83% of the opening weekend audience was female) with little direct competition throughout the rest of the summer season.
Internationally, Mamma Mia! Here We Go Again opened in 41 markets and outperformed the original in 34 of those markets. Top markets include a $13.1 million opening in the U.K. and Ireland along with Australia ($5m), Germany ($4.5m) Sweden ($2.6m), Norway ($2m) and Spain ($2m). Overall, the film opened with $42.4 million internationally for a $76.78 million global debut. Next week, the film opens in France, Switzerland, Croatia and Poland.
Sony‘s Hotel Transylvania 3 dipped 47% in its second weekend, delivering an estimated $23.3 million for a domestic cume that now stands at $91 million. The film also added $37.7 million internationally, pushing its overseas cume to $115.6 million for a global tally totaling $206.7 million. While the sequel is pacing similarly to the last film domestically it is ~36% ahead of Hotel Transylvania 2 at the same point in the release internationally, and is still looking forward to a July 25 release in France along with releases in the UK (July 27), South Korea (Aug 8) and Italy (Aug 22).
Disney and Marvel‘s Ant-Man and the Wasp dropped 45% in its third weekend in release as its domestic cume now stands just shy of $165 million. It also pulled in an estimated $21.6 million internationally for an overseas cume that is now just shy of $189 million and a global cume reaching $353.5 million. So far the film is open in just 56% of the international marketplace with openings in Germany, Austria and Hungary next weekend and openings in the UK (8/2), Italy (8/14) and Japan (8/31) next month.
Rounding out the top five is Disney and Pixar‘s Incredibles 2 with an estimated $11.5 million and a domestic cume that now totals $557.3 million. This marks the second time ever that the top five films were all sequels. The first time was just two weeks ago. The sequel also added $36.5 million internationally for a global cume that now totals $940.4 million. Incredibles 2 opened in South Korea this weekend with the largest Disney Animation and Pixar opening of all-time at $10.4 million and the second largest Disney Animation and Pixar opening ever in Hong Kong at $3.3 million. The film is now open in roughly 75% of the international marketplace with its next key market debut set for August 1 in Japan.
In ninth place is where we find BH Tilt‘s Unfriended: Dark Web, which fell a bit below Mojo’s weekend forecast, delivering an estimated $3.49 million for the weekend from 1,546 theaters. Like the first film, the film carries a reported $1 million budget, but the first film had a much different journey at the box office, debuting in 2,739 locations with $15.8 million, finishing its domestic run with $32.4 million. Dark Web‘s opening is just behind the $3.5 million debut for Tilt‘s The Green Inferno, which went on to finish with just over $7 million, which is right around where we’d expect this one to finish.
In limited release, Lionsgate and Summit‘s Blindspotting debuted in just 14 theaters this weekend with an estimated $332,500 ($23,750 PTA). The film will expand nationwide next weekend.
Further down the list was yet another strong debut for a 2018 documentary in Bleecker‘s McQueen, which opened in four theaters with an estimated $96,928 and a chart-topping $24,232 per theater average. Following that, Magnolia‘s release of Amazon Studios‘s Generation Wealth opened in four theaters with an estimated $33,602 ($8,401 PTA); Blue Fox‘s Running for Grace debuted in three theaters with an estimated $27,042 ($9,014 PTA); and IFC‘s Far from the Tree opened in one theater with an estimated $20,034.
Overall, 2018 is still pacing 8.4% ahead of last year and 8.1% ahead of 2016’s record performance, reaching $7 billion in domestic ticket sales faster than ever before.
Next weekend sees the release of Mission: Impossible – Fallout, which has already received excellent reviews and hopes to top Mission: Impossible II‘s franchise high, $57.8 million opening weekend in over 4,000 theaters. Additionally, Warner Bros. will release the animated feature Teen Titans Go! To the Movies in 3,000+ locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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The Equalizer 2 | $35.8M | $35.8M | 1 |
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Mamma Mia! Here We Go Again | $34.4M | $34.4M | 1 |
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Hotel Transylvania 3: Summer Vacation | $23.2M | $91.1M | 2 |
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Ant-Man and the Wasp | $16.1M | $164.6M | 3 |
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Incredibles 2 | $11.5M | $557.3M | 6 |
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Jurassic World: Fallen Kingdom | $11.0M | $383.9M | 5 |
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Skyscraper | $11.0M | $46.7M | 2 |
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The First Purge | $5.0M | $60.2M | 3 |
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Unfriended: Dark Web | $3.5M | $3.5M | 1 |
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Sorry to Bother You | $2.8M | $10.3M | 3 |
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‘Hotel Transylvania 3’ Tops Weekend While ‘Skyscraper’ Crumbles at the BO!!!
Sony Animation‘s Hotel Transylvania 3: Summer Vacation continued the franchise tradition of debuting atop the weekend box office and doing so with over $40 million over the three-day. The weekend also featured a strong expansion from Annapurna‘s Sorry to Bother You, which landed in seventh position on the weekend chart, but unfortunately for Universal‘s Skyscraper, the weekend’s other new wide release, it struggled over its opening weekend, failing to meet the studio’s expectations, delivering a third place finish.
With an estimated $44.1 million, Sony Animation‘s Hotel Transylvania 3 finished atop the weekend box office. While that total does include the $2.6 million the film brought in from Thursday evening previews, it doesn’t include the $1.27 million from Amazon Prime showings on June 30, which bring the film’s domestic cume to just over $45 million so far. The film’s three-day opening tops the $42.5 million the first film in the franchise brought in back in 2012, while falling a bit short of the $48.5 million opening for Hotel Transylvania 2 in September 2015. That said, given the competition from Disney and Pixar‘s record-breaking Incredibles 2, which is still in theaters and inside the weekend’s top five, this is a strong start, proving how healthy this franchise is.
Hotel Transylvania 3 joined its predecessors as all three have now received an “A-” CinemaScore from opening day audiences. The film played to an audience that was 52% female and 32% of the overall audience was 25 years or older. Over the long run, it will be interesting to see where this film ends up as a domestic performance anywhere from $125-150+ million is entirely possible.
Disney and Marvel‘s Ant-Man and the Wasp dropped a hefty 62%, the largest second weekend drop for a sequel within the Marvel Cinematic Universe. The result is a second place finish with an estimated $29.1 million, bringing its ten-day total to $132.8 million. Ant-Man and the Wasp joins Guardians of the Galaxy, The Incredible Hulk, Spider-Man: Homecoming and Captain America: The First Avenger as the only films in the Marvel Cinematic Universe to not repeat at #1 over their second weekends at the box office. Internationally, the film added $35.3 million from 44 markets this weekend, pushing its global cume to $283.7 million.
Universal and Legendary‘s Skyscraper landed in third position with an estimated $25.48 million over its debut weekend, falling short of Mojo‘s weekend forecast as well as the studio’s anticipated $30 million performance. For star Dwayne Johnson, while Skyscraper opened above Baywatch, this debut is $4.5 million behind 2014’s Hercules, which went on to gross $72.7 million domestically.
Looking ahead, Skyscraper received a “B+” CinemaScore from opening day audiences and played to an audience that was 55% male and 52% of the overall audience was aged 25 years or older. The gender numbers line up similarly to Johnson‘s Rampage, while the film’s audience skewed much younger than both Rampage and 2015’s San Andreas, the latter of which also played to an audience that was 51% female. As it stands, we’re looking for this one to finish around $65-75 million for its domestic run, and given the film’s $125 million budget, Universal is going to be looking for a strong performance overseas as they hope to have positioned Skyscraper as a film for a global audience.
That being said, Skyscraper opened in 57 international markets this weekend, delivering an estimated $40.4 million for a $65.9 million global debut. Among the film’s opening markets South Korea led the way with an estimated $4.7 million followed by Mexico ($3.7m), Russia ($2.6m), Australia ($2.4m), UK and Ireland ($2.4m) and Indonesia ($2.1m). The film will open in 11 additional markets next weekend, including Italy and China.
Disney and Pixar‘s Incredibles 2 landed in fourth place with an estimated $16.2 million, bringing the film’s domestic cume to $535.8 million. While the film continues to pad its lead as the highest grossing animated film of all-time domestically, this weekend it leap-frogged The Dark Knight to become the ninth largest overall film all-time domestically. Additionally, with an estimated $33.3 million internationally this weekend, the film has now grossed over $850 million globally and ranks as the 64th largest worldwide release of all-time.
Rounding out the top five is Universal and Amblin‘s Jurassic World: Fallen Kingdom, which brought in an estimated $15.5 million, pushing its domestic cume to $363.3 million. Internationally the film added another $26.7 million, pushing its global cume to $1.134 billion, becoming the 18th largest worldwide release of all-time and climbing.
Elsewhere in the top ten, Annapurna‘s Sorry to Bother You had an excellent expansion into 805 theaters (+789) after a strong limited release last weekend. The film brought in an estimated $4.25 million this weekend for a $5,289 per theater average and a domestic cume that now totals $5.3 million. Exit polling showed the film playing to an audience that was 54% male, of which 64% were under the age of 35.
In limited release, A24‘s Eighth Grade sold out shows in New York and Los Angeles, playing in just four theaters and bringing in a healthy $252,284 for a chart-topping $63,071 per theater average. The film will expand to top markets next weekend, anticipating a lengthy run throughout the rest of summer.
Additionally, Sony‘s Soorma opened in 50 theaters with an estimated $168,000 ($3,360 PTA); Amazon Studios‘s Don’t Worry He Won’t Get Far on Foot opened in four theaters with an estimated $83,120 ($20,780 PTA); Vertical‘s Shock & Awe opened with an estimated $41,000 from 100 locations ($410 PTA); Cohen Media‘s Gauguin debuted in six locations with an estimated $35,607 ($5,935 PTA); The Cinema Guild‘s Milford Graves Full Mantis brought in $8,515 from one theater; and PBS opened Dark Money in one location with an estimated $8,100.
Overall, the weekend’s top twelve grossed an estimated $156.7 million, down -12.6% compared to last weekend, but pretty much on par with the same weekend last year.
Next weekend could be one to keep an eye on as interest is heating up for Universal‘s Mamma Mia: Here We Go Again! debuting in ~3,200 theaters. Also opening is the return of Denzel Washington in Sony‘s The Equalizer 2, opening in 3,000+ locations, and BH Tilt will open Unfriended: Dark Web into ~1,500 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Hotel Transylvania 3: Summer Vacation | $44.1M | $45.4M | 1 |
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Ant-Man and the Wasp | $28.8M | $132.8M | 2 |
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Skyscraper | $25.5M | $25.5M | 1 |
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Incredibles 2 | $16.2M | $535.8M | 5 |
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Jurassic World: Fallen Kingdom | $15.5M | $363.3M | 4 |
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The First Purge | $9.1M | $49.5M | 2 |
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Sorry to Bother You | $4.3M | $5.3M | 2 |
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Sicario: Day of the Soldado | $3.9M | $43.2M | 3 |
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Uncle Drew | $3.2M | $36.7M | 3 |
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Ocean’s Eight | $2.9M | $132.3M | 6 |
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‘Sanju’ Crosses Rs.300 Crores at the Indian BO!!!
Sanju has entered the Rs. 300 Crore club on its third Saturday. In the process, it has turned out to be only the seventh Bollywood film to achieve this remarkable feat. This isn’t all as it is the only film to have managed this run despite the fact that there hasn’t been a single festival/national holiday helping its cause.
The film has also turned out to be the fifth highest grosser of all times as it has surpassed the collections of Padmaavat and Sultan. This is how the lifetime collections look like for the Rs. 300 Crore Club films:
Dangal – Rs. 387.37 crore
PK – Rs. 340.80 crore
Tiger Zinda Hai – Rs. 339.25 crore
Bajrangi Bhaijaan – Rs. 321 crore
Padmaavat – Rs. 302.15 crore
Sultan – Rs. 301.50 crore
Lifetime numbers of Bajrangi Bhaijaan would be crossed by Sanju during the third week and post that its chase would begin towards Tiger Zinda Hai and PK.
Amongst all these films, Sanju also has the least cost of production and hence the ROI is the highest, which further qualifies its status of being an All Time Blockbuster.
2018 is seeing a wonderful run so far with Tiger Zinda Hai continuing its stint from 2017 and Padmaavat also emerging as an All Time Blockbuster. Now with Sanju adding on to it, there are further reasons to rejoice for patrons this ‘winning season’.
Note: All collections as per production and distribution sources
via Bollywood Hungama
‘Ant-Man and the Wasp’ Debuts with a Modest $76 Million, While ‘The First Purge’ Opens Strong at the BO!!!
It’s another Disney-led weekend as Ant-Man and the Wasp claims the weekend’s #1 spot. This marks the tenth time this year a film based on a Marvel comic character has topped the weekend box office. Also releasing this week, Universal and Blumhouse‘s The First Purge is the latest success in the now, four-film franchise, Roadside‘s documentary Whitney fell just shy of a spot in the weekend top ten and Annapurna‘s Sorry to Bother You was a smashing success in limited release. Disney‘s success this weekend also doesn’t end with just the #1 film at the box office as Incredibles 2 became the first animated title to ever top $500 million at the domestic box office.
As we enter the second half of the year, and the 27th weekend of 2018, the Marvel Cinematic Universe has now claimed the #1 spot at the weekend box office nine times. The latest is this weekend’s release of Ant-Man and the Wasp, the 20th installment in the MCU, which debuted with an estimated $76 million over the three-day weekend, out-performing 2015’s Ant-Man by nearly $20 million.
One interesting caveat to the film’s domestic performance, however, is just how big the film’s Friday was compared to the rest of the weekend. Ant-Man and the Wasp‘s Friday gross accounted for 44.5% of its overall weekend gross, that’s the largest in MCU history, ahead of Avengers: Age of Ultron (44.1%) and Spider-Man: Homecoming (43.39%). However, before that’s considered an issue, while Ultron only delivered a 2.4x multiplier, Homecoming delivered a 2.86x multiplier, the sixth best in the franchise, and the first Ant-Man enjoyed a healthy 3.15x multiplier. Ant-Man and the Wasp received a “A-” CinemaScore from opening weekend audiences, just a notch down from the “A” for Ant-Man, and 55% of the overall audience was male while 58% of the overall audience was over the age of 25. While the gender demographics are relatively similar to the first Ant-Man, the audience for the sequel did skew a bit older, as 48% of the overall audience for the first film was age 25 or older.
Looking ahead, should Ant-Man deliver on the average 2.75x multiplier for a film in the MCU we’re looking at a domestic performance around $209 million or so while a performance on the lower end would be closer to $180 million.
Internationally, Ant-Man and the Wasp opened in approximately 48% of the overseas marketplace and delivered an estimated $85 million for a $161 million global debut, approximately +45% ahead of the first Ant-Man. Highlights include an impressive $20.9 million opening in South Korea followed by Mexico ($6.7m), Indonesia ($5.6m), Russia ($4.9m), Australia ($4.7m), Taiwan ($4.6m), Hong Kong ($3.6m), Brazil ($3.5m), Philippines ($3.1m), Malaysia ($3.0m), Thailand ($3.0m). Future openings include a July 18 release in France followed by Germany (7/26), UK (8/2), Italy (8/14) and Japan (8/31).
Finishing in second is Disney and Pixar‘s Incredibles 2 delivering an estimated $29 million for a domestic cume that now stands at $504.3 million. This makes Incredibles 2 the first animated movie to ever top $500 million, which, of course, makes it the highest grossing animated title ever. The Pixar sequel is now just shy of topping Disney‘s Beauty and the Beast to become the 11th highest grossing domestic release of all-time and should have no problem moving into the top ten.
Internationally, Incredibles 2 debuted in France this weekend with an estimated $10.6 million (including previews). France quickly ranks as the sixth largest market for Incredibles 2 behind China ($48.7m), Mexico ($33.8m), Australia ($24.6m), Brazil ($15.4m) and Russia ($14.3m). The film has so far grossed $772.7 million globally and will debut in South Korea on July 19 and still has yet to open in Japan, Spain, Italy and Germany.
Coming in third is Universal and Amblin‘s Jurassic World: Fallen Kingdom, which brought in an estimated $28.5 million for the three-day weekend and has now pushed its domestic cume to $333.3 million as it begins its third week in release.
Internationally, after crossing $1 billion at the global box office on Friday, Jurassic World: Fallen Kingdom added an additional $27.6 million overseas this weekend, bringing the film’s international total to $725.3 million for a global cume totaling $1.058 billion. 35 films have now topped $1 billion at the global box office.
In fourth we find Universal and Blumhouse‘s The First Purge, which debuted on Wednesday and finished with an estimated $17.1 million for the three-day for a five-day opening totaling $31 million. This is the fourth film in the Purge franchise, all of which have delivered strong domestic performances on very low budgets with 2016’s The Purge: Election Year serving as the highest grossing of the lot, delivering just shy of $80 million. The First Purge looks as if it might not climb to the same heights as its predecessors after a slightly softer opening and a “B-” CinemaScore, but given the film’s $13 million budget it doesn’t take nearly as much for these films to turn a tidy profit.
Somewhat fascinating, this is the first film in the Purge franchise to play to a male majority with males making up 54% of the overall audience. It was also the oldest skewing of the franchise with 49% of the audience coming in at the age of 25 or older compared to 35% for Purge: Election Year.
Internationally, The First Purge debuted in 26 markets with an estimated $10.9 million. Among opening weekend markets, the film delivered a #1 finish in the UK with an estimated $2.1 million, the highest opening for the franchise (including previews). This is a notably strong performance given the impact of England’s World Cup Quarter-Final game. Other openings include an estimated $2.1 million in France, $1.48 million in Germany and $1.14 million in Spain. Upcoming key markets include a July 20 release in Mexico, August 2 release in Russia and a late, December 6 release in Brazil.
Rounding out the top five is Sony‘s Sicario: Day of the Soldado, which dipped a hefty 61.6% in its second weekend, delivering an estimated $7.3 million for a domestic cume that now stands at $35.3 million as it begins its second weekend in release.
Elsewhere in the top ten, Ocean’s 8 finished in seventh position with an estimated $5.28 million as its domestic cume now stands at $126.75 million, making it the second highest grossing film in the Ocean’s franchise.
Also, Focus‘s Mister Rogers documentary Won’t You Be My Neighbor? expanded into 893 locations (+239) and moved up a spot in the weekend box office, landing in ninth position with an estimated $2.59 million, pushing the film’s domestic total to $12.38 million making it the top grossing documentary of the year.
Just outside the top ten we find Roadside‘s release of Whitney, a documentary centered on the late Whitney Houston. The film debuted in a moderate number of theaters (425) and delivered $1.25 million.
In limited release, Annapurna‘s Sorry to Bother You was a smashing success, bringing in an estimated $717, 302 from just 16 theaters for a chart-topping per theater average of $44,831. The film will expand nationwide next weekend into 600-800 locations.
Next weekend sees the release of Sony‘s Hotel Transylvania 3: Summer Vacation into ~4,000 locations and Universal will debut the Dwayne Johnson actioner Skyscraper into ~3,700 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Ant-Man and the Wasp | $76.0M | $76.0M | 1 |
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Incredibles 2 | $29.0M | $504.4M | 4 |
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Jurassic World: Fallen Kingdom | $28.6M | $333.3M | 3 |
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The First Purge | $17.2M | $31.1M | 1 |
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Sicario: Day of the Soldado | $7.3M | $35.3M | 2 |
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Uncle Drew | $6.6M | $29.9M | 2 |
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Ocean’s Eight | $5.3M | $126.8M | 5 |
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Tag | $3.1M | $48.3M | 4 |
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Won’t You Be My Neighbor? | $2.6M | $12.4M | 5 |
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Deadpool 2 | $1.7M | $314.5M | 8 |
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Sequels Remain on Top as ‘Sicario 2’, ‘Uncle Drew’ and ‘Sanju’ Open Strong at the BO!!!
Universal‘s Jurassic World: Fallen Kingdom and Disney‘s Incredibles 2 remain the weekend’s top two films, generating over $100 million combined. At the same time, Sicario: Day of the Soldado and Uncle Drew served as respectable counter-programming options to the summer blockbuster maelstrom, finishing in third and fourth position respectively. On top of that, Fox International‘s release of Sanju delivered a top ten finish despite playing in just 356 locations.
At number one for a second weekend in a row is Jurassic World: Fallen Kingdom, which dropped an expected 59.5%, pulling in an estimated $60 million. The film’s domestic cume is now just shy of $265 million after ten days of release. Internationally, Fallen Kingdom took in an estimated $56.1 million from 68 markets for an overseas total that currently totals $667.6 million for a worldwide cume that stands at $932.4 million, well on its way to topping $1 billion worldwide over the coming week. The film’s final international market is Japan where it will be released on July 13.
Disney and Pixar‘s Incredibles 2 finished in second place, bringing in an estimated $45.5 million as it begins its third week in release. The film’s domestic cume currently stands at $439.7 million, making it the second highest grossing Pixar film of all-time and third largest animated title ever.
Incredibles 2 also continued its strong performance internationally where it has now topped $200 million for a global tally totaling $646.8 million. China leads all international markets with $40.8 million while the film’s release in Brazil this weekend already ranks as the eighth largest market with an estimated $6.5 million. Most impressive, the film is currently playing in just ~51% of the international marketplace. It will open in France this week and will follow that up with mid-July openings in the UK and South Korea and continue its roll-out throughout the year ending with Germany in late September.
Sony‘s release of Sicario: Day of the Soldado outperformed expectations, bringing in an estimated $19 million opening from 3,055 locations. The film received a “B” CinemaScore and played to an audience that was 59% male and 70% of the overall audience was over the age of 25. This is a strong start for the $35 million production, debuting with $7 million more than the first film brought in over its wide release, ultimately playing for 17 weeks, finishing with an impressive $46.8 million domestic run. While the sequel won’t likely see such a lengthy run, with a start like this it would seem safe to expect Day of the Soldado to finish somewhere over $50 million.
Internationally, Sicario: Day of the Soldado brought in an estimated $8.4 million from 55 markets. The film’s release is being handled by both Sony (13 markets) and Lionsgate (42 markets) and highlights from the film’s international rollout include an estimated $1.2 million in South Korea, $976k in Australia and $944k in the United Kingdom. The film will open in Belgium and the Netherlands this coming week.
Finishing in fourth is Lionsgate‘s comedy Uncle Drew with an estimated $15.5 million from 2,742 locations. The film played to an audience that was 59% male and 58% of the overall audience was over the age of 25. It also received an “A” CinemaScore from opening day audiences. Looking ahead, an overall domestic performance around $35 million seems a safe bet. Not bad for a film spawned from a series of Pepsi commercials.
Rounding out the top five is Warner Bros.’s Ocean’s 8, which had another strong weekend, dropping just 30% for an estimated $8 million three-day and a domestic cume that is now just shy of $115 million. Internationally the film generated an estimated $13.8 million this weekend for an overseas cume that is now $95 million for a global total that now stands at $209.7 million.
Elsewhere, Fox International‘s Sanju debuted with an estimated $2.55 million from just 356 locations, finishing in ninth place. The pic also finished #1 in India with an estimated $21.6 million, which ranks as the second largest Fox opening in the market ever.
Rounding out the top ten for a second weekend in a row is Focus‘s documentary Won’t You be My Neighbor?, which expanded into 654 theaters (+306) this weekend and brought in an estimated $2.29 million. The film’s domestic cume now stands at $7.5 million.
In limited release Neon‘s Three Identical Strangers brought in an estimated $163,023 from five theaters for a chart topping $32,605 per theater average; Bleecker Street‘s Leave No Trace opened in nine locations with an estimated $216,161 ($24,018 PTA); Kino Lorber opened Custody in one theater with an estimated $5,337; FilmRise‘s Dark River brought in $5,100 from two locations; and Parade Deck‘s The Game Changers opened with an estimated $3,142 from one theater.
Overall, the weekend outperformed the same weekend last year as 2018 continues to bring in superb numbers. 2018 has already topped $6 billion in domestic ticket sales, doing so faster than any year prior and is pacing ~8% ahead of the blockbuster year of 2016 that saw ticket sales reach $11.38 billion.
Next week sees the release of Universal and Blumhouse‘s The First Purge, which begins playing in theaters on Wednesday, followed by the release of Disney and Marvel‘s Ant-Man and the Wasp on Friday.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Jurassic World: Fallen Kingdom | $60.0M | $264.8M | 2 |
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Incredibles 2 | $45.5M | $439.7M | 3 |
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Sicario: Day of the Soldado | $19.0M | $19.0M | 1 |
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Uncle Drew | $15.5M | $15.5M | 1 |
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Ocean’s Eight | $8.0M | $114.7M | 4 |
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Tag | $5.6M | $40.9M | 3 |
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Deadpool 2 | $3.5M | $310.3M | 7 |
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Sanju | $2.6M | $2.6M | 1 |
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Solo: A Star Wars Story | $2.3M | $207.3M | 6 |
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Won’t You Be My Neighbor? | $2.3M | $7.5M | 4 |
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‘Deadpool 2’ Passes $700 Million Mark at the Worldwide BO!!!
Despite facing stiff competition from the likes of Jurassic World: Fallen Kingdom, Incredibles 2 and Ocean’s 8, 20th Century Fox’s superhero sequel Deadpool 2 has managed to hit another box office milestone this weekend as it passes the $700 million mark worldwide.
Deadpool 2 has now grossed $304.2 million domestically, and a further $403 million worldwide, to give the film a global haul of $717.2 million. It is currently the fourth-highest grossing release of 2018, having just been overtaken this weekend by Jurassic World: Fallen Kingdom.
The David Leitch-directed sequel sits as the third-highest grossing installment in Fox’s X-Men franchise behind X-Men: Days of Future Past ($747.9 million) and the original Deadpool ($783.1 million).
Marvel’s motormouth mercenary is back! Bigger, better and occasionally more pant-less than ever before. When a super soldier arrives on a murderous mission, Deadpool is forced to think about friendship, family and what it really means to be a hero – all while kicking 50 shades of ass. Because, sometimes, to do the right thing you need to fight dirty.
via Flickering Myth
‘Jurassic World 2’ Stomps To a $150M Debut at the BO!!!
Surpassing expectations, Universal and Amblin Entertainment‘s Jurassic World: Fallen Kingdom got off to a strong start. With an estimated $150 million for Fallen Kingdom, this is only the second time ever two different films have brought in over $100 million over two consecutive weekends. The first time was in 2007 when Pirates of the Caribbean: At World’s End opened with $114.7 million following Shrek the Third‘s $121.6 million opening the weekend prior. Disney and Pixar‘s Incredibles 2 followed up its monster debut weekend last week with a second place finish this weekend as its domestic cume has already topped $350 million in just ten days.
With an estimated $150 million, Jurassic World: Fallen Kingdom‘s opening is down ~28% compared to the $208.8 million debut for its 2015 predecessor. However, given the fact the film was competing with Incredibles 2 for a lot of the same audience, this is a solid start, especially when coupled with an “A-” CinemaScore, just a step down from the last film’s “A”. The film played to an audience that was 54% male with 44% of the overall audience aged 25 years and older.
This big test will be over the coming weeks, especially when you consider the 2015 film managed an astounding 3.12x multiplier after its then, record-breaking opening. Fallen Kingdom doesn’t face any new, direct competition next weekend, but the following weekend sees the release of Disney and Marvel‘s Ant-Man and the Wasp followed by Hotel Transylvania 3 and Skyscraper. 2015’s Jurassic World didn’t drop more than 50% until its ninth weekend in release, it will be tough for Fallen Kingdom to deliver similar weekend-to-weekend performances as a domestic performance around $350-375 million seems like a good bet right now.
Fallen Kingdom is in its third weekend in international release and this weekend added 17 new markets, debuting at #1 in 16 of them. Overall the weekend delivered an estimated $106.7 million from 68 total markets for an overseas total of $561.5 million. New markets include Mexico ($12.3 million), Brazil ($9.2 million) and Australia ($7.9 million) with China still leading the way totaling $202.6 million as it begins its second weekend in release. The film will release in no new major markets next weekend with Japan debuting on July 13. The film’s worldwide total currently stands at $711.5 million, ranking as the third largest worldwide release of 2018 thus far, well on its way to a billion run.
Disney and Pixar‘s Incredibles 2 landed in second place over its sophomore frame, dropping ~55.7% with an estimated $81 million. The film’s domestic cume now stands at $350 million after ten days in release, making it one of the top ten animated films of all-time, already surpassing the $341.2 million run for Zootopia and just shy of Inside Out‘s $356.4 million run in 2015. It is also now the fourth largest Pixar release ever, topping Finding Nemo‘s $339.7 million run in 2003.
Internationally, Incredibles 2 opened this weekend in China, India and Thailand and brought in an estimated $56.8 million over the weekend from approximately 44% of the overall international market for an overseas cume just shy of $135 million. The film’s opening in China reached an estimated $21.2 million, the largest ever opening for a Pixar title in China. The top market remains Mexico with an estimated $23.5 million followed by China, Australia ($15m), Russia ($10.4m), Argentina ($6.7m) and Colombia ($6.2m). Combined, Incredibles 2‘s worldwide cume currently stands at $485.1 million.
Warner Bros.‘s heist flick Ocean’s 8 had a fantastic hold this weekend, dropping just 38.6% for an estimated $11.65 million three-day, pushing the film’s cume over $100 million as it begins its third week in release. Internationally, the film debuted in several new markets including the UK ($5.9m), Russia ($2.7m), Germany ($1.8m), Netherlands ($1.2m) and the United Arab Emirates ($1.1m) bringing in an estimated $26.9 million for the weekend for an overseas cume totaling $70.6 million for a global tally reaching $171 million.
WB also landed in fourth place with their R-rated comedy Tag bringing in an estimated $8.2 million. The 45% second weekend drop helps push the domestic cume over $30 million for the $28 million production.
Rounding out the top five is Fox‘s Deadpool 2, which finished with an estimated $5.25 million as it begins its sixth week in release. The film’s domestic cume has now topped $300 million. Deadpool 2 also reached a milestone internationally, topping $400 million thanks to an additional $5.3 million this weekend bringing the film’s worldwide cume to $707.1 million. The film will debut in its final international market in Egypt on June 27.
Just outside the top five, in sixth place, is Disney and Lucasfilms‘s Solo: A Star Wars Story with an estimated $4.5 million and a domestic cume that has now reached $202.2 million. Internationally the film added $2.6 million this weekend for an international total that has now topped $150 million and a global tally totaling $353.5 million.
Elsewhere in the top ten, Focus Features expanded the release of their Mister Rogers documentary Won’t You be My Neighbor? into 348 locations (+252) where it brought in an estimated $1.875 million for a domestic cume that now tops $4 million as it begins its third week in release. Focus plans on expanding into over 500 theaters next weekend leading into the July 4th holiday.
In limited release IFC‘s The Catcher was a Spy debuted in 49 theaters with an estimated $122,494 ($2,500 PTA); China Lion‘s Lobster Cop brought in an estimated $35,000 from 12 locations ($2,917 PTA); Sony Classics‘s Boundaries brought in an estimated $30,395 from five theaters ($6,079 PTA); Oscilloscope‘s The King opened with an estimated $29,050 from two theaters ($14,525 PTA); Magnolia‘s Damsel launched in three theaters with an estimated $21,000 ($7,000 PTA); Grasshopper‘s Araby debuted with $10,179 from one theater; and Cohen Media released Spiral in two locations for an estimated $3,682.
Finally, it’s worth mentioning we are currently in the midst of the largest June ever with the month’s box office already totaling over $1 billion. This is almost $39 million more than where we were at the same point in June 2015 when the first Jurassic World was dominating.
Next weekend’s new wide releases include Sony‘s sequel Sicario: Day of the Soldado, debuting in 2,900+ theaters, and Lionsgate‘s Uncle Drew in ~2,600 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Jurassic World: Fallen Kingdom | $150.0M | $150.0M | 1 |
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Incredibles 2 | $80.9M | $350.4M | 2 |
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Ocean’s Eight | $11.7M | $100.4M | 3 |
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Tag | $8.2M | $30.4M | 2 |
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Deadpool 2 | $5.3M | $304.2M | 6 |
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Solo: A Star Wars Story | $4.0M | $202.2M | 5 |
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Hereditary | $3.8M | $35.0M | 3 |
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Superfly | $3.4M | $15.3M | 2 |
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Avengers: Infinity War | $2.5M | $669.5M | 9 |
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Won’t You Be My Neighbor? | $1.9M | $4.1M | 3 |
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‘Incredibles 2’ Opens With Record-Shattering $180 Million at the BO!!!
Disney and Pixar‘s Incredibles 2 delivered a massive opening weekend debut, not only shattering the previous opening weekend record for an animated film, but finishing with one of the top ten openings of all-time for a film of any genre. Additionally, Warner Bros.’s R-rated comedy Tag debuted in third position while Sony‘s Superfly fell short of expectations.
With an estimated $180 million, Disney and Pixar‘s Incredibles 2 topped the previous opening weekend for an animated film set two years ago by Finding Dory with $135 million. On top of that, the film’s opening weekend is the eighth largest all-time, topping the $179.1 million opening for 2016’s Captain America: Civil War, which went on to gross over $400 million at the domestic box office. Also of note, this is more than the $174.7 million opening for Disney‘s Beauty and the Beast, which went on to gross over $500 million domestically. As for Incredibles 2‘s domestic future, an “A+” CinemaScore and an opening of this size seems to suggest a $500+ million domestic performance is in the offing, which would make it the highest grossing animated film of all-time should it reach that number, topping Dory‘s $486.2 million domestic run.
Additionally, beyond the records already mentioned, the film delivered the largest opening day ever for an animated title and the second largest June opening ever behind Jurassic World. Added to that, when it comes to the largest opening weekends of all-time, Disney now owns nine of the top ten, the lone standout being the aforementioned Jurassic World at number four.
Internationally, Incredibles 2 brought in an estimated $51.5 million from ~26% of the international market, for a global debut totaling an estimated $231.5 million. As far as the international openings are concerned, the film delivered the largest Pixar opening weekend in several markets including Mexico ($12.3m), Australia ($7.7m) and Argentina ($3m) along with a $5.4 million opening in Russia. The film’s international rollout will be staggered, as is typically the case with Pixar titles, with openings in China, Iceland, Croatia, Thailand and India next weekend followed by releases in Brazil (Jun 28), France (Jul 4), UK (Jul 13), Korea (Jul 19), Japan (Aug 1), Spain (Aug 3), Italy (Sep 19) and Germany (Sep 27).
In second is WB‘s Ocean’s 8, dropping 53% for an estimated $19.5 million second weekend for a domestic cume just shy of $80 million. Internationally the film added an estimated $19.3 million from 36 markets, pushing the international running cume to $37.1 million for a global tally now topping $116 million.
WB also takes third place with the R-rated comedy Tag, which opened with an estimated $14.6 million. While ahead of the studio’s expectations, this is a bit shy of Mojo’s pre-weekend forecast and a little less than might have been expected following a solid $1.325 million in preview grosses on Thursday night. In fact, given the preview gross the film played closer to WB‘s 2016 comedy War Dogs or the 2014 comedy Sex Tape, which went on to gross $43 million and $38.5 million respectively.
Tag received a “B+” CinemaScore from opening day audiences and played to a crowd that was 51% female and 76% of the overall audience was 25 years of age or older.
Internationally, Tag began playing in seven markets with an estimated $1.4 million including an $837k debut in Australia. The next key markets to open in the film’s staggered release strategy will be Russia on June 28 and the UK on June 29. Additional upcoming markets include include Italy (Jul 5), Mexico (Jul 19) and Germany (Jul 26).
Disney and Lucasfilms‘s Solo: A Star Wars Story finished in fourth with an estimated $9.3 million for a domestic cume approaching $195 million. Internationally the film added $5.2 million for an overseas cume totaling $146.7 million and a global tally that now stands at $339.5 million.
Rounding out the top five is Fox‘s Deadpool 2 with an estimated $8.8 million for a domestic cume that is now just ~$320k shy of $295 million. Internationally the film added $9.8 million from 76 markets, taking the international cume to $394.9 million for a global total that is now just $10.5 million shy of $700 million.
Just outside the top five is A24‘s Hereditary, which dipped just 48% for a strong $7 million second weekend. Made on a reported budget of just $10 million, the horror feature has now grossed over $27 million after just ten days in domestic release.
Just behind Hereditary in seventh place is Sony‘s new release Superfly. After debuting on Wednesday, the film brought in an estimated $6.3 million for the three-day weekend for a $8.4 million five-day cume. The $16 million production, which received a “B+” CinemaScore from opening day audiences fell a bit shy of the low single digits the studio was anticipating for the five-day. Superfly played to an audience that was 53% male and 72% of the overall audience was 25 years of age or older.
Outside the top ten, we’ll begin with Disney‘s successful push to get A Wrinkle in Time to the century mark as the film brought in an estimated $1.77 million from 245 locations for a domestic cume that now totals $100 million.
Vertical‘s Gotti and Yash Raj‘s Race 3 are neck-and-neck as of right now as the two films brought in an estimated $1.67 million and $1.63 million respectively. The big difference is Race 3 was playing in 188 fewer theaters and once actuals arrive could leapfrog Gotti for the final spot in the top twelve.
Elsewhere, Focus expanded the release of Morgan Neville‘s Mister Rogers documentary Won’t You be My Neighbor? into 96 theaters (+67) and brought in an impressive $985,000 for a per theater average of $10,253 and a $1.69 million domestic cume after ten days in release. The film is looking to be in over 300 theaters next weekend.
Also, Magnolia‘s highest grossing release of all-time continues to hit milestones as RBG crossed the $10 million mark this weekend.
While eyes will continue to focus on Incredibles 2 next weekend, the top spot will belong to the dinosaurs as Universal debuts Jurassic World: Fallen Kingdom in over 4,400 locations with the studio currently anticipating a debut in the neighborhood of $130 million. The sequel to the 2015 global blockbuster began playing internationally last weekend and this weekend added three more markets, most notable of the three being the film’s debut in China where it brought in an estimated $111.9 million, well ahead of the first film’s $67 million debut. Overall, Fallen Kingdom brought in an estimated $173.6 million internationally this weekend for a running total estimated at $370 million, opening at the #1 position in all 51 territories where it has released thus far.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Incredibles 2 | $180.0M | $180.0M | 1 |
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Ocean’s Eight | $19.6M | $79.2M | 2 |
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Tag | $14.6M | $14.6M | 1 |
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Solo: A Star Wars Story | $9.1M | $192.8M | 4 |
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Deadpool 2 | $8.8M | $294.7M | 5 |
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Hereditary | $7.0M | $27.2M | 2 |
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Superfly | $6.3M | $8.4M | 1 |
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Avengers: Infinity War | $5.3M | $664.2M | 8 |
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Adrift | $2.1M | $26.8M | 3 |
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Book Club | $1.9M | $62.0M | 5 |
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‘Ant-Man and the Wasp’ Tracking For A Healthy Opening Weekend at the BO!!!
After the heavy and dour Avengers: Infinity War, superhero fans are probably looking for the nice change of pace that will arrive next month with Ant-Man and the Wasp. The upcoming Ant-Man sequel takes place before the events of Infinity War and sees Ant-Man/Scott Lang (Paul Rudd) teaming up with Wasp/Hope Van Dyne (Evangeline Lilly) to defeat Ghost (Hannah John-Kamen).
According to THR, the upcoming superhero movie is currently tracking to open at $75 million, which would put it well ahead of the $57 million the first Ant-Man opened to back in July 2015. That film would go on to gross only $180 million domestic, but did fairly well worldwide as it pulled in $519 million. Since Marvel solo sequels have a tendency to outperform the ones that came before, that should bode well for Ant-Man and the Wasp’s fortunes.
There will also be a bit of competition that weekend as Universal and Blumhouse will release The First Purge, which is expected to pull in $25 million in its five-day debut. The previous Purge movie, The Purge: Election Year, made $31 million on its opening weekend when it hit theaters on July 1, 2016.
Ant-Man and the Wasp opens July 6th and also stars Michael Peña, Walton Goggins, Bobby Cannavale, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, Abby Ryder-Fortson, Randall Park, Laurence Fishburne, Michelle Pfeiffer, and Michael Douglas.
Here’s the official synopsis for Ant-Man and the Wasp:
From the Marvel Cinematic Universe comes “Ant Man and the Wasp,” a new chapter featuring heroes with the astonishing ability to shrink. In the aftermath of “Captain America: Civil War,” Scott Lang grapples with the consequences of his choices as both a Super Hero and a father. As he struggles to rebalance his home life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne and Dr. Hank Pym with an urgent new mission. Scott must once again put on the suit and learn to fight alongside the Wasp as the team works together to uncover secrets from the past.
via Collider
‘Avengers: Infinity War’ Officially Passes $2 Billion at the BO!!!
Avengers: Infinity War is one step closer to making infinity dollars. The Marvel Studios sequel officially crossed the $2 billion mark at the worldwide box office today, marking a genuinely rare achievement. It’s only the fourth film in history to break that barrier, and the third to do so in its initial run (Titanic hit $2 billion on re-release). It’s also, it should be said, Disney’s second film to crack $2 billion after Star Wars: The Force Awakens, which completed its run with $2,068,223,624 worldwide.
The Top 5 all-time worldwide box office is now as follows:
1. Avatar – $2,787,965,087
2. Titanic – $2,187,463,944
3. Star Wars: The Force Awakens – $2,068,223,624
4. Avengers: Infinity War – $2,001,136,398
5. Jurassic World – $1,671,713,208
So can Infinity War catch Force Awakens? It has about $67 million to go, which could maybe be possible, or maybe not. Domestically the film notched $6.8 million this last weekend, and internationally the film pulled in another $10.9 million. That means it’s unlikely that Infinity War will catch up to Titanic, and Avatar remains untouchable. James Cameron is still, after all these years, king of the world.
And yet, while Infinity War is a massive success story, domestically it’s still going to be outgrossed by February’s Black Panther. That Marvel Studios standalone has amassed an astounding $699.3 million domestic, while Infinity War’s domestic total currently sits at $656.1 million. It’s enough for Infinity War to hold the #5 slot on the all-time domestic list, but Black Panther sits pretty at #3, behind only Avatar and The Force Awakens.
So basically Marvel Studios has had an incredible 2018, and Disney is most certainly happy with how things have shaken out. It’ll be interesting to see how high Avengers 4 soars, and if it can beat the opening weekend record that Infinity War set with $257.7 million domestic. Traditionally sequels don’t do quite as well as their predecessors, but that Infinity War cliffhanger would appear to ensure that the retention rate next May will be far higher than normal.
via Collider
‘Ocean’s 8’ Steals #1 as ‘Hereditary’ Delivers Record Numbers at the BO!!!!
Leading the weekend charge is Warner Bros and Village Roadshow‘s Ocean’s 8, topping industry expectations and delivering the largest opening within the franchise (not adjusted for inflation). At the same time, A24‘s Hereditary smashed tracking expectations and even outperformed Mojo‘s lofty, pre-weekend forecast to finish within the top five, earning A24 its largest opening ever. Unfortunately, Global Road‘s Hotel Artemis, the weekend’s third new wide release, struggled to find an opening weekend audience while Universal and Amblin Entertainment launched Jurassic World: Fallen Kingdom internationally this weekend where it grossed over $150 million, two weeks ahead of its North American release.
With an estimated $41.5 million, WB‘s Ocean’s 8 topped the weekend box office and outperformed pre-weekend industry expectations, which anticipated an opening in the mid-thirties, though fell a little short of Mojo‘s pre-weekend forecast, which saw potential for a debut over $45 million. That said, the $41.5 million debut is a solid start for the $70 million production, which will now hope to holdover well amid upcoming competition which includes Incredibles 2 next weekend and Jurassic World: Fallen Kingdom the following week. The last two films in the Ocean’s franchise averaged a 3.2x multiplier, which would put Ocean’s 8‘s domestic run over $130 million should it follow suit.
Ocean’s 8 received a “B+” CinemaScore from opening day audiences with exits showing the audience make up as 69% female and 69% aged 25 years or older. That said, the film played quite well to younger audiences, of which 11% were 18 years or younger and gave the film an “A” CinemaScore.
Internationally, Ocean’s 8 kicked things off in 16 markets bringing in an estimated $12.2 million for a $53.7 million global launch. The opening included an estimated $4.7 million in Australia, $2.6 million in Mexico and $1.7 million in Brazil. Looking ahead the film will open this week in France and South Korea on June 13 followed by openings in Germany (Jun 21), Russia (Jun 21), UK (Jun 22), Spain (Jul 6), Italy (Jul 26) and Japan (Aug 10).
Disney and Lucasfilms‘s Solo: A Star Wars Story finished in second with an estimated $15.15 million, pushing the film’s domestic cume just over $176 million as it begins its third week in release. Internationally the film is already puttering out, adding just $11.3 million, bringing its overseas cume to $136.1 million for a global tally that now stands at $312.2 million with a June 29 opening in Japan left on the release calendar.
Deadpool 2 finished in third with an estimated $13.65 million as its cume blossoms to nearly $280 million. Internationally, the film added an estimated $18.5 million, pushing the film’s overseas cume to $376.6 million for a global tally that now tops $655 million.
In fourth is the excellent start for A24‘s Hereditary, which brought in an estimated $13 million this weekend. Prior to the film’s opening, tracking expectations were in the high single digits, but Mojo‘s pre-weekend forecast saw much greater potential, anticipating a debut $12 million or higher. Budgeted at a reported $10 million, Hereditary was not only A24‘s widest release, debuting in 2,964 theaters, the $13 million debut is the studio’s largest opening by a wide margin, topping the $8.8 million opening for The Witch in 2016. The film did receive a disappointing “D+” CinemaScore from opening day audiences, however A24‘s The Witch received a meager “C-” before ending its run with over $25 million on a $4 million budget. Hereditary played to an audience that was 58% male vs. 42% female this weekend with 74% of the overall audience coming in under 34 years of age.
Rounding out the top five is Disney and Marvel‘s Avengers: Infinity War with an estimated $6.8 million, pushing the film’s cume over $650 million domestically, ending the weekend at $654.7 million. The global blockbuster is now just shy of $2 million worldwide after adding another $10.9 million internationally, finishing the weekend with $1.998 billion globally. The film will soon be only the fourth film to ever top $2 billion worldwide.
It isn’t until eighth position that we find Global Road‘s Hotel Artemis which brought in a disappointing $3.15 million from 2,407 locations. The performance isn’t as bad as Action Point‘s debut last weekend, but it isn’t good and the “C-” CinemaScore isn’t helping matters. The film played to an audience that was 54% male vs. 46% female of which 63% were over the age of 25.
Elsewhere in the top ten, STX‘s Adrift dipped a disappointing 56.5% for a sixth place finish with an estimated $5 million for a domestic cume that now stands at $21.7 million as it begins its second weekend. With the release of Ocean’s 8 as well as the continued strong performance of Paramount‘s Book Club it seems there just wasn’t enough audience left for the romantic survival drama.
Speaking of Book Club, the film brought in an estimated $4.2 million this weekend, pushing its cume to $56.8 million for a multiplier that continues to grow and is currently 4.2x its $13.5 million opening weekend. Paramount acquired distribution rights for the film in the US/Canada, France and UK for $10 million
In limited release, Focus debuted the Mister Rogers documentary Won’t You be My Neighbor in 29 theaters with an estimated $470k for a $16,207 per theater average. The film has received rave reviews and will expand into ~100 theaters next weekend. Additionally, Well Go‘s Believer opened with an estimated $144k from 32 theaters ($4,500 PTA); Gunpowder & Sky‘s Hearts Beat Loud debuted with an estimated $74,053 in four theaters ($18,513 PTA); and Gravitas‘s Half the Picture opened with an estimated $7,529 from one theater.
Finally, Universal launched the Jurassic World sequel Jurassic World: Fallen Kingdom in 48 overseas markets this weekend, two weeks ahead of the film’s domestic debut, where it grossed an estimated $151.1 million. The film topped the charts in all 48 markets and included the studio’s largest openings all-time in Hong Kong ($4.3m) and South Korea ($27.2m). Additional openings included $19.9 million in the UK & Ireland as well as France ($10m), Spain ($9.5m), Germany ($9.1m), Taiwan ($8.4m), Russia ($8m), India ($7.9m), Indonesia ($5.2m), Thailand ($4.7m), Italy ($4.5m), Malaysia ($4.1m), Philippines ($4m), Singapore ($2.9m) and Netherlands ($2.6m). The film will hit theaters in North America on June 22 and will continue to roll-out in in 21 more overseas territories over the next month, including China on June 15, Australia and Brazil on June 21, Mexico on June 22 and Japan on July 13.
As far as the domestic market is concerned, next weekend features the release of the highly-anticipated Disney and Pixar sequel Incredibles 2 in ~4,200 theaters, WB‘s comedy Tag in over 3,300 locations and Yash Raj will debut Race 3 in theaters nationwide.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Ocean’s Eight | $41.5M | $41.5M | 1 |
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Solo: A Star Wars Story | $15.2M | $176.1M | 3 |
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Deadpool 2 | $13.7M | $278.7M | 4 |
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Hereditary | $13.0M | $13.0M | 1 |
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Avengers: Infinity War | $6.8M | $654.7M | 7 |
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Adrift | $5.1M | $21.7M | 2 |
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Book Club | $4.2M | $56.9M | 4 |
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Hotel Artemis | $3.2M | $3.2M | 1 |
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Upgrade | $2.2M | $9.2M | 2 |
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Life of the Party | $2.1M | $50.3M | 5 |
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‘Solo’ Slumps in Second Weekend As New Releases Open Low at the BO!!!
There were no big surprises this weekend as Disney and Lucasfilms‘s Solo: A Star Wars Story suffered a steep drop following a disappointing debut and the week’s new releases made hardly a dent. STX‘s Adrift led the way, though fell short of expectations, while BH Tilt‘s micro-budgeted feature Upgrade delivered solid results based on its budget and expectations. If there was a “big” surprise it came by way of Paramount‘s Action Point, which wasn’t expected to do much to begin with, but flopped to the tune of just $2.3 million from 2,032 theaters. Meanwhile, a couple milestones were reached for both Magnolia and Pantelion on the backs of strong runs for both RBG and Overboard respectively.
With an estimated $29.29 million, Disney and Lucasfilms‘s Solo: A Star Wars Story dipped 65% this weekend, a result that was to be expected following the film’s steady decline during the week after its disappointing debut last weekend. The film’s domestic cume ended the weekend just shy of $150 million. Internationally, Solo brought in an estimated $30.3 million for an overseas total that now stands at $115.3 million and a global cume totaling $264.2 million.
Fox and Marvel‘s Deadpool 2 delivered a second place finish with an estimated $23.3 million, pushing the film’s domestic cume just shy of $255 million as it enters its third week in release. Additionally, the film climbed back to the top of the international charts this weekend, bringing in an estimated $41.5 million, pushing its overseas cume to $344 million for a global tally just shy of $600 million, moving into the top 150 all-time. The film’s international performance this weekend was led by a $5.5 million debut in Japan.
In third, STX‘s survival drama Adrift brought in an estimated $11.5 million from 3,015 locations. This puts the debut performance for the $35 million production on par with pre-weekend comps including McFarland, USA and Everything, Everything and just ahead of The Mountain Between Us. One difference between those films and Adrift, however, is Adrift‘s “B” CinemaScore compared to the “A-” earned by Mountain and Everything, as well as the “A” for McFarland. All told, Adrift could struggle to reach $30 million domestically as it must contend with a continued barrage of summer releases.
Exit polling shows Adrift skewed female, playing to an audience that was 62% female vs. 38% male. Of the audience 19% were 18-years-old or under, though 69% of the overall audience was aged 25 or older, which could mean the audience for this one is a bit too niche to deliver too long a run in a crowded summer marketplace.
Disney and Marvel‘s Avengers: Infinity War brought in an estimated $10.37 million, landing in fourth position as it kicks off its sixth weekend in release with a domestic cume that now stands at $642.8 million. Internationally, the film added another $24.3 million this weekend, pushing its overseas cume to $1.33 billion for a global tally that is now just ~$35 million shy of becoming only the fourth film to have ever topped $2 billion worldwide.
Paramount‘s Book Club rounded out the top five with an estimated $6.8 million, pushing the film’s domestic cume to $47 million after 17 days in release.
Just outside the top five we find BH Tilt‘s Upgrade with an estimated $4.46 million debut. The micro-budgeted feature surpassed Mojo‘s pre-weekend expectations as it took advantage of the best reviews among the new titles this weekend and is on track for a solid run, possibly topping $10 million.
Exit polling was very positive for Upgrade with 46% of the overall audience giving it a definite recommend, scoring best with younger males — the core demographic for the film — with 90% rating it excellent or very good. Overall, 76% of the audience was 25 years or older while 64% of the audience was male vs. 36% female.
It isn’t until ninth place that we find Paramount‘s Action Point. Led by Johnny Knoxville, the $19 million production brought in a mere $2.3 million from 2,032 theaters, ranking among the worst openings ever for a film debuting in 2,000+ locations. Overall, the audience was 67% male with 50% of the audience coming in 25 years or older.
Rounding out the top ten is Overboard, which brought in an estimated $1.975 million for a domestic total of $45.5 million, topping the $44.46 million for Instructions Not Included to become the highest grossing release for Lionsgate‘s Pantelion label.
Outside the top ten, Magnolia‘s documentary RBG grossed an estimated $1.1 million this weekend from 432 theaters, pushing the film’s domestic gross to $7.87 million. This makes RBG Magnolia‘s highest grossing domestic release of all-time, topping 2017’s I am Not Your Negro ($7.1 million), which went on to earn an Oscar nomination for Best Documentary.
In limited release, The Orchard and MoviePass teamed to release American Animals, which the two partnered to buy North American rights for $3 million following its Sundance debut. The film debuted with a healthy $140,629 this weekend from four theaters in New York and Los Angeles for a strong $35,157 per theater average and it will continue to expand throughout the month. Additionally, IFC‘s A Kid Like Jake opened in one theater with an estimated $9,063 and FilmRise‘s Breath brought in an estimated $5,700 from one location.
Next weekend Warner Bros. will release Ocean’s 8 into over 4,000 theaters; Global Road‘s Hotel Artemis opens in ~2,000 theaters; and A24 will debut the much buzzed about horror feature Hereditary into an as yet undisclosed number of theaters nationwide.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Solo: A Star Wars Story | $29.3M | $148.9M | 2 |
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| |
Deadpool 2 | $23.3M | $254.7M | 3 |
|
| |
Adrift | $11.5M | $11.5M | 1 |
|
| |
Avengers: Infinity War | $10.4M | $642.9M | 6 |
|
| |
Book Club | $6.8M | $47.3M | 3 |
|
| |
Upgrade | $4.5M | $4.5M | 1 |
|
| |
Life of the Party | $3.5M | $46.3M | 4 |
|
 |
Breaking In | $2.8M | $41.3M | 4 |
|
 |
Action Point | $2.3M | $2.3M | 1 |
|
 |
Overboard | $2.0M | $45.5M | 5 |
|
Solo’ Bombs With Third-Place $10.1M Opening at the China BO!!!
The Millennium Falcon just malfunctioned and crashed to earth somewhere in China.
Putting in one of the worst opening-weekend performances of any Hollywood tentpole of recent memory, Solo: A Star Wars Story earned just $10.1 million in its first frame in China, according to Disney and Lucasfilm. Industry estimates in Bejing had the total even lower at $9.8 million.
The sputtering start left the Han Solo origin story lagging in a distant third place behind two holdovers. Chinese romantic comedy How Long Will I Love U dominated with $24.2 million in its second weekend, while Avengers: Infinity War also trounced its fellow Disney title, earning approximately $17.6 million in its third frame.
The Disney Star Wars films have continually disappointed in the Middle Kingdom, but the franchise’s trajectory in the country is beginning to resemble a death spiral.
Star Wars: The Force Awakens earned $52 million over a two-day opening frame in 2016 (a number already below Disney‘s forecasts, sources told THR at the time). A year later, Rogue One slipped to $31 million over a full three-day frame, despite co-starring Donnie Yen and Jiang Wen, two of China’s biggest actors. Rian Johnson‘s The Last Jedi then fared even worse, earning $28.7 million for a second-place start behind a local hit comedy.
Chinese filmgoers have always been somewhat cold to fantasy sci-fi, but even some of the genre’s biggest recent bombs did better than Solo‘s sub-$10 million opening. Paramount‘s Ghost in the Shell debuted to $21 million last year; and Sony‘s 2016 stinker Passengers started with $14.8 million. Even Star Trek Beyond brought in $30.5 million in its first weekend.
Given that China is back to robust double-digit growth and set to overtake North America as the world’s biggest film market within a few years, Disney marketers certainly have their work cut out for them. But pleasing diehard Star Wars fans in North America while finding a fresh way to appeal to Chinese moviegoers might take nothing less than a marketing miracle — maybe Boba Fett was Jackie Chan under the helmet all along?
via The Hollywood Reporter
‘Solo’ Opens at Top with a Disappointing Debut at the BO!!!
Disney and Lucasfilms‘s Solo: A Star Wars Story topped the Memorial Day holiday weekend box office, but the film fell well short of expectations, raising a few valid questions. Was it too soon to release another Star Wars movie five months after the last installment and was the competition just too stiff from the likes of Deadpool 2 and Disney‘s own Avengers: Infinity War?
With an estimated $83.3 million over the three-day weekend, Solo: A Star Wars Story is the weekend’s #1 film and while Disney is currently anticipating a $101 million, the question remains as to whether it will be able to bring in enough to reach $100 million over the four-day holiday frame. Disney entered the weekend projecting a performance anywhere from $130-150 million for the four-day weekend and with a reported $300 million price tag before prints and advertising this weekend’s performance is extremely disappointing.
While competition from Deadpool 2 and Avengers: Infinity War certainly played a role in Solo‘s struggles, the small, five month window between the December release of Star Wars: The Last Jedi and Solo didn’t help matters. Disney released the previous three Star Wars films in December, giving each a year’s worth of breathing room, this was the first attempt at a summer start and had the price tag and expectations not been so high perhaps the smaller performance wouldn’t appear to be such an issue, but as it stands this would appear to be a failure from a theatrical standpoint.
One caveat to that point is the live-action blockbuster landscape is relatively wide open between now and June 22 when Jurassic World: Fallen Kingdom hits theaters. While Solo, Avengers and Deadpool will continue to fight for holdover audiences, should Solo hold on well next weekend it could slightly improve its position domestically. At this time, however, a $205-230 million domestic performance looks likely and its international debut isn’t helping matters.
Internationally, Solo brought in a meager $65 million from virtually the entire international marketplace with Japan left as the lone major market yet to see release. Leading the way was the UK with $10.3m followed by China ($10.1m), Australia ($5.0m), Germany ($4.3m), France ($3.9m), Russia ($3.6m), Spain ($2.6m), Mexico ($2.5m), Italy ($2.2m), Brazil ($1.3m), Sweden ($1.3m) and Korea ($1.1m). The film will open in Croatia and Trinidad next weekend before opening in Japan on June 29.
For some perspective, Solo‘s domestic three-day debut was just 54% of the $155 million opening for Rogue One, its international performance wasn’t even half of Rogue‘s $134.9 million overseas opening and that was without opening in South Korea and China. The top three markets for Solo compared to Rogue One show the UK opening was 48% of Rogue‘s debut, China was a third and Australia’s opening was 46% of Rogue‘s. It will be interesting to see where the film goes from here as a worldwide performance anywhere from $525-575 million might be where this one ends up.
In exit polling, Solo received an “A-” CinemaScore from opening day audiences, the first of the Disney-released Star Wars films to not receive an “A”. Audiences were 58% male and 64% of the audience was over the age of 25.
Fox and Marvel‘s Deadpool 2 finished in second place with an estimated $42.7 million, dropping a hefty 66% in its second weekend. The film is expected to deliver a $53.5 million four-day weekend pushing its domestic cume a couple million shy of $220 million. Internationally, Deadpool 2 nearly topped Solo in its second weekend with an estimated $57 million, pushing the film’s overseas cume just shy of $280 million for a global tally totaling $487.1 million. The film opens in Japan on June 1.
Disney and Marvel‘s Avengers: Infinity War finished in third, bringing in an estimated $17 million for the three-day. The film is looking at a $21 million four-day performance which will push its domestic cume over $627 million and move it up two spots on the all-time domestic chart, landing in sixth just ahead of 2012’s The Avengers ($623.3m)*.
Internationally, Infinity War added $32.5 million for an international total that now stands at $1.283 billion and a global cume topping $1.9 billion, maintaining its position as the fourth largest global release of all-time.
Finishing in fourth is Paramount‘s Book Club with an estimated $9.4 million for the three-day and looking at a solid $12 million for the four-day weekend. The film continues to play well to its target demographic, as its domestic cume pushes toward $35 million after 11 days in release.
Rounding out the top five is Warner Bros. and New Line‘s Life of the Party with an estimated $5.1 million for the three-day weekend and looking at a four-day performance around $6.5 million for a domestic cume just over $40 million after 18 days in release.
Outside the top five, Global Road‘s Show Dogs fell much harder than expected. The family-friendly feature dipping 49% in its second weekend, pulling in an estimated $3 million for the three-day and expected to deliver $4.1 million for the holiday frame. The film’s domestic cume will end just a bit shy of $12 million after eleven days in release.
Paramount‘s A Quiet Place finished ninth with an estimated $2.2 million for the three-day and $2.7 million for the four-day, pushing its domestic cume over $180 million. Additionally, the film brought in another $4.7 million internationally this weekend as its worldwide cume has now topped $310 million.
In tenth position is Magnolia‘s documentary RBG, this weekend delivering an estimated $1.1 million for the three-day weekend and looking at a four-day performance around $1.25 million for a domestic cume nearing $6 million. This makes RBG Magnolia‘s third highest grossing release of all-time with a chance it tops 2017’s I Am Not Your Negro ($7.1m) to become the studio’s all-time highest grossing title.
Next weekend takes a break from the blockbuster fare as Paramount re-teams with Johnny Knoxville for Action Point, opening in ~2,000 locations; STX will debut the stranded at sea thriller Adrift in approximately 2,900 theaters; and Universal and BH Tilt will debut Upgrade in ~1,400 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
 |
Solo: A Star Wars Story | $83.3M | $83.3M | 1 |
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Deadpool 2 | $42.7M | $207.4M | 2 |
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Avengers: Infinity War | $16.5M | $621.7M | 5 |
|
 |
Book Club | $9.5M | $31.8M | 2 |
|
 |
Life of the Party | $5.1M | $39.1M | 3 |
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Breaking In | $4.1M | $35.6M | 3 |
|
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Show Dogs | $3.1M | $10.7M | 2 |
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Overboard | $3.0M | $41.5M | 4 |
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A Quiet Place | $2.2M | $180.0M | 8 |
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RBG | $1.1M | $5.6M | 4 |
|
Success of ‘Raazi’ Continues Winning Streak at the Indian BO!!!
The winning streak continues… 2018 is emerging a momentous year, indeed. It seems like a dream to me. A beautiful dream that I genuinely wish doesn’t end.
The number of successes in the first five months has come as a shot in the arm for the industry after a disastrous 2017. It’s a huge relief, frankly. Good films are working… sorry, let me change that slightly. Good *content* is working. No film can sustain on hype alone. Hype, or marketing strategies, can attract footfalls on Day 1. Subsequently, the content talks.
While the first quarter of 2018 had its share of successful films, the second quarter has also brought abundant cheer. BAAGHI-2, which opened on 30 March 2018, fetched an astounding start and the first few weeks of April had everyone loving the roar of the young Tiger at the BO.
The much-awaited Hollywood biggie, AVENGERS INFINITY WAR, set new benchmarks at the Indian BO. It dethroned THE JUNGLE BOOK – the highest grossing Hollywood film in India – and also cruised past the 200 Cr mark in the domestic arena, a proud moment for Hollywood movies. The latest installment in the AVENGERS series also made people realize that Hollywood films – the event ones, especially – shouldn’t be taken lightly.
102 NOT OUT, which starred the two icons, saw its target audience – families – patronising the film. Much like HICHKI, which released in the first quarter. The two films have done over 45 Cr biz and there’s a strong possibility that 102 NOT OUT may surpass the 50 Cr mark in days to come. That’s a wonderful achievement!
RAAZI has proved, for the umpteenth time, content is king. The film has worked on so many levels – edge of the seat moments in the screenplay, Meghna Gulzar’s brilliant handling of the subject material and bravura performances by the key cast. Alia, in particular, deserves brownie points for giving the film the required sheen with her presence and stunning portrayal of a spy. No wonder, the film is unshakeable at the ticket windows.
The new release, DEADPOOL-2, has kept the Hollywood flag flying high. The Top 5 openers of 2018 [Day 1 biz; Hindi and Hollywood films] feature two Hollywood movies – AVENGERS INFINITY WAR and DEADPOOL-2. That says it all. Hollywood films are no longer relegated to metros today. The avid moviegoers in Tier 2 and Tier 3 centers are equally aware of the Angrezi superheroes. And the fantastic business of these two films clearly indicates that the audience is in no mood to settle for anything inferior after they have relished the best of Hollywood.
It’s just five months and we have witnessed a spate of successful films. There’s more to follow in the forthcoming weeks. Picture abhi baaki hain!
via Bollywood Hungama
‘Deadpool 2’ Launches with Over $300 Million at the Worldwide BO!!!
Even though Deadpool 2 didn’t deliver a record opening domestically for an R-rated movie it still captured a few record of its own as well as delivered a couple studio records en route to an impressive $301.3 million worldwide debut. Meanwhile Avengers: Infinity War continued it’s impressive run becoming the fourth largest global release of all-time while Paramount‘s Book Club and Global Road‘s Show Dogs delivered on expectations in their attempts at counter-programming against the pair of superhero features.
Early indications were that Deadpool 2 would deliver a record opening for an R-rated film after bringing in a pair of R-rated records with $18.6 million from Thursday previews and a $53.3 million opening day. However, it wasn’t able to maintain that momentum, finishing with a still impressive $125 million estimate for the three-day, which is enough to become the second largest R-rated opening ever behind the original’s $132.4 million debut two years ago and just ahead of the $123.4 million opening for It last September. The debut is also the second largest Fox opening of all-time, also behind the original Deadpool.
The film scored a strong “A” CinemaScore and actually skewed just a bit older than the first one which played to an audience of which 53% were 25 years or older vs. 62% for the sequel. Deadpool 2 pretty much matched the first along gender lines, playing to an audience that was 61% male and 39% female.
Looking ahead, with the Memorial Day weekend upcoming it will be interesting to see how things pan out as Deadpool 2 will still have some competition from Avengers: Infinity War, which we’ll get to in a second, as well as the release of Solo: A Star Wars Story debuting in over 4,200 locations. If it can hold its own over the holiday weekend it could push to a domestic run over $300 million, especially given it won’t be until early July that audiences get a new superhero movie in Ant-Man and the Wasp (7/6).
Deadpool‘s success doesn’t end there as it debuted in 81 markets internationally and brought in an estimated $176.3 million, a record overseas debut for Fox International, topping the $174 million for X-Men: Days of Future Past, which was aided by $38.3 million in China. The original Deadpool didn’t play in China until finally premiering last month at the Beijing International Film Festival, and, at this time, the sequel doesn’t have a release date scheduled for the Middle Kingdom. Additional highlights from the film’s international roll-out include record breaking openings for Fox in Mexico ($10m), India ($6.29m), Indonesia ($4.7m), Thailand ($3.4m), Vietnam ($2m) and Chile ($1.9m).
In second position, while Deadpool takes the weekend crown from Avengers: Infinity War, the Disney and Marvel behemoth brought in $28.7 million over its fourth weekend in release, pushing the film’s domestic cume over $595 million after 24 days in release. The film currently ranks as the eighth largest domestic release of all-time.
Infinity War also added another $84.4 million internationally this weekend for an overseas cume that now totals $1.218 billion and a global cume that now stands at $1.81 billion. The film now ranks as the fourth largest global release of all-time and the third largest international release of all-time behind only Avatar and Titanic. Looking at individual markets it has delivered industry records in Brazil ($60.8m), Central America ($13.7m), Bolivia ($3.5m), Chile ($12.9m), Ecuador ($7.3m), Peru ($11.1m), Venezuela ($2.6m), the Philippines ($22.8m), Indonesia ($25.1m), Malaysia ($16.9m), Singapore ($11.5m) and Vietnam ($8.2m). It also ranks as the fourth largest western release of all-time in China with an estimated $302.5 million after just ten days in release, as well as the largest western release of all-time in India ($42.8m) and Thailand ($17.7m).
Paramount‘s Book Club finished just ahead of Mojo‘s pre-release expectations, delivering a $12.5 million debut and a solid “A-” CinemaScore from opening day audiences. Playing as a solid piece of counter-programming, and debuting just ahead of comp title Going in Style, which delivered a 3.7x multiplier, don’t be surprised if Book Club pushes past $40 million domestically. The film played to an audience that was 80% female and 88% of the audience was over 35, with 60% over the age of 50.
In fourth position is Melissa McCarthy‘s Life of the Party, which fell a rather dramatic 57% following the worst opening the actress has seen for a film in which she top lined. The estimated weekend gross stands at $7.7 million for a $31 million cume.
Rounding out the top five is Gabrielle Union‘s Breaking In, which also had a steep, 63% drop, bringing in an estimated $6.47 million for a domestic cume that now stands at $28.75 million. Despite the drop, however, the film has already delivered more than 4.75x it’s $6 million budget.
Just outside the top five is Global Road‘s family release Show Dogs, which brought in a dismal $6 million from 3,212 locations. The performance ranks among some of the worst openings all-time for a film debuting in over 3,000 theaters. That said, Global Road has now released the last title from the old regime, prior to the merger between Open Road and IM Global, as focus will now shift to the release of Hotel Artemis on June 8. Show Dogs received an “A-” CinemaScore from opening day audiences.
Worth mentioning yet again, Paramount‘s A Quiet Place continues to deliver impressive numbers, this weekend dropping 37% for an estimated $4 million, bringing its domestic cume to $176.17 million. The film has now surpassed last year’s monster success Get Out ($176m) and the weekend’s news surrounding the title doesn’t end there. A Quiet Place debuted in China this weekend, bringing in an estimated $17.7 million, helping push the film’s international cume to $120.3 million for a global tally that is now just $3.5 million shy of $300 million.
Rounding out the top ten is Magnolia‘s documentary RBG, which expanded into 375 theaters this weekend (+196) and delivered an estimated $1.28 million, pushing the film’s cume to $3.88 million after three weeks in limited release and already just shy of becoming one of the top 50 documentaries all-time domestically.
In limited release, Focus‘s release of the documentary Pope Francis – A Man of His Word brought in an estimated $480,000 from 346 theaters ($1,387 PTA); WB‘s re-release of 2001: A Space Odyssey into four theaters brought in an impressive $200,000 ($50,000 PTA); A24‘s First Reformed delivered an estimated $100,270 from four theaters ($25,068 PTA); Bleecker‘s On Chesil Beach opened with an estimated $9,141 from four theaters ($2,285 PTA); and IFC‘s That Summer opened in one theater with an estimated $2,285.
Next weekend is Memorial Day weekend and Disney and Lucasfilm will unleash their latest Star Wars feature in Solo: A Star Wars Story into over 4,200 locations.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Deadpool 2 | $125.0M | $125.0M | 1 |
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Avengers: Infinity War | $28.7M | $595.0M | 4 |
|
| |
Book Club | $12.5M | $12.5M | 1 |
|
| |
Life of the Party | $7.7M | $31.0M | 2 |
|
| |
Breaking In | $6.5M | $28.8M | 2 |
|
| |
Show Dogs | $6.0M | $6.0M | 1 |
|
| |
Overboard | $4.7M | $37.0M | 3 |
|
| |
A Quiet Place | $4.0M | $176.2M | 7 |
|
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Rampage | $1.5M | $92.4M | 6 |
|
| |
RBG | $1.3M | $3.9M | 3 |
|
‘Infinity War’ Tops $1 Billion Internationally, As New Releases Open Below Expectations at the BO!!!
Disney and Marvel‘s Avengers: Infinity War had a wonderful Mother’s Day weekend. The superhero feature topped the domestic box office for the third weekend in a row, delivered the second largest opening in China ever*, became the eighth largest domestic release of all-time, fifth largest global release and became the first superhero film to ever top $1 billion internationally. Beyond Infinity War‘s continued success, the weekend’s two new wide releases saw Life of the Party and Breaking In finished in second and third place respectively as films such as A Quiet Place, Black Panther and the limited release documentary RBG were just some of the fellow standouts in the top ten.
At the top, Avengers: Infinity War delivered an estimated $61.8 million this weekend, pushing the film’s domestic gross to $547.8 million. Rival estimates have the film performing $2-4 million higher for the weekend, which should make Monday’s actuals something to look out for and see if the superhero flick managed to cross $550 million domestically after just 17 days in release. At this time Infinity War ranks as the eighth largest domestic release ever and it will be interesting to see how the film holds up next weekend once Deadpool 2 debuts.
Internationally, however, is where Infinity War made the most noise this weekend as it debuted in China and delivered an estimated $200 million, the second largest debut in the market ever based on local currency. By comparison, The Fate of the Furious brought in RMB 1.352 billion versus what Disney is reporting as RMB 1.266 billion for Infinity War, which edges out Monster Hunt 2 at RMB 1.204 billion. The three-day performance also exceeded the lifetime runs of The Avengers, Captain America: Civil War and Iron Man 3 in the market and it has already become the ninth largest western release all-time in China.
As it stands, Infinity War is now the highest grossing superhero release internationally of all-time with its $1.059 billion topping the $946.4 million for Avengers: Age of Ultron. The film also now ranks as the fifth largest global release of all-time with $1.6 billion, just behind Jurassic World at $1.67 billion.
In second is Warner Bros. and New Line‘s Life of the Party, delivering an estimated $18.5 million. The performance comes in on the lower end of industry expectations as the PG-13 comedy became Melissa McCarthy‘s smallest opening as a film’s lead behind Tammy‘s $21.57 million opening back in July 2014. The film received a “B” CinemaScore from opening day audiences and played to a crowd that was 70% female and 80% of the overall audience was over the age of 25.
Internationally, Life of the Party opened in eight markets and grossed an estimated $2.9 million including a $1.5 million second place debut in Australia and an $858k fourth place opening in the UK.
Universal‘s Breaking In finished in third position with an estimated $16.5 million. We were anticipating a little more out of this title, but it still managed to outperform the studio’s expectations and nearly triple its reported $6 million budget in its first three days of release. Starring Gabrielle Union, who also produces alongside Will Packer, the film received a “B” CinemaScore from opening day audiences and played to a crowd that was 65% female and 53% of the audience was 30 years of age or older.
Additionally, Breaking In opened in five international markets this weekend with an estimated $1 million, including a fifth place finish in the U.K. with an estimated $609k.
MGM and Lionsgate‘s Pantelion Films‘ release of Overboard dipped just 31% in its second weekend delivering an estimated $10.1 million, pushing the film’s domestic cume to $29.5 million after ten days in release. The film also debuted in Mexico this weekend where it brought in an estimated $10.5 million, the highest opening in Mexico ever for star Eugenio Derbez.
One of the best holdovers in the top ten lands in fifth position with Paramount‘s A Quiet Place delivering an estimated $6.4 million, dropping just 18% in its sixth weekend in release, finishing the weekend with a domestic cume totaling $169.5 million. The film also enjoyed a solid weekend internationally where it brought in $2.8 million from 55 markets as it passed $100 million internationally with releases in China, France and Japan still to go.
Outside the top five, and landing in the top ten for the 13th consecutive week, is Disney and Marvel‘s Black Panther. The film brought in an estimated $1.9 million this weekend, pushing its domestic cume to $696.2 million, leaving less than $4 million before the film becomes only the third domestic release to ever top $700 million at the domestic box office.
And just narrowly rounding out the top ten is Magnolia‘s RBG, which expanded into 180 locations (+146) for its second weekend and brought in an estimated $1.16 million for a domestic cume that now tops $2 million. The film will expand to 350 theaters next weekend.
In limited release Swen‘s Nothing to Lose opened with an estimated $646,421 in 69 theaters ($9,368 PTA); Sony Classics‘s The Seagull debuted with an estimated $80,607 in six theaters ($13,435 PTA); Lu Over the Wall from GKIDS delivered an estimated $66,067 from 97 locations ($681 PTA); 30 West and Roadside Attractions‘s Beast opened with an estimated $52,078 from four theaters ($13,020 PTA); Neon‘s Revenge delivered an estimated $46,023 from 36 locations ($1,278 PTA); Magnolia‘s Boom for Real opened with $22,500 in one theater; Well Go‘s Champion brought in $18,200 from two theaters; Parade Deck‘s Goodland opened with $16,545 from two locations; Oscilloscope‘s Sollers Point brought in an estimated $10,850 from one theater; Good Deed‘s Always at the Carlyle opened in one theater with an estimated $9,209; Kino Lorber‘s Filmworker brought in $9,109 from one theater; and Greenwich‘s Mountain opened with $6,064, also from just one location.
Next weekend will see the release of Fox‘s Deadpool 2 into a massive 4,250 locations, which will make it the widest R-rated release ever, surpassing the 4,103 locations It opened in last September. Additional releases include Paramount‘s Book Club into ~2,500 theaters; Global Road‘s animated release Show Dogs into approximately 3,000 theaters; and Focus will debut their documentary Pope Francis – A Man of His Word into ~350 theaters.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Avengers: Infinity War | $61.8M | $547.8M | 3 | |
| |
Life of the Party | $18.5M | $18.5M | 1 | |
| |
Breaking In | $16.5M | $16.5M | 1 | |
| |
Overboard | $10.1M | $29.6M | 2 | |
| |
A Quiet Place | $6.4M | $169.6M | 6 | |
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I Feel Pretty | $3.7M | $43.9M | 4 | |
| |
Rampage | $3.4M | $89.7M | 5 | |
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Tully | $2.2M | $7.0M | 2 | |
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Black Panther | $1.9M | $696.2M | 13 | |
| |
RBG | $1.2M | $2.0M | 2 |
‘Baahubali: The Conclusion’ Opens to a Terrific Response in China!!!
After putting up an excellent show in the Indian market, S.S. Rajamouli‘s fantasy drama Baahubali: The Conclusion has now taken the Chinese market by storm. The movie, which opened across 7000 plus screens in the country yesterday, earned a whopping Rs. 16.24 crores on its opening day. The film has shattered the first-day collection record of Salman Khan‘s blockbuster film Bajrangi Bhaijaan which released in the neighbouring country a couple of weeks ago.
With Rs. 16.24 crores already in its pocket, Baahubali: The Conclusion has now grabbed the fourth spot in the list of the most successful Indian films in the Chinese market. Aamir Khan‘s Secret Superstar enjoys the top position while Irrfan Khan’s Hindi Medium is at the second spot. The third spot is again held by an Aamir Khan starrer Dangal.
After performing tremendously well on day one, now all eyes will be fixed at its collections in the coming days.
Baahubali: The Conclusion stars Prabhas, Rana Daggubati, Tamannaah Bhatia and Anushka Shetty in lead roles.
via BollywoodMDB
‘Avengers: Infinity War’ Crosses $1 Billion Worldwide While ‘Overboard’ Makes A Solid Debut at the BO!!!
Disney and Marvel‘s Avengers: Infinity War continues its record pace, topping $450 million domestically in just nine days and the $1 billion mark worldwide in a record 11 days. Among the weekend’s new wide releases, MGM and Lionsgate‘s Overboard remake delivered a solid debut in the runner-up position while Focus‘s Tully and Electric Entertainment‘s Bad Samaritan delivered disappointing debuts in the low single digits.
With an estimated $112.4 million, Disney and Marvel‘s Avengers: Infinity War is once again the king of the weekend box office, topping its nearest competitor by nearly $100 million, and delivering the second largest second weekend ever. The film’s domestic gross now stands at $450.8 million after just ten days in release, pacing behind only Star Wars: The Force Awakens which reached that mark in just nine days.
Internationally, Infinity War remained the #1 western release in every territory in which it has been released, posting an estimated $162.6 million from 54 overseas markets this weekend for a global weekend totaling $275.1 million, bringing the film’s worldwide cume to a massive $1.16 billion.
The lone new major market for Infinity War this weekend was the Thursday release in Russia where it set a new opening weekend record topping the previous best posted by Pirates of the Caribbean: Dead Men Tell No Tales, delivering an estimated $17.6 million, already exceeding the lifetime cume of Captain America: Civil War in the market. South Korea continues to lead the way internationally where the film has brought in $69.1 million followed by the UK ($67.2m), Mexico ($48.7m), Brazil ($44.3m) and India ($35.7m). The film releases in China next weekend on May 11 where, using current exchange rates, Civil War debuted with $98 million, Avengers: Age of Ultron debuted with $84 million and Black Panther debuted with $66 million.
Overall, Infinity War‘s 11 day run to $1 billion worldwide is the fastest of any film in history and the sixth Marvel title to reach that mark and 17th for Walt Disney Studios. A total of 34 films have crossed $1 billion at the worldwide box office, see the full list here.
In second is MGM and Lionsgate‘s Pantelion Films‘s release of Overboard, a contemporary remake of the 1987 film starring Kurt Russell and Goldie Hawn. This time the roles were reversed with Anna Faris starring opposite Latin star Eugenio Derbez and the film brought in an estimated $14.75 million from just 1,623 locations. The performance is a bit behind Mojo‘s weekend forecast, but ahead of the studio’s opening weekend expectations. The film received an “A-” CinemaScore from opening weekend audiences which were 61% female and 83% were over the age of 25.
Paramount‘s A Quiet Place finished in third position as the hit horror continues its impressive run with an estimated $7.6 million this weekend for a domestic cume just shy of $160 million. Additionally, the film brought in an estimated $4.1 million internationally this weekend, bringing its worldwide cume to $255.3 million.
Amy Schumer‘s I Feel Pretty finished in fourth with an estimated $4.9 million for a domestic cume that now totals $37.8 million.
Rounding out the top five is Warner Bros. and New Line‘s Rampage with an estimated $4.6 million for a domestic cume that is now just shy of $85 million. Additionally, Rampage added $13.7 million internationally, bringing its global cume to $377.9 million with releases in Germany (May 10) and Japan (May 18) in the near future.
Just outside the top five, Focus Features‘s release of Jason Reitman‘s Tully brought in an estimated $3.18 million from 1,353 theaters. The performance is right in the middle of industry expectations, but still something of a disappointment as the studio went with a wide opening weekend rather than use the film’s positive reviews and go with a platform release, attempting to bank on word of mouth. The film played to audiences that were 60% female vs. 40% male with 67% of the audience coming in at 30 years of age or older.
Behind Tully in seventh position is Disney and Marvel‘s Black Panther, which delivered a strong $3.1 million, pushing the film’s domestic cume over $693 million, just $7 million shy of becoming only the third film to ever reach $700 million domestically.
And rounding out the top ten is Electric Entertainment‘s release of Bad Samaritan, pulling in an estimated $1.76 million from 2,007 theaters for a disappointing $876 per theater average. While far from the worst opening average of all-time, it is the tenth worst for a film opening in 2,000 theaters or more as well as one of the ten worst openings ever for a film debuting in 2,000+ locations. Opening day audiences gave the film a “B-” CinemaScore.
In limited release, Magnolia‘s RGB, a documentary on Justice Ruth Bader Ginsburg from directors Julie Cohen and Betsy West, delivered an estimated $560,000 from 34 theaters ($16,471 PTA) and will expand to 150 locations this coming Friday and expand even further the following weekend, targeting 300 screens on May 18.
Additionally, Sony‘s release of 102 Not Out opened with an estimated $480,000 ($4,706 PTA); Music Box‘s release of The Guardians debuted with an estimated $7,199 from one theater; and Super‘s Racer & the Jailbird opened in two theaters with an estimated $2,222.
Next weekend is Mother’s Day weekend and a pair of offerings should see solid business beginning with the release of Universal‘s Breaking In starring Gabrielle Union in ~2,500 locations and Melissa McCarthy‘s latest comedy Life of the Party, which Warner Bros. and New Line will debut in ~3,500 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Avengers: Infinity War | $112.5M | $450.8M | 2 |
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Overboard | $14.8M | $14.8M | 1 |
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A Quiet Place | $7.6M | $159.9M | 5 |
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I Feel Pretty | $4.9M | $37.8M | 3 |
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Rampage | $4.6M | $84.8M | 4 |
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Tully | $3.2M | $3.2M | 1 |
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Black Panther | $3.1M | $693.1M | 12 |
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Truth or Dare | $1.9M | $38.2M | 4 |
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Super Troopers 2 | $1.8M | $25.4M | 3 |
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Bad Samaritan | $1.8M | $1.8M | 1 |
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‘Solo: A Star Wars Story’ Looking to Beat the Opening Weekend for ‘Rogue One’!!!
There was some concern that people might be a little cold on Solo: A Star Wars Story so soon after Star Wars: The Last Jedi. But initial tracking projects show that people haven’t burned out yet on going to a galaxy far, far away.
According to Deadline, industry projections have Solo raking in over $170 million on its four-day holiday weekend. That puts it well ahead of Rogue One: A Star Wars Story, which earned $155 million on its opening day weekend. Even in the tracking fluctuates and the projections drop to only $150 million on the weekend, that will still be good enough to give Solo the record for Memorial Day weekend, beating out Pirates of the Caribbean: At World’s End ($139.8 million) and Indiana Jones and the Kingdom of the Crystal Skull ($126.9 million).
Ultimately, what Solo will be judged against are other recent Star Wars movies, and specifically Rogue One. The past three Star Wars movies have had the benefit of a December opening, so they get to rake in the holiday dollars and they have almost no competition for January and some of February. Rogue One ultimately pulled in $532 million domestic and $1 billion worldwide, so Solo definitely has an uphill climb, especially when facing June tentpoles like Incredibles 2 and Jurassic World: Fallen Kingdom.
Perhaps the excitement over Solo shouldn’t be too surprising. The advertising thus far has made it look like a solid action-comedy featuring characters people already love like Han, Chewie, and Lando. Even if you look at the marketing and think Disney should have made a Lando movie instead of a Han Solo movie, you’re still going to go see Solo.
Solo opens May 25th and stars Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo, and Paul Bettany.
Here’s the official synopsis for Solo: A Star Wars Story:
Board the Millennium Falcon and journey to a galaxy far, far away in “Solo: A Star Wars Story,” an all-new adventure with the most beloved scoundrel in the galaxy. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo befriends his mighty future copilot Chewbacca and meets the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.
via Collider
‘Avengers: Infinity War’ Scores Biggest Opening Weekend of All-Time With $630M at the Worldwide BO!!!
Audiences assembled worldwide as Disney and Marvel’s Avengers: Infinity War broke both the domestic opening weekend box office record and worldwide opening record with a massive $250 million domestically and $630 million worldwide. In its wake, the majority of films on the weekend box office chart fell dramatically, though fellow Marvel Cinematic Universe release Black Panther improved its position from eighth place last weekend to a spot in this weekend’s top five, truly making this a Marvel-ous weekend.
Infinity War’s opening weekend bests the previous record of $247.9 million set by Star Wars: The Force Awakens back in December 2015 by just over $2 million, but it’s also worth mentioning Disney under-estimated Black Panther‘s $202 million opening by nearly $10 million on Sunday. The studio also under-estimated The Avengers‘s performance by $7 million and under-estimated Avengers: Age of Ultron by $3.6 million. As such, don’t be surprised to see Infinity War‘s debut blossom come actuals on Monday afternoon. At this moment, the film accounts for 84.4% of the domestic top twelve, second only to Ultron’s 84.5% market share.
Additional domestic records of note include the largest single Saturday gross, largest single Sunday gross, largest April opening, largest Spring opening, widest PG-13 release and fastest film to $150, $200 and $250 million.
Internationally, Infinity War delivered a monstrous $380 million from approximately 72% of the international marketplace. The debut is the second largest to Fate of the Furious though its important to note that film had the benefit of China grosses over its opening weekend, which represented $185 million (41.7%) of its $443 million international debut. Altogether, Infinity War‘s global debut reached $630 million, shattering the previous record of $541.9 million set by Fate of the Furious and doing so without China, where the film will open on May 11.
Highlights from Infinity War‘s international debut include #1 openings in all territories led by the UK with $42.2m followed by South Korea ($39.2m*), Mexico ($25.1m*), Australia ($23.0m), Brazil ($18.8m*), India ($18.6m), France ($17.7m), Germany ($14.7m), Philippines ($12.5m*), Italy ($11.0m), Thailand ($10.0m*), Indonesia ($9.6m*), Taiwan ($9.5m), Japan ($9.0m), Malaysia ($8.4m*) and Spain ($8.3m). The film also delivered the #1 international IMAX debut ever, excluding China, with a total of $41 million globally from $22.5 million domestically and $18.5 internationally. Prior to the film’s opening in China, Infinity War will open in Russia next weekend.
Looking ahead, Infinity War received an “A” CinemaScore from opening day audiences. Audiences were 58% male with 58% of the overall audience coming in over the age of 25. In terms of what to expect domestically, using multipliers from previous films in the MCU, a domestic performance over $600 million seems a given, but how much higher than that is unclear. A performance similar to Avengers: Age of Ultron would actually result in a domestic run right at $600 million, while comparisons to only Captain America: Civil War and Iron Man 3 would result in a domestic total below that mark.
All told, Infinity War‘s estimated $630 million worldwide opening means the 19 films so far released in the Marvel Cinematic Universe have now amassed nearly $15.5 billion combined.
Finishing in second is Paramount’s A Quiet Place, serving as the only film on the weekend chart to top double digits in the face of Infinity War. The film brought in an estimated $10.65 million for a cume just a couple million shy of $150 million. Looking at the list of supernatural horror films, this makes A Quiet Place the fifth largest ever and it will soon top 2000’s What Lies Beneath ($155.4m).
Internationally, A Quiet Place added an estimated $6.6 million this weekend from 57 markets, pushing the international cume to $87.2 million for a worldwide tally topping $235 million.
STX‘s I Feel Pretty landed in third, delivering an estimated $8.1 million for its sophomore session, a 49% drop compared to last weekend, resulting in a cume that currently sits just shy of $30 million.
In fourth is Warner Bros.’s and New Line’s Rampage, which dropped a hefty 65% for an estimated $7.1 million weekend and a domestic cume that now stands at $77.9 million. Internationally, Rampage added an estimated $16.2 million this weekend, pushing its international total to $256.7 million for a global cume totaling $334.6 million. The film opens in France this coming Wednesday.
Rounding out the top five is Disney and Marvel‘s Black Panther, which enjoyed a nice bump thanks to its fellow MCU title, delivering an estimated $4.38 million, signaling just an 11% drop compared to last weekend as the film’s cume is now at a massive $688 million domestically. This is also the first time since The Incredible Hulk debuted in 2008 that two films in the Marvel Cinematic Universe find themselves in the weekend top ten at the same time.
Just outside the top five, after a stellar debut, Super Troopers 2 dipped 76% in its second weekend with an estimated $3.6 million for a domestic cume just over $22 million, surpassing the original’s $18.5 million after just ten days in release.
Bleecker Street‘s Disobedience topped the weekend’s new limited releases, bringing in an estimated $241,276 from five theaters for a strong $48,255 per theater average. The film played in New York and LA this weekend and will be expanding to ten additional markets next weekend.
Additionally, IFC‘s Let the Sunshine In brought in an estimated $40,267 from two New York theaters ($20,133 PTA); The Orchard’s Kings debuted with $173,113 from 214 theaters ($809 PTA); and Duck Butter, also from The Orchard, opened in two theaters with an estimated $3,360 ($1,680 PTA).
Next weekend will see a trio of films hitting a moderate number of theaters each including Jason Reitman‘s Tully reuniting the director with screenwriter Diablo Cody and star Charlize Theron. Lionsgate will release their Overboard remake starring Eugenio Derbez and Anna Faris and Electric Entertainment is releasing the horror/thriller Bad Samaritan into ~1,800 locations, the widest new release of the weekend.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Avengers: Infinity War | $250.0M | $250.0M | 1 |
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A Quiet Place | $10.7M | $148.2M | 4 |
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I Feel Pretty | $8.1M | $29.6M | 2 |
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Rampage | $7.1M | $77.9M | 3 |
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Black Panther | $4.4M | $688.0M | 11 |
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Super Troopers 2 | $3.6M | $22.1M | 2 |
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Truth or Dare | $3.2M | $35.3M | 3 |
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Blockers | $2.9M | $53.2M | 4 |
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Ready Player One | $2.4M | $130.7M | 5 |
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Traffik | $1.6M | $6.8M | 2 |
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‘Deadpool 2’ Tracking for Huge $150M Summer Debut at the BO!!
Ryan Reynold‘s Deadpool 2 is tracking for a huge $150 million opening in North America over the May 18-20 weekend.
That’s ahead of the first film, which launched to $132.4 million in February 2016 on its way to earning $783 million at the worldwide box office in a sizable victory for Reynolds and 20th Century Fox. Deadpool stands as the top-grossing R-rated film of all time, not adjusted for inflation.
This time, the irreverent superhero is braving summer.
David Leitch directs the follow-up, which sees Deadpool form a team of mutants — the X-Force — to save a young mutant from the time-traveling soldier Cable.
Deadpool 2 stars series newcomers Josh Brolin (Cable) along with Zazie Beetz (Domino) and Julian Dennison.
In addition to Reynolds, returning castmembers include Morena Baccarin (Vanessa), T.J. Miller (Weasel), Stefan Kapicic (Colossus), Brianna Hildebrand (Negasonic Teenage Warhead), Leslie Uggams (Blind Al) and Karan Soni (Dopinder).
Deadpool 2 came on tracking Thursday morning just as 20th Century Fox prepared to take the stage at CinemaCon in Las Vegas to plug its upcoming slate. With the Disney-Fox merger looming, it could be the last time that the studio has a stand-alone presentation at the annual gathering of theater owners.
via The Hollywood Reporter
‘Infinity War’ Tracking for Massive $225+ Million Opening Weekend!!!
Marvel’s about to make some big-time bank, y’all. The box office predictions for Avengers: Infinity War just keep crawling upwards, and considering the MCU epic was already on track to be one of the biggest blockbuster openings of all time, that’s quite a feat.
Per Variety, the latest tracking numbers have Infinity War eyeing debut weekend of $225 million to $245 million domestically, with a possibility of crossing the $250 million mark. Should it fall into the end of that range, Infinity War could become the biggest debut of all time.
For now, that title belongs to another Disney join, Lucasfilm’s Star Wars: The Force Awakens, which opened in 2015 to a staggering $247.96 million, and went on to gross just shy of $1 billion domestically and more than $2 billion worldwide. Last year’s Star Wars: The Last Jedi holds down the No. 2 spot with a $220 million opening. That film went on to gross over $1 billion worldwide.
Much like The Force Awakens, Infinity War has years of build up behind it, the first half of a two-part Avengers arc that acts as the culmination for a decade of films at Marvel Studios. Regardless of whether the superhero epic can top Star Wars numbers, the film is on track to become one of just five other films that have crossed the $200 million opening mark. Four of those films come from Disney (The Force Awakens, The Last Jedi, The Avengers, and Black Panther), with Jurassic World standing as the odd-man-out.
If you want to see how Infinity War‘s tracking stands up, you can check out the full Top 10 highest box office debuts below.
1. Star Wars: The Force Awakens – $247,966,675
2. Star Wars: The Last Jedi – $220,009,584
3. Jurassic World – $208,806,270
4. Marvel’s The Avengers – $207,438,708
5. Black Panther – $202,003,951
6. Avengers: Age of Ultron – $191,271,109
7. Captain America: Civil War – $179,139,142
8. Beauty and the Beast (2017) – $174,750,616
9. Iron Man 3 – $174,144,585
10. Harry Potter and the Deathly Hallows – Part 2 – $169,189,427
We’ll have to wait and see if Infinity War‘s epic scope and event status can launch it to the top of the list, but it’s pretty much a guarantee that this one’s going to break some records.
via Collider
‘A Quiet Place’ Takes Back #1 Spot, As ‘I Feel Pretty’ and ‘Super Troopers 2’ Open Above Expectations at the BO!!
Early on it looked as if it might be a tight race for the weekend #1, and while the margin was slim, in the end A Quiet Place settled into the spot, topping last weekend’s champion Rampage. STX‘s I Feel Pretty settled into third over its debut weekend, delivering results a shade over expectations, narrowly topping the outstanding performance from Fox Searchlight‘s Super Troopers 2, which more than doubled expectations.
With an estimated $22 million, Paramount‘s A Quiet Place topped the weekend as its domestic cume climbs to an outstanding $132.4 million after just 17 days in release. For comparison, Split and The Conjuring finished with $138.2 million and $137.4 million respectively over the course of their entire domestic runs. In fact, A Quiet Place is now Paramount‘s highest grossing domestic release since 2016’s Star Trek Beyond ($158.8m) as it topped the $130.1 million brought in by Transformers: The Last Knight last year.
Internationally, A Quiet Place added $15 million this weekend for an international cume just shy of $75 million and a global tally now over $207 million. New openings included a $891k #2 finish in Spain and a third place finish in Vietnam with an estimated $302k. Leading the way is the UK where the film’s cume now stands at an estimated $11.7 million followed by Australia with an estimated $6.78 million cume. The film opens in China on May 18 followed by releases in France (6/20) and Japan (9/14).
Warner Bros. and New Line‘s Rampage finished in second place with an estimated $21 million, dropping 41% over its sophomore frame. The film’s domestic cume now stands at $66 million. Internationally, the film added an estimated $57 million this weekend from 61 markets, pushing its international cume to $216.4 million for a $283 million global tally. Among highlights, China crossed $100 million with another ~$27 million this weekend while also maintaining a #1 ranking in Korea ($10.2m cume), the UK ($9.1m cume) and Mexico ($9.6m cume). Upcoming key markets include a May 2 release in France, a May 10 release in Germany and a May 18 release in Japan.
STX‘s release of Amy Schumer‘s I Feel Pretty finished in third for the weekend, bringing in an estimated $16.2 million, coming in slightly ahead of Mojo‘s pre-weekend expectations, but within the anticipated performance range. While the film’s opening is below the $19.5 million and $30 million debuts for Schumer‘s Snatched and Trainwreck respectively, I Feel Pretty‘s PG-13 rating makes this a difficult comparison to those two R-rated features.
Super Troopers 2 landed in fourth with an impressive $14.7 million from just 2,038 locations. The $13.5 million production was marketed by Fox Searchlight and distributed by Fox and the film’s debut is well ahead of pre-weekend expectations, which were pretty much blown away by end of day Friday. Arriving 16 years after the original film, Super Troopers 2 clearly has a supportive following as the sequel has almost already reached the $18.5 million overall domestic run for the original in just three days. Opening weekend demographics show the film played to an audience that was 64% male and of the overall audience, 75% were between the ages of 25-49.
Looking ahead, it will be interesting to see what kind of legs Super Troopers 2 has. The film’s debut tops the $13.8 million opening for Zoolander 2, which went on to gross $28.8 million. On the other hand, Harold and Kumar Escape from Guantanamo Bay opened with $14.9 million and grossed $38.1 million. Those two comedy sequels considered, an anticipated run anywhere from $30-40 million would seem fair.
Rounding out the top five is Universal‘s release of the Blumhouse thriller Truth or Dare, which dropped 58% in its second weekend for an estimated $7.9 million, pushing the film’s domestic cume just over $30 million after ten days in release.
Outside the top five, WB‘s Ready Player One added another $7.5 million domestically for a cume topping $125 million. Internationally the film added an estimated $23 million for an overseas cume just shy of $400 million and a running global tally totaling $521.6 million.
Disney and Marvel‘s Black Panther brought in an estimated $4.6 million, dropping just 20% for its tenth straight weekend in the top ten. The film’s domestic cume now totals over $680 million and with an international total approaching $645 million, the film’s worldwide tally now totals $1.324 billion. Black Panther‘s domestic total accounts for nearly 20% of 2018’s overall box office and with Avengers: Infinity War hitting theaters in just five days this could be the first time since The Incredible Hulk in 2008 that two films in the Marvel Cinematic Universe find themselves in the weekend top ten at the same time.
From Lionsgate‘s Codeblack Films, Traffik debuted with an estimated $3.87 million, on par with expectations. The film received a “B” CinemaScore from opening day audiences and the audience was 52% female and 92% of the overall audience was 25 years or older.
Just outside the top ten is Great India Films‘s release of Bharat Ane Nenu brought in an estimated $2.85 million from 305 theaters for a solid $9,344 per theater average.
In limited release, Cohen Media‘s Godard Mon Amour brought in an estimated $12,646 from four theaters ($3,162 PTA); The Orchard‘s The Devil and Father Amorth delivered an estimated $10,851 from eight locations ($1,356 PTA); and Cinema Libre Studio‘s Lou Andreas-Salome, the Audacity to be Free brought in an estimated $5,000 from one theater.
Next weekend sees the release of Avengers: Infinity War into approximately 4,200 theaters. Talk of a record breaking opening weekend is already growing thanks to impressive pre-sales as summer looks to start early once again.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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A Quiet Place | $22.0M | $132.4M | 3 |
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Rampage | $21.0M | $66.6M | 2 |
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I Feel Pretty | $16.2M | $16.2M | 1 |
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Super Troopers 2 | $14.7M | $14.7M | 1 |
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Truth or Dare | $7.9M | $30.4M | 2 |
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Ready Player One | $7.5M | $126.2M | 4 |
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Blockers | $7.0M | $48.3M | 3 |
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Black Panther | $4.6M | $681.1M | 10 |
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Traffik | $3.9M | $3.9M | 1 |
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Isle of Dogs | $3.4M | $24.4M | 5 |
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‘Rampage’ Tops Weekend as ‘A Quiet Place’ Continues Strong at the BO!!!
It was nearly an upset at the weekend box office, but Warner Bros. and New Line‘s Rampage was able to hold off a strong second weekend from Paramount‘s hit horror/thriller A Quiet Place to take the weekend’s #1 spot. But that doesn’t discount the fact A Quiet Place is less than $400k shy of topping $100 million domestically after just ten days in release. Additionally, Blumhouse‘s Truth or Dare delivered a solid, third place debut.
With an estimated $34.5 million, Warner Bros. and New Line‘s Rampage delivered a first place finish from 4,101 theaters. Looking at some of the comps we used heading into the weekend, this is a bit ahead of the $31.7 million opening for Tom Cruise‘s The Mummy last year, which went on to gross just over $80 million and an improvement over Dwayne Johnson‘s Hercules, which opened with $29.8 million in 2014 and grossed just over $72 million domestically.
Looking ahead, Rampage really only has one more weekend to have much of an impact at the box office with Avengers: Infinity War debuting in two weeks. Rampage already had to shift its release date when Disney moved Infinity War to April 27 and this relatively soft debut for the $120 million production doesn’t bode well for its future domestically and perhaps even internationally where the film brought in an estimated $114.1 million from 61 markets this weekend. Leading the way was an estimated $55 million opening in China followed by the UK ($5.7m), Korea ($5.7m), Mexico ($4.8m) and Malaysia ($3.5m). The film will open in France on May 2 followed by releases in Germany (May 10) and Japan (May 18).
Rampage‘s opening weekend demos show the film playing to an audience that was 55% male vs. 45% female with 63% of the audience coming in over the age of 25. Audiences gave the film an “A-” CinemaScore.
With an estimated $32.6 million in its sophomore frame, Paramount‘s A Quiet Place finished the weekend with a domestic cume just shy of $100 million after just ten days in release. Assuming actuals push the film’s Sunday cume over the century mark, A Quiet Place will have reached $100 million nine days faster than Split and six days faster than The Conjuring, which went on to gross $138.2 million and $137.4 million respectively. Even if it isn’t until Monday that the film tops $100 million, the pace at which it is performing is spectacular nonetheless.
Most importantly, the film’s performance is something Paramount Pictures really needed as it already looks as if it will be the studio’s highest grossing release since Star Trek Beyond, which brought in $158.8 million after releasing in July of 2016. Should it top that mark, the next highest gross would be Mission: Impossible – Rogue Nation‘s $195 million performance in July 2015. That’s impressive to say the very least.
Internationally, A Quiet Place added an estimated $22.3 million from 55 markets for an overseas cume reaching $51.7 million and a global tally that now stands at $151.3 million. Based on current exchange rates, the film is pacing 76% ahead of Don’t Breathe, 57% ahead of Get Out, 50% ahead of Lights Out, 7% ahead of The Conjuring and 10% behind Split.
In third is Universal and Blumhouse‘s Truth or Dare, delivering an estimated $19 million from 3,029 locations. Perhaps the most impressive aspect of this opening is that it did it alongside A Quiet Place as both films enjoyed solid weekend performances. The film’s debut is just a bit shy of the $19.8 million opening for Ouija, which went on to gross just over $50 million. Opening weekend audiences gave the film a “B-” CinemaScore and saw a demo breakdown that was 60% female vs. 40% male with 40% of the audience coming in over the age of 25.
Internationally, Truth or Dare debuted in seven markets and brought in an estimated $2.6 million including $1.3 million in the UK and Ireland, tracking ahead of The Visit and on par with other Blumhouse originals such as The Purge and Happy Death Day. The film opens next week in 18 additional markets and continues its international rollout over the next few months.
Warner Bros. release of Steven Spielberg‘s Ready Player One finished in fourth with an estimated $11.2 million. The film’s domestic cume now stands just shy of $115 million after 18 days in release and is currently pacing relatively similarly to The Last Airbender and Divergent, which finished with$131.7 million and $150.9 million respectively. Internationally, the film added an estimated $33.8 million this weekend in 65 overseas markets taking the international cume to $360.2 million for a worldwide gross just shy of $475 million with the film opening in Japan this coming weekend.
Rounding out the top five is Universal‘s R-rated comedy Blockers, which dropped a somewhat surprising 50% in its second weekend for an estimated $10.3 million, pushing the film’s domestic cume just shy of $37 million. Internationally, the film added six more markets this weekend where it brought in an estimated $3.9 million from 21 overall territories for an international cume totaling $16 million.
Elsewhere in the top ten, Fox Searchlight‘s nationwide expansion of Wes Anderson‘s Isle of Dogs delivered an estimated $5 million from 1,939 theaters (+1,385) for a domestic cume totaling $18.4 million. The film also expanded internationally where it is now playing in six markets, debuting in France with an estimated $821k and Australia with $713k. Overall the international cume now stands at $8.7 million with releases in China and Spain set for next weekend.
Outside the top ten, Bleecker Street‘s release of Beirut brought in an estimated $1.65 million from 755 locations this weekend for a domestic cume totaling just over $2 million after debuting on Wednesday.
In limited release, Sony Classics‘s The Rider brought in an estimated $45,268 from three theaters ($15,089 PTA).
Lastly, this weekend saw Walt Disney Studios cross $2 billion at the global box office with the release of Avengers: Infinity War right around the corner as the studio will continue to expand on its global box office dominance.
Next weekend sees the release of Amy Schumer‘s I Feel Pretty from STX in over 3,200 theaters; Fox Searchlight‘s release of Super Troopers 2 in ~2,000 locations; and Lionsgate will release Traffik into ~1,000 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Rampage | $34.5M | $34.5M | 1 |
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A Quiet Place | $32.6M | $99.6M | 2 |
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Truth or Dare | $19.1M | $19.1M | 1 |
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Ready Player One | $11.2M | $114.6M | 3 |
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Blockers | $10.3M | $36.9M | 2 |
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Black Panther | $5.3M | $673.8M | 9 |
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Isle of Dogs | $5.0M | $18.5M | 4 |
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I Can Only Imagine | $3.8M | $75.0M | 5 |
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Acrimony | $3.7M | $37.9M | 3 |
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Chappaquiddick | $3.0M | $11.0M | 2 |
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‘Jumanji: Welcome to the Jungle’ Becomes Sony’s Highest-Grossing Film of All-Time at the Domestic BO!!
Forecasts for Jumanji: Welcome to the Jungle may have been optimistic, but few could have predicted the runaway box office success of the legacyquel. Last night, the movie crossed $403.714 million at the domestic box office, which makes it Sony Pictures’ highest-grossing picture domestically, beating out a record set by Spider-Man way back in 2002. To put that in even greater perspective, that means on its way to the top, Jumanji beat out every single Spider-Man movie, Skyfall, Men in Black, and Ghostbusters.
This is a massive accomplishment for everyone involved, and when you see the movie, it’s not too surprising. Jumanji: Welcome to the Jungle is a crowdpleaser, and it’s a fun film to watch. It makes sense that families would not only see the movie during the crowded holiday season, but also treat it to repeat viewings. It’s a movie where you can take your kids to enjoy it and not have to worry about anything too dark or disturbing upsetting them. Plus you’ve got the star-power of Dwayne Johnson, Kevin Hart, and Jack Black and the comic chops of director Jake Kasdan. We shouldn’t be surprised that Welcome to the Jungle is a hit, but it’s still a bit stunning that it turned out to be such a massive hit.
The film also fared well overseas, pulling in $950 million worldwide, landing at the 42nd highest grossing film worldwide of all-time. Not too bad for a movie with no superheroes and only a single movie from the mid-90s to help promote the brand (and, let’s be honest, Robin Williams was the big draw for that movie).
Unsurprisingly, a sequel is currently in development with Dwayne Johnson and his co-stars set to return. Scott Rosenberg and Jeff Pinkner are writing the script, and I hope that Sony also gets Kasdan back on board. No word yet on when the sequel might hit theaters, but I wouldn’t be surprised to see it land in either late 2019 or summer 2020.
via Collider
‘Ready Player One’ Racing To $400M WW; Scores $161M In China For WB Best International BO!!!
After beginning its quest in 62 markets last weekend, Warner Bros/Village Roadshow’s Ready Player One maintained the high score at the international box office, grossing $81.7M to lead the chart this session. That sets the Steven Spielberg pic on track for $300M overseas and $400M global in the coming days. The total cumes through Sunday are $294.4M offshore with $391.3M worldwide.
Elsewhere, Paramount’s A Quiet Place, which announced itself at $50M+ domestically, also made noise in its offshore bow. In 40 markets, the John Krasinski-helmed horror title belted out a $21M opening. Comping in like-for-like markets, the full weekend gross is 79% above the debut of Get Out, 70% ahead of Don’t Breathe and on par with Split. Horror fans in Latin America gave the Krasinski/Emily Blunt-starrer strong starts while the UK was the biggest dollar debut at $3.6M. There are many majors to come throughout April and into the summer.
Meanwhile, the vocal stylings of Disney/Pixar’s Coco are bringing it closer to the $800M worldwide mark, now at $790.1M with continued play in Japan. Also in Japan, Fox/Chernin’s The Greatest Showman has topped $40M as the Hugh Jackman musical dances towards $250M international. But smoldering intensity won the day in Japan this weekend as Jumanji: Welcome To The Jungle finally swung into its final market. The opening helped lift the worldwide cume on Sony’s smash to $950M.
Next weekend, Dwayne Johnson returns to wide international release with Warner Bros/New Line’s sci-fi monster actioner Rampage. The pic reteams the global box office star with his San Andreas director Brad Peyton and grabbed a China day-and-date release for April 13.
via Deadline
‘Infinity War’ Tracking to Open North of $200 Million at the BO!!!
In a surprise to absolutely no one, the first tracking for Avengers: Infinity War has the film pegged for a monumental opening weekend at the box office. Per THR, Disney insiders are suggesting an opening weekend in the range of $175 million to $200 million, but studios are notoriously conservative with these kinds of numbers so as not to see the actual results become underwhelming. So that means we’re likely looking at an opening weekend over $200 million for the highly anticipated MCU sequel.
Only five movies ever have opened over $200 million, not adjusting for inflation. The first to do so, fittingly, was 2012’s The Avengers—the crossover event that proved the Marvel Cinematic Universe could work. Here’s what the current Top 10 opening weekends of all time looks like:
1. Star Wars: The Force Awakens – $247,966,675
2. Star Wars: The Last Jedi – $220,009,584
3. Jurassic World – $208,806,270
4. Marvel’s The Avengers – $207,438,708
5. Black Panther – $202,003,951
6. Avengers: Age of Ultron – $191,271,109
7. Captain America: Civil War – $179,139,142
8. Beauty and the Beast (2017) – $174,750,616
9. Iron Man 3 – $174,144,585
10. Harry Potter and the Deathly Hallows – Part 2 – $169,189,427
The “oldest” movie on this list is the final Harry Potter movie, which opened seven years ago. The increasing frequencies of breaking opening weekend records is largely a consequence of studios’ high risk/high reward model. No longer do studios routinely make mid-budget dramas; instead they invest a ton of money in “event” films that have to make $500 million just to break even. So a $200 million opening weekend is great to be sure, but it’s just a fraction of the way towards profitability, whereas something like a modestly budgeted IT opening to $123 million is in some ways even more impressive.
Infinity War brings together nearly every MCU character we’ve seen thus far, and so it seems fair to assume it’ll surpass the opening weekends of both Avengers movies, and could even soar to Force Awakens levels. Can it break $247 million? Marvel’s M.O. has been to surpass expectations at every turn, so it’d be foolish to think that’s out of the question.
Then of course we have to ask how high this thing will go during its theatrical run. Many are saying that beating Black Panther’s domestic total of $655.6 million is a given, but I’m not so sure. Infinity War is the “bigger” movie, but it also has less legroom. It has about three weeks alone in terms of blockbuster openings, but then we get Deadpool 2, Solo: A Star Wars Story, Ocean’s 8, and Incredibles 2 to start crowding the marketplace. Black Panther, meanwhile, had a ton of runway to entice fans to keep coming back. So we’ll see.
For now, though, we can pretty much guarantee that Infinity War’s opening weekend box office is going to make history.
via Collider
‘A Quiet Place’ Tops ‘Ready Player One’ with Huge $50 Million Opening at the BO!!!
With a $50 million debut, Paramount‘s A Quiet Place finished atop the weekend box office in impressive fashion and while Universal‘s Blockers didn’t deliver even half of what A Quiet Place did, the film’s $21 million debut was a solid start for the low budget R-rated comedy. The weekend also saw a very strong hold for Warner Bros.’s Ready Player One and Disney and Marvel‘s Black Panther topped Titanic this weekend to become the third highest grossing domestic release of all-time.
Paramount‘s horror/thriller A Quiet Place debuted with an estimated $50 million, topping the weekend box office and delivering the year’s second largest three-day opening. The $17 million production was written and directed by John Krasinski who also starred in the feature alongside Emily Blunt, and it received nearly unanimous praise from critics while opening weekend audiences gave the film a “B+” CinemaScore. The opening weekend audience breakdown was 49% male vs. 51% female with 63% of the crowd coming in aged 25 or older. As for that $50 million figure, don’t be surprised to see it climb a million or so once actuals arrive on Monday afternoon.
Looking ahead, the film’s debut is larger than any film in the Conjuring franchise, topping the $41 million debut for The Conjuring and $40 million debut for its sequel. Both films went on to gross over $100 million with The Conjuring topping $135 million. The film’s opening is also much higher than the $40 million debut for the smash hit Split, which went on to deliver nearly $140 million domestically just last year. Overall, the film’s opening is one of the best all-time for a horror film, besting all but Paranormal Activity 3 in the Paranormal franchise, all the Insidious films and more.
Internationally, A Quiet Place rolled out in 40 markets this weekend and brought in an estimated $21 million, for a global debut over $70 million. Leading the way was the UK with an estimated $3.6 million followed by Mexico ($2.7m); Australia ($2m); Brazil ($1.9m); and Taiwan ($1.1m). Paramount reports the film’s opening in these markets on a “like for like basis” is 79% ahead of Get Out, 70% ahead of Don’t Breathe, 46% ahead of Lights Out, 14% ahead of The Conjuring and on par with Split. Major markets where the film has yet to open include Russia, Korea and Germany where it will release on April 12, followed by releases in Spain (April 20), France (June 20) and Japan (Oct 19).
Finishing in second is Warner Bros.‘s Ready Player One with an estimated $25 million, dropping just 40% in its second weekend as the film’s domestic gross now stands just shy of $97 million. The performance signals solid word of mouth, particularly considering the film opened over four days last weekend, which can often dampen a film’s second weekend, but this one has clearly impressed audiences, encouraging others to see it.
Ready Player One‘s international roll-out held on strong as well, dropping ~35% in holdover markets (-39% excluding China) and generating an estimated $81.7 million this weekend from 65 territories. The film’s international cume now totals nearly $295 million, pushing the worldwide tally to $391.3 million. The last key market the film has yet to open in is Japan, where it will debut on April 20.
Universal‘s R-rated comedy Blockers debuted in third with an estimated $21.4 million. The opening is on par with 2016’s Neighbors 2 which went on to gross over $55 million and tops the $17 million opening for Game Night earlier this year, which has already gone on to deliver nearly $70 million domestically. The film received a “B” CinemaScore and the opening weekend audience was 51% female and 56% of the overall audience was over the age of 25.
Internationally, Blockers brought in an estimated $3.2 million from 15 markets following a small, five market debut last weekend. The film has 42 markets still to release including Germany next weekend.
Disney and Marvel‘s Black Panther dropped just 27% in its eighth weekend in release, delivering an estimated $8.4 million, pushing the film’s domestic cume over $665 million. As a result, Black Panther has now topped Titanic to become the third highest grossing domestic release of all-time.
Internationally, Black Panther added an estimated $4.5 million this weekend for an international cume that now totals nearly $635 million for a worldwide gross just shy of $1.3 billion.
Rounding out the top five is Roadside‘s I Can Only Imagine, which added theaters for the third weekend in a row and dropped just 20%, delivering an estimated $8.35 million. The film’s domestic cume is now just shy of $70 million.
Elsewhere in the top ten, Entertainment Studios‘ Chappaquiddick outperformed expectations and debuted with an estimated $6.2 million from 1,560 locations. The film received a “B” CinemaScore from opening day audiences with the studio reporting the film performed best with audiences aged 55 and over.
Fox Searchlight‘s Isle of Dogs rounded out the top ten with an estimated $4.6 million as it expanded into 554 locations (+389) for a domestic cume now totaling $12 million. The film will expand nationwide next weekend, playing in 100 markets in ~1,750 theaters.
Just outside the top ten is the last of the weekend’s new wide releases in Mirror and LD Entertainment‘s The Miracle Season, which took in an estimated $4.1 million from 1,707 locations. The film received an “A” CinemaScore from opening day audiences.
Also of note, Sony‘s Jumanji: Welcome to the Jungle added an estimated $430,000 this weekend, pushing the film’s domestic cume to $403.6 million, just $65k shy of Spider-Man and becoming the studio’s largest domestic grossing release of all-time. Additionally, the film opened in Japan this weekend, its final international market, and brought in an estimated $3.9 million as its international cume rises to $546 million for a worldwide tally just shy of $950 million.
In limited release, Amazon Studios‘s You Were Never Really Here led the way in terms of per theater averages, bringing in an estimated $129,911 from three theaters, averaging $43,304 per. A24‘s Lean on Pete had a solid debut with an estimated $50,118 from four locations for a $12,530 per theater average.
Other limited releases include Well Go‘s The Endless with an estimated $8,600 from one theater; Great Point‘s Where is Kyra? brought in an estimated $7,000, also from one location; and Hannover’s Blood Feast opened with $4,020 from the the Laemmle Fine Arts theatre in Beverly Hills.
Next weekend Neon will debut Borg vs. McEnroe; Warner Bros. and New Line will release Rampage starring Dwayne Johnson into over 3,950 locations; Fun Academy will be releasing the animated feature Sgt. Stubby: An American Hero; and Universal will release Blumhouse‘s latest horror feature Truth or Dare into ~3,000 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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A Quiet Place | $50.0M | $50.0M | 1 |
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Ready Player One | $25.1M | $96.9M | 2 |
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Blockers | $21.4M | $21.4M | 1 |
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Black Panther | $8.4M | $665.4M | 8 |
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I Can Only Imagine | $8.4M | $69.1M | 4 |
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Acrimony | $8.1M | $31.3M | 2 |
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Chappaquiddick | $6.2M | $6.2M | 1 |
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Sherlock Gnomes | $5.6M | $33.9M | 3 |
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Pacific Rim: Uprising | $4.9M | $54.9M | 3 |
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Isle of Dogs | $4.6M | $12.0M | 3 |
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Irrfan Khan’s Hindi Medium Crosses 100 Crores in Just 3 days in China!!!
Content is the ultimate king of the box office and Irrfan Khan’s Hindi Medium is time and again proving that. The movie was a super hit in India and now, it’s rocking the Chinese box office as well. Released three days ago, the movie made $ 3.36 million on its first day and the collections almost got doubled in the next two days. On Thursday, HM earned $ 6.28 million and yesterday, it managed to pocket $ 6.16 million and took the grand total to $ 15.80 million i.e. equal to Rs. 103 crores. That’s right, the Irrfan Khan and Saba Qamar starrer has now minted more than 100 crores in just 3 days of its initial release.
Compared to Salman Khan’s Bajrangi Bhaijaan, HM has performed better in all the 3 days. Where BB made $ 8.54 million in its first weekend, with $ 15.80 million, HM is way ahead of it.
For the uninitiated, Hindi Medium traces the story of a couple’s struggle to find an ‘English medium school’ for their daughter. Irrfan plays the father while Saba essays the role of the mother. Deepak Dobriyal also plays a pivotal role in the film.
via BollywoodMDB
‘Black Panther’ Passes ‘Jurassic World’ to Become #4 Movie of All Time at Domestic BO!!!
Avengers: Infinity War may be hitting theaters in a matter of weeks, but the Black Panther train is still rolling. February’s Marvel Studios release surpassed expectations in its first weekend to record-breaking box office, and “surpassing expectations” was the name of the game as the film continued to have a strong hold week after week. The result? It’s the highest grossing Marvel movie ever released domestically, and if it keeps this up it could surpass The Avengers and Avengers: Age of Ultron at the worldwide box office too.
This week’s milestone is two-fold. First, at the domestic box office, Black Panther’s total has hit $652.5 million which puts it ahead of Jurassic World ($652.3 million) to become the #4 movie of all time. This record will be short-lived, as the film will pass Titanic ($659.3 million) in short order to become the #3 movie of all time at the domestic box office. That’s a 20-year-old record that Black Panther is now in line to break, and while catching Avatar or Star Wars: The Force Awakens is probably impossible at this point, the #3 position of all time is not too shabby for a movie about an African superhero. Here’s the full domestic Top 10.
1. Star Wars: The Force Awakens – $963.6 million
2. Avatar – $760.5 million
3. Titanic – $659.3 million
4. Black Panther – $652.5 million
5. Jurassic World – $652.3 million
6. Marvel’s The Avengers – $623.4 million
7. Star Wars: The Last Jedi – $620.1 million
8. The Dark Knight – $534.9 million
9. Rogue One: A Star Wars Story – $532.2 million
10. Beauty and the Beast (2017) – $504 million
The other milestone Black Panther hit this week is it has officially entered the Top 10 Worldwide chart with a global total of $1.27 billion. That’s a massive number, and it’s enough to knock Frozen out of the Top 10. Here’s where the worldwide chart stands:
1. Avatar – $2,788.0
2. Titanic – $2,187.5
3. Star Wars: The Force Awakens – $2,068.2
4. Jurassic World – $1,671.7
5. Marvel’s The Avengers – $1.518.8
6. Furious 7 – $1,516.0
7. Avengers: Age of Ultron – $1,341.5
8. Harry Potter and the Deathly Hallows – Part 2 – $1,341.5
9. Star Wars: The Last Jedi – $1,332.6
10. Black Panther – $1,279.2
How high will Black Panther climb on the worldwide chart, and will Infinity War be able to match its heights? Stay tuned folks.
via Collider
‘Baaghi 2’ Becomes the Biggest Bollywood Opener of 2018!!!
With love ❤ #forevergrateful 🙏😊 #baaghi2 pic.twitter.com/kc07eWTVMG
— Tiger Shroff (@iTIGERSHROFF) April 2, 2018
via SantaBanta
‘Ready Player One’ Tops With $53M Four-Day Debut at the Easter Weekend BO!!!
Coming in on par with Mojo‘s pre-weekend forecast, Steven Spielberg‘s Ready Player One topped the weekend box office and delivered the director’s largest opening weekend in ten years. The weekend also saw a strong second place debut for Lionsgate‘s Acrimony, the latest film from Tyler Perry, while Black Panther and I Can Only Imagine remain in the top five with their continued impressive runs. Not so impressive was the debut for Pure Flix‘s God’s Not Dead: A Light in Darkness, which finished outside the top ten and short of expectations.
At the top of the box office is Steven Spielberg‘s Ready Player One, delivering an estimated $53.2 million four-day after debuting on Thursday, and $41.2 million for the standard three-day weekend for the fifth largest Easter opening ever. The film is the largest opening weekend for Spielberg since the $100 million debut for Indiana Jones and the Kingdom of the Crystal Skull back in 2008. Ready Player One received an “A-” CinemaScore from opening day audiences and played to an audience that was 59% male and 56% of the total audience was over the age of 25.
Looking ahead, the film’s debut compares very similarly to both G.I. Joe: Retaliation and Terminator Salvation, both of which also opened on a Thursday and went on to gross $122 million and $125 million respectively. The question is what kind of assistance word of mouth will do for the film, with the biggest competition it will face over the next few weeks is WB and New Line‘s Rampage on April 13.
Internationally, Ready Player One opened in 62 markets and brought in a healthy $128 million for a strong $181.2 million global debut. Leading the way was an estimated $61.7 million start in China, the largest opening for a Warner Bros. film in the market ever. The film also brought in an estimated $8.1 million in South Korea along with $7.3 million in the UK, $6.1 million in Russia, $6 million in France, $4 million in Mexico, $3.1 million in both Spain and Italy, and $2.2 million in Brazil. Looking ahead, the film opens in Germany this coming Thursday, April 5, followed by an April 20 opening in Japan.
In second, Lionsgate‘s release of Tyler Perry’s Acrimony delivered a healthy $17.1 million from 2,006 theaters for a $8,524 per theater average. The film received an “A-” CinemaScore from opening day audiences and played to a crowd that was 74% female and 85% of the overall audience was over the age of 25. The film’s opening is within the range of Perry‘s The Family that Preys (2008) and For Colored Girls (2010), both of which went on to gross $37 million.
Marvel and Disney‘s Black Panther landed in third position with an estimated $11.2 million, pushing the film’s domestic cume over $650 million. The film currently places as the fifth largest domestic release of all-time and will soon top Jurassic World ($652.2m) and Titanic ($659.3m), likely finishing its domestic run as the third largest domestic release of all-time.
Internationally, Black Panther added an estimated $7.7 million, pushing its global cume to $1.273 billion, passing Beauty and the Beast ($1.26b), now placing eleventh worldwide all-time and will soon enter the top ten once it passes Frozen ($1.277b).
In fourth is Roadside and Lionsgate‘s I Can Only Imagine, which expanded for the second weekend in a row, this weekend playing in 2,648 theaters (+395) and bringing in a strong $10.75 million, pushing the film’s domestic cume over $55.5 million, becoming Roadside‘s largest domestic release ever, topping Manchester by the Sea‘s $47.69 million run in 2017.
Rounding out the top five is Universal and Legendary‘s Pacific Rim Uprising, dropping a hefty 67% for a $9.2 million sophomore weekend. The film’s domestic cume currently stands at $45.6 million after ten days in release.
Elsewhere in the top ten, both Sherlock Gnomes and Love, Simon, held on well in their second and third weekends respectively. Sherlock Gnomes held on better than expected after a soft debut last weekend, delivering an estimated $7 million weekend, pushing the film’s cume to $22.8 million while Love, Simon dropped 37% in its third weekend, finishing with $4.8 million for a domestic cume just over $32 million.
Outside the top ten, Fox Searchlight‘s Isle of Dogs expanded to 165 theaters (+138) and brought in an estimated $2.8 million for a satisfying $17,030 per theater average. The film will expand to 450-500 locations next weekend before going wide on the weekend of April 13.
Also outside the top ten is the disappointing debut for Pure Flix‘s God’s Not Dead: A Light in Darkness. Debuting in 1,693 locations, pre-weekend expectations were for an opening around $4 million, but the film managed just $2.6 million over its first three days, ~$5 million short of the $7.6 million opening for God’s Not Dead 2 in 2016 and more than $6.5 million shy of the $9.2 million opening for the first film back in 2014, despite the fact the first film opened in just 780 theaters.
In limited release, Fox International‘s Baaghi 2 brought in an estimated $580,000 from 123 theaters ($4,715 PTA); Roadside‘s Finding Your Feet opened with $61,295 on 14 screens ($4,378 PTA); Neon debuted Gemini in four theaters where it opened with an estimated $34,184 ($8,546 PTA); The Orchard‘s Outside In brought in $11,339 from nine theaters ($1,260 PTA); IFC opened Love After Love in one location with an estimated $11,263; Film Movement re-released Sergio Corbucci‘s The Great Silence in one location with an estimated $7,639; and Gravitas debuted The Gardener in one theater with an estimated $6,800.
Next weekend sees the release of Universal‘s R-rated comedy Blockers in ~3,300 locations; Paramount will debut the much talked about horror film A Quiet Place in ~3,200 theaters; Mirror and LD will release The Miracle Season in approximately 1,700 theaters; and Entertainment Studios will debut Chappaquiddick in 1,500 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Ready Player One | $41.2M | $53.2M | 1 |
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Tyler Perry’s Acrimony | $17.1M | $17.1M | 1 |
|
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Black Panther | $11.3M | $650.7M | 7 |
|
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I Can Only Imagine | $10.8M | $55.6M | 3 |
|
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Pacific Rim: Uprising | $9.2M | $45.7M | 2 |
|
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Sherlock Gnomes | $7.0M | $22.8M | 2 |
|
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Love, Simon | $4.8M | $32.1M | 3 |
|
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Tomb Raider | $4.7M | $50.5M | 3 |
|
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A Wrinkle in Time | $4.7M | $83.3M | 4 |
|
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Paul, Apostle of Christ | $3.5M | $11.5M | 2 |
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‘Pacific Rim Uprising’ Leads With $122.5 Million Debut at the International BO!!!
“Pacific Rim Uprising” launched to a solid start in international markets, opening with $122.5 million in 61 markets.
That $122.5 million includes a $65 million debut in China, bringing its worldwide total to $150 million. Universal and Legendary’s sci-fi tentpole landed $28 million at the domestic box office, and seems to be following the model set by its predecessor, which also saw a strong international showing.
Korea had the second strongest opening with $6.9 million from 429 locations. Other leading territories include Russia ($6.8 million from 1,537 locations), Mexico ($4.9 million from 1,691 locations), and Malaysia ($3.8 million from 149 locations).
The original 2013 film — directed by Guillermo del Toro and starring Idris Elba, Rinko Kikuchi, Charlie Day, Charlie Hunnam, and Robert Kazinsky — grossed $411 million at the worldwide box office, taking in $112 million in China and $101.8 million in the U.S. “Pacific Rim Uprising” has scored a mixed critical consensus, with a current 46% rating on Rotten Tomatoes and B CinemaScore.
“Uprising,” directed and co-written by Steven S. DeKnight on a $150 million budget, features John Boyega, Scott Eastwood, Jing Tian, Cailee Spaeny, Kikuchi, Burn Gorman, Adria Arjona, and Charlie Day.
Meanwhile, the second weekend of Warner Bros. and MGM’s “Tomb Raider” is also seeing boosts from international markets. Roar Uthaug’s action adventure starring Alicia Vikander took in $34.1 million in 66 markets on 20,290 screens. That bolsters its international total to $170 million, with the worldwide tally at $211.7 million.
The sixth weekend of Disney-Marvel’s “Black Panther” is maintaining a similar trajectory, with $12.9 million in 57 territories. Recently, Ryan Coogler’s superhero blockbuster crossed the $100 million mark in China. With a $17 million showing in the domestic box office, that brings its global weekend total to $29.6 million. Since its premiere on Feb. 16, “Black Panther” has grossed $1.23 billion worldwide.
Another Disney title, “A Wrinkle in Time,” opened in the U.K. this weekend to an estimated $900,000. It grossed $2.3 million internationally in 13 territories, which is a 31% decline into its third weekend. With $8 million in 3,423 domestic locations, Ava DuVernay’s time travel fantasy had a global weekend total of $10.3 million, bringing its total worldwide gross to $88 million off a $100 million budget.
via Variety
‘Pacific Rim Uprising’ Dethrones ‘Black Panther’ With A Decent Opening at the BO!!!
It had to happen at some point and this was the weekend that saw Black Panther’s streak as the #1 film at the weekend box office come to an end at the hands of Pacific Rim Uprising. That being said, it wasn’t a down weekend for Black Panther at all as it became the highest grossing superhero film of all-time, topping The Avengers with a domestic cume that now totals $630.9 million, becoming one of the top five domestic releases of all-time.
This weekend also saw another stellar performance for Roadside and Lionsgate‘s I Can Only Imagine, which finished in third place, topping Paramount and MGM‘s Sherlock Gnomes, which struggled over the course of its opening weekend, falling short of pre-weekend expectations.
At the top, Universal and Legendary‘s Pacific Rim Uprising delivered an estimated $28 million three-day opening from 3,708 locations. While not a stellar opening for a film of this size, it is well above Mojo‘s forecast as well as above Universal‘s expectations heading into the weekend. The performance is almost spot on with Edge of Tomorrow, which was one of our pre-weekend comparisons and went on to gross just over $100 million domestically, a number the studio would likely be more than happy with as it would only be ~$2 million shy of the first film’s domestic performance. However, in all likelihood, it will fall short of the century mark domestically, though given this film was always more of a global play, that’s unlikely to be much of an issue.
Speaking of which, Uprising brought in an estimated $122.5 million internationally this weekend, including a $65 million debut in China, ~$20 million more than the first film’s opening weekend in the market before it went on to gross over $111 million. All told, the film’s $150.5 million worldwide start also included #1 openings in Korea ($6.9 million); Russia ($6.8 million); Mexico ($4.9 million); Indonesia ($3.7 million); Taiwan ($3.4 million); and Brazil ($1.6 million).
In terms of demographics, Pacific Rim Uprising received a “B” CinemaScore from opening day audiences which broke down as 62% male vs. 38% female, of which 53% of the overall audience was 25 years or older.
This leaves Disney and Marvel‘s Black Panther in second place after five weeks atop the weekend box office. This weekend the film pulled in an estimated $16.65 million, pushing the film’s domestic cume over $630 million, making it the highest grossing comic book adaptation of all-time, surpassing The Avengers ($623.3m). Panther is also now the fifth largest overall domestic release of all-time, just $21.3 million behind Jurassic World with a shot at also topping Titanic to become the third largest all-time by the end of its domestic run.
Internationally, Black Panther grossed an estimated $12.9 million, pushing its international cume to $606.4 million for a global tally topping $1.237 billion. The film now ranks as the twelfth largest worldwide release of all-time, passing The Fate of the Furious ($1.236b) and is just behind Beauty and the Beast ($1.263b). Panther currently stands as the third largest worldwide release among films in the Marvel Cinematic Universe ranking behind the two Avengers films.
Finishing in third for the second straight weekend is Roadside and Lionsgate‘s I Can Only Imagine. The film expanded into 2,253 locations (+624) following its stellar debut and delivered an impressive $13.8 million sophomore frame, dropping just 19%, and pushing the film’s domestic cume over $38 million after just ten days in release.
Paramount and MGM‘s release of Sherlock Gnomes landed in fourth with a disappointing $10.6 million opening from 3,662 theaters, down nearly $15 million when compared to the $25.3 million debut for Gnomeo and Juliet in 2011. The film received a “B+” CinemaScore from opening day audiences and despite the lackluster performance, the studio is hoping that with Spring Break beginning next week it will help prop up weekday grosses going forward.
Sherlock Gnomes also added another $2.1 million from 19 international markets this weekend after debuting in five markets last weekend, pushing the international cume to $4.6 million.
Rounding out the top five is Warner Bros. and MGM‘s Tomb Raider with an estimated $10.4 million, dropping 56% in its second weekend, pushing the film’s domestic cume over $41 million after ten days in release. Internationally, the film brought in an additional $34.1 million this weekend from 66 markets, for an international running cume of $170 million and a worldwide tally totaling $211.7 million.
Elsewhere in the top ten, Sony and Affirm Films‘ Paul, Apostle of Christ took in an estimated $5 million this weekend from 1,473 theaters. The faith-based film will join I Can Only Imagine and next weekend’s release of God’s Not Dead: A Light in Darkness in looking for a strong play over the Easter holiday. Paul received an “A-” CinemaScore from opening day audiences.
Rounding out the top ten is Global Road‘s Midnight Sun with an estimated $4.1 million from 2,178 locations. The film received an “A-” CinemaScore from opening day audiences. Overall, the audience was 80% female with 66% of the audience coming in under the age of 25.
And just outside the top ten is Bleecker Street‘s release of Steven Soderbergh‘s Unsane with an estimated $3.8 million debut from 2,023 theaters. The film received an “B-” CinemaScore from opening day audiences. Internationally the film opened in five markets with an estimated $805,086 led by $675k in the UK.
This weekend also saw the first stage in Fox Searchlight‘s platform release of Wes Anderson‘s Isle of Dogs. The film debuted in 27 theaters this weekend and brought in an estimated $1.57 million for a strong $58,148 per theater average. The film received an “A” CinemaScore from opening day audiences and slightly over 60% of the audience was under 30 years of age. Looking ahead, Searchlight will add 22 new markets next weekend while expanding in already opened cities pushing the film’s theater count to 150-175 locations for the Easter weekend. Isle of Dogs will release nationwide in mid-April.
In limited release, Hannover‘s Getting Grace brought in an estimated $107,676 from 60 locations ($1,795 PTA); Sony Classics‘s Final Portrait opened in three theaters with $28,214 ($9,405 PTA); Magnolia‘s Ismael’s Ghosts brought in $19,000 from two theaters; Music Box opened Back to Burgundy in four theaters with an estimated $12,060 ($3,015 PTA); and Abramorama‘s Summer in the Forest opened in one theater with an estimated $8,660.
Next weekend sees the release of PureFlix‘s God’s Not Dead: A Light in Darkness in ~1,500 locations and Lionsgate will release Tyler Perry‘s Acrimony into ~2,000 theaters. Additionally, Fox International will open Baaghi 2 into ~125 theaters and Roadside will open Finding Your Feet.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Pacific Rim: Uprising | $28.0M | $28.0M | 1 | |
| |
Black Panther | $16.7M | $630.9M | 6 | |
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I Can Only Imagine | $13.8M | $38.3M | 2 | |
| |
Sherlock Gnomes | $10.6M | $10.6M | 1 | |
| |
Tomb Raider | $10.4M | $41.7M | 2 | |
| |
A Wrinkle in Time | $8.0M | $73.9M | 3 | |
| |
Love, Simon | $7.8M | $23.7M | 2 | |
| |
Paul, Apostle of Christ | $5.0M | $5.0M | 1 | |
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Game Night | $4.2M | $60.8M | 5 | |
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Midnight Sun | $4.1M | $4.1M | 1 |
Marvel’s ‘Black Panther’ is Now the Highest Grossing Superhero Movie Ever!!!
Marvel’s Black Panther has become even more of a box office giant than any of the industry’s wildest predictions and expectations. The film has broken record after record since hitting theaters on February 16, and now it has a new crowning achievement.
Even though Black Panther won’t be at the top of the box office for six weekends in a row, the money raked in this weekend has sent the movie past $624 million on the domestic charts. That means Black Panther has officially surpassed The Avengers total gross of $623.4 million in 2012 and it’s now the highest grossing superhero movie ever in the United States.
The box office update comes from The Hollywood Reporter. The trade also notes that Black Panther is doing huge business globally. As of now the movie has earned a little more than $1.2 billion worldwide, but by the end of the weekend, it will pass up Iron Man 3 to become the third biggest comic book adaptation. The only two movies ahead of it are The Avengers with $1.5 billion followed by Avengers: Age of Ultron at $1.4 billion.
As of now it doesn’t look like Black Panther has enough momentum to surpass both assemblies of The Avengers at the global box office, but the amount of money the movie has pulled in is still impressive as hell. This should prove unequivocally that Hollywood can open up movies with predominantly non-white talent and still be succcessful at the box office.
However, Black Panther may not enjoy this spot at the top of the superhero movie charts for very long. Let’s not forget that Avengers: Infinity War is just around the corner. And considering this is the first part of the culmination of the first 10 years of the Marvel Cinematic Universe, that’s going to be quite the box office event. When tickets went on sale recently, the film broke the ticket presales record previously set by Black Panther in just six hours.
Again though, the success of Black Panther can’t be marginalized. This was a huge victory for Marvel and diversity on the big screen. Hopefully this is just the beginning of more blockbusters featuring diverse casts that take the box office by storm. At the very least, we know it’s just the beginning for Black Panther because a sequel is already in the works, and Ryan Coogler will likely return to direct as well.
Wakanda forever!
via SlashFilm
‘Justice League’ Ends Box Office Run as Lowest-Grossing DCEU Movie!!!
Well the numbers don’t lie—Justice League was a bust. What was intended to be Warner Bros. and DC’s answer to The Avengers instead landed with a thud when it hit theaters last November, on the heels of production issues, extensive reshoots, and the reported firing of original director Zack Snyder. The superhero team-up has now concluded its box office run, and with a worldwide total of $657,924,295, Justice League stands as the lowest grossing film of the DC Extended Universe thus far—the DCEU being the series of films that began with Man of Steel and are connected by a shared universe.
In fact, not only did Justice League finish at the bottom, it grossed over $100 million less than Snyder’s 2013 reboot Man of Steel, which itself was somewhat disappointing for WB. If Man of Steel had been a bigger hit the studio would no doubt have moved forward with a Man of Steel 2 right after, but instead—facing stiff competition from the off-to-the-races Marvel Studios—they shoehorned Batman into a follow-up.
Batman v Superman is the highest grossing title the studio has released thus far, but no doubt the negative response to that film had something to do with the lack of enthusiasm for Justice League. Indeed, Justice League isn’t an out-and-out disaster of a movie—it’s fine—but if you gauged general audience interest, it just wasn’t there.
Here’s how the current DCEU lineup stands with worldwide box office:
1. Batman v Superman: Dawn of Justice – $873,634,919
2. Wonder Woman – $821,847,012
3. Suicide Squad – $746,846,894
4. Man of Steel – $668,045,518
5. Justice League – $547,924,295
If we look at the domestic box office takes, Justice League is still in last place, but Wonder Woman jumps ahead by a pretty wide margin:
1. Wonder Woman – $412,563,408
2. Batman v Superman: Dawn of Justice -$330,360,194
3. Suicide Squad – $325,100,054
4. Man of Steel – $291,045,518
5. Justice League – $229,024,295
Indeed, Patty Jenkins’ well-reviewed origin story offers a glimmer of hope for the DCEU moving forward, and in hindsight I think we’ll look back on Justice League not as a massive misstep, but the end of a misguided era of DC Films. Snyder’s approach to the characters just simply wasn’t working, and Warner Bros.’ feverish desire to catch up to Marvel Studios at any cost led to subpar output.
Now, however, with some significant executive changes at the top, it feels like there’s reason to be excited for the future. James Wan’s Aquaman hits theaters this year, and the studio finally set Game Night filmmakers John Francis Daley and Jonathan Goldstein to direct The Flash. Jenkins is due to begin production on a Cold War-set Wonder Woman 2 this year, and a number of other films are in development. And Snyder? No longer involved.
I don’t think Snyder is a bad filmmaker, I just think he was the wrong fit for the DCEU, and what we saw with his three films and even Suicide Squad was a contrast of ideas between what the studio wanted, what Snyder had envisioned, and what general audiences hoped to see. So yes, Justice League was a failure, but this is far from the end of the DCEU and I’m genuinely intrigued to see what lies ahead.
via Collider
‘Black Panther’ Remains King While ‘Tomb Raider’ Is Low And ‘I Can Only Imagine’ Surprises at the BO!!!
For the fifth weekend in a row, Disney and Marvel‘s Black Panther is the weekend’s number one film at the domestic box office, becoming the first film to accomplish that feat since Avatar in 2009. The film is also only the seventh film to ever gross over $600 million at the domestic box office as it continues to dominate, now less than $18 million shy of topping The Avengers and becoming the highest grossing superhero movie of all-time.
As for the weekend’s new releases, WB‘s Tomb Raider performed as expected, delivering a second place finish while the big surprise of the weekend was Roadside and Lionsgate‘s release of I Can Only Imagine. The faith-based feature delivered a third place finish, defying all expectations, and topped not only Disney‘s A Wrinkle in Time in its sophomore session, but Fox‘s freshman debut, Love, Simon.
With an estimated $27 million, Black Panther finished atop the weekend box office for the fifth straight weekend, pushing the film over $605 million domestically. As a result, Black Panther joins Avatar and The Sixth Sense as only the third film to top the weekend box office for five straight weekends in the last 19 years.
Alongside its domestic achievements, Black Panther added an estimated $30 million internationally this weekend, pushing its overseas cume to $577.1 million for a global tally topping $1.183 billion, passing Captain America: Civil War ($1.153B) and Minions ($1.159B) to become the fourteenth largest worldwide release of all-time.
In second is WB‘s adaptation of the popular video game Tomb Raider with an estimated $23.5 million. This makes it the sixth largest opening for a video game adaptation ever, a list still topped by the original Tomb Raider film starring Angelina Jolie, which debuted with $47.7 million back in 2001. The film received a so-so “B” CinemaScore from opening day audiences, which broke down 56% male vs. 44% female while 68% of the overall audience was over the age of 25.
Internationally, after debuting in nine markets last weekend, Tomb Raider expanded to 65 overseas territories this weekend, delivering an estimated $84.5 million for a international cume estimated at $102.5 million. Highlights include a $41.1 million opening in China, WB‘s seventh largest opening ever in the market, along with a $4.4 million opening in Russia, $4.2 million debut in the UK, $3.2 million opening in France and $2.1 million debuts in Germany, Mexico, Australia and Brazil. The film will open this week in Japan on Wednesday, March 21.
Landing in third is the surprise of the weekend, Roadside and Lionsgate‘s I Can Only Imagine, delivering an estimated $17 million from just 1,629 locations for an impressive $10,476 per theater average. This is the seventh largest opening for a faith-based feature of all-time (fourth if you don’t count the Narnia films) and the best opening since 2014’s Heaven is for Real, which opened with $22.4 million while playing in nearly 800 more theaters. The film received an “A+” CinemaScore from opening day audience, of which 67% were female and 80% were over the age of 35.
Looking ahead, it will be interesting to see how I Can Only Imagine performs over the coming weeks as Sony and its AFFIRM label will release Paul, Apostle of Christ next weekend and PureFlix will be releasing God’s Not Dead: A Light in the Darkness the following weekend, all hoping to take advantage of the Easter holiday session.
Disney‘s A Wrinkle in Time dropped 50% in its second weekend for an estimated $16.56 million, landing in fourth position. The film’s domestic cume now stands at $61 million. Internationally, Wrinkle debuted in France, Philippines, Thailand, Indonesia and Trinidad this weekend, delivering an estimated $3.2 million from 11 markets for an overseas cume that now stands at $10.6 million and a global tally reaching $71.7 million. The film opens in the UK and Peru next weekend.
Rounding out the top five is Fox‘s Love, Simon, delivering an estimated $11.5 million from 2,402 locations. While this is a bit below Mojo’s forecast, it falls right in line with the studio’s expectations and given the “A+” CinemaScore from opening day audiences the film could be looking to play for quite some time. Love, Simon played to an audience that was 58% female and 41% were over the age of 25.
Just outside the top five, Warner Bros.’s and New Line‘s Game Night continues to hold strong from one weekend to the next, this weekend dipping just 29% for an estimated $5.57 million, pushing the film’s domestic cume over $54 million. The R-rated comedy should continue to see solid numbers as it will remain the only such film in theaters until April 6 when Universal releases Blockers.
Landing in seventh is Sony‘s Peter Rabbit with an estimated $5.2 million, pushing the film’s domestic cume to $102 million as it begins its sixth week in release. Internationally, Peter Rabbit grossed an estimated $15.5 million from 22 markets for an international cume of $42.7 million. The film’s wider roll-out continues next weekend with openings in Australia, Brazil, Germany, Italy, Russia, and Spain followed by releases in France in early April and South Korea and Japan in mid-May.
Sony is also celebrating as Jumanji: Welcome to the Jungle topped $400 million this weekend. The film is now just $3.4 million shy of Spider-Man and becoming the studio’s highest grossing release of all-time. Only problem facing Jumanji topping that mark is that it is already available on digital and On Demand and will arrive on Blu-ray on Tuesday.
Just behind Jumanji is Focus‘s 7 Days in Entebbe, which debuted in 838 theaters with an estimated $1.6 million. The film played to an audience that was 59% female and 41% male.
Also of note, IFC‘s The Death of Stalin expanded into 32 locations (+28) this weekend and delivered an estimated $580,576, once again delivering a weekend-best per theater average of $18,143.
Among limited releases The Orchard‘s Flower opened in three theaters with an estimated $57,851 ($19,284 PTA); Good Deed‘s Journey’s End brought in $12,700 from two theaters; and FilmBuff‘s Ramen Heads opened in two theaters with an estimated $7,014.
Next weekend Universal will debut Pacific Rim Uprising into ~3,700 theaters; Paramount will open Sherlock Gnomes into ~3,500 locations; Open Road is looking to release Midnight Sun in over 2,000 theaters; Sony will be looking for success with Paul, Apostle of Christ in ~1,400 locations; and Bleecker will be releasing Unsane is an as-yet undisclosed number of theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Black Panther | $27.0M | $605.4M | 5 |
|
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Tomb Raider | $23.5M | $23.5M | 1 |
|
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I Can Only Imagine | $17.1M | $17.1M | 1 |
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A Wrinkle in Time | $16.6M | $61.1M | 2 |
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Love, Simon | $11.5M | $11.5M | 1 |
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Game Night | $5.6M | $54.2M | 4 |
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Peter Rabbit | $5.2M | $102.4M | 6 |
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The Strangers: Prey at Night | $4.8M | $18.6M | 2 |
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Red Sparrow | $4.5M | $39.6M | 3 |
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Death Wish | $3.4M | $29.9M | 3 |
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‘Black Panther’ Remains Box Office King As New Releases Open Low at the BO!!!
On top of eclipsing $1 billion worldwide, Disney and Marvel‘s Black Panther has now achieved what no other film in the Marvel Cinematic Universe has accomplished as it remained #1 at the weekend box office for its fourth straight weekend in a row since release. The superhero repeat means Disney‘s A Wrinkle in Time opened in second place followed by Aviron‘s The Strangers: Prey at Night while both Amazon Studios‘s Gringo and Entertainment Studios‘s The Hurricane Heist struggled mightily.
With an estimated $41.1 million, Black Panther topped the weekend box office for the fourth straight week in a row following it release. The last time a film managed that was Star Wars: The Force Awakens. The film’s domestic cume now stands at a massive $562 million making it the second highest grossing superhero release of all-time and the seventh largest overall domestic release of all-time. In addition to Black Panther‘s four weekend streak at #1, the film’s performance this weekend is the third largest fourth weekend of all-time just behind Force Awakens ($42.3m).
Internationally, Black Panther debuted in its final major market this weekend, China, where it opened with an estimated $66.5 million. Overall, the film’s international weekend added an estimated $100 million to its bottom line, pushing the overseas total to $516.6 million for a global tally that now totals $1.078 billion. Black Panther is the fifth film in the MCU to reach this mark and is just shy of cracking the top 20 all-time.
Disney‘s A Wrinkle in Time landed in second with an estimated $33.3 million over its opening weekend. The result is just below the $35 million the studio was expecting and well below Mojo‘s aggressive forecast. Reasoning for the film’s lackluster debut will most likely focus on Black Panther‘s continued dominance within the marketplace as well as the mixed reviews the film received heading into the weekend. Time will tell how well Wrinkle will be able to hold on over the coming weekends as the “B” CinemaScore suggests it could go either way. As of now the pre-weekend comparisons to Tomorrowland, which also opened with $33 million in 2015, appear to be holding up. That film went on to gross $93.4 million domestically.
Internationally, A Wrinkle in Time debuted with $6.3 million in approximately 14% of the international marketplace. Leading the way was Russia with $4.1 million followed by Spain with $1 million. The film will debut in France this coming Wednesday followed by a release in the UK on March 23 with openings in Italy, Australia, Brazil and Mexico at the end of the month.
Aviron‘s The Strangers: Prey at Night debuted in third place with an estimated $10.2 million, on par with expectations. Opening weekend demographics saw the film play to an audience that was 51% female and opening weekend auds scored the film with a “C” CinemaScore.
Fox‘s Red Sparrow landed in fourth position, dropping a top ten worst 51.6% with an estimated $8.15 million. The film’s domestic cume now stands at $31.1 million after ten days in release. The film also added $15.7 million internationally this weekend raising its worldwide cume to $82.9 million.
Rounding out the top five is WB‘s release of New Line‘s Game Night, dropping just 24% for an estimated $7.9 million three-day. The R-rated comedy’s domestic cume is now up to $45 million as it enters its third week in release. Internationally the film added another $5.4 million this weekend bringing its overseas cume to $24.7 million for a global cume just shy of $70 million.
Outside the top five we find The Hurricane Heist, which opened this weekend in 2,402 theaters with a mere $3.1 million. The film played to an audience that was 55% male and of the overall audience 73% were over the age of 25. The film received a “B-” CinemaScore.
The Hurricane Heist wasn’t the only new wide release to struggle as STX‘s release of Amazon Studios‘s Gringo missed out on a place in the top ten with an estimated $2.6 million from 2,404 locations. The two films delivered per theater averages among the worst all-time for films opening in more than 2,000 theaters with Gringo placing 27th, averaging just $1,094 per theater.
Gringo also debuted in eight international territories this weekend with an estimated $850k.
Elsewhere, Sony‘s Jumanji: Welcome to the Jungle added another $2.75 million to its bottom line for a domestic cume that now totals $397.2 million. The film continues to inch closer and closer to the $400 million mark and is now just $6.5 million away from becoming Sony‘s highest grossing domestic release of all-time.
We must also be sure and mention Fox‘s The Greatest Showman, which fell out of the weekend top ten for the first time after 12 straight weekends. The film added an estimated $1.77 million this weekend for a domestic cume that now totals over $167 million. It currently ranks as the fourth largest musical of all-time and is $3.2 million shy of eclipsing 2002’s Chicago. The film also added $5.2 million to its overseas total this weekend for a global tally just shy of $389 million.
This weekend also saw Fox Searchlight‘s Best Picture winning The Shape of Water expand back into 1,552 locations (+720) and bring in an estimated $2.4 million. The film’s domestic cume now stands at $61 million. Adding to its total, the film brought in $11.3 million internationally this weekend for an overseas cume of $87.4 million and a worldwide total just shy of $150 million.
In moderate release this weekend, Focus debuted their 2017 Sundance acquisition Thoroughbreds into 549 theaters where it brought in $1.2 million.
In limited release IFC‘s The Death of Stalin delivered an impressive $181,308 from just four theaters for a weekend best $45,327 per theater average. Sony Classics released The Leisure Seeker into 28 theaters where it brought in an estimated $119,573 ($4,270 PTA); Cinema Guild‘s Claire’s Camera brought in $11,843 from one theater; and new studio Greenwich Entertainment opened the documentary Itzhak into two locations where it brought in an estimated $14,442 ($7,221 PTA).
Next weekend sees the release of Tomb Raider into 3,600+ North American theaters. The film got a jump start on its release this weekend debuting in nine Asian markets where it brought in an estimated $14.1 million. Leading the way was South Korea with $2.9 million followed by Indonesia ($2.4m), Taiwan ($2m), Malaysia ($1.6m), Hong Kong ($1.2m), Thailand ($1.2m) and Philippines ($1.1m). Along with its North American release next weekend the film will expand into an additional 45 markets including China, UK, France, Germany, Italy, Spain, Russia, China, Brazil, Mexico and Australia.
Additional new releases next weekend include Fox‘s Love, Simon opening in approximately 2,400 locations; Focus will debut 7 Days in Entebbe in 800 locations; and Roadside will open I Can Only Imagine.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Black Panther | $41.1M | $562.0M | 4 |
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A Wrinkle in Time | $33.3M | $33.3M | 1 |
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The Strangers: Prey at Night | $10.5M | $10.5M | 1 |
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Red Sparrow | $8.2M | $31.1M | 2 |
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Game Night | $7.9M | $45.0M | 3 |
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Peter Rabbit | $6.8M | $93.5M | 5 |
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Death Wish | $6.6M | $23.9M | 2 |
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The Hurricane Heist | $3.2M | $3.2M | 1 |
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Annihilation | $3.2M | $26.1M | 3 |
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Jumanji: Welcome to the Jungle | $2.8M | $397.3M | 12 |
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‘Black Panther’ Poised to Cross $1 Billion Worldwide This Weekend!!
Next Friday, Marvel’s Black Panther celebrates one month since its domestic release. This weekend, Ryan Coogler‘s superhero film should cross the $1 billion-mark at the international box office. That’s crazy. If it crosses that mark this weekend, the film will be in great company as one of the fastest billion-dollar earners ever. The worldwide tally will be helped out in a big way by the film’s last major international opening date in China today where early estimates point to a $22.7 million frame. Black Panther currently sits at $940.3 million as of last night’s ticket sales, so a strong international debut and a solid domestic performance should be enough to bump Marvel’s latest superhero movie into the 10-figure club.
If China’s box office estimate holds, that’ll make Black Panther the third-highest opening day ever for any MCU/super-hero title there, behind only Avengers: Age of Ultron and Captain America: Civil War; it’s also right around the same mark as Spider-Man: Homecoming. Black Panther just passed that particular film on the international box office level as of yesterday, as well. Even with a 50-60% drop from last week’s domestic weekend total, Black Panther could still bring in between $26.5 to $33 million; a similar performance on the international market would net another $23.1 to $28.9 million. Add in China’s expected estimate, and the film should easily cross $1 billion this weekend. The only question left is, just how high will it climb?
BLACK PANTHER enters the weekend with $940M worldwide. Early China estimates have it taking in $23M in its first day of release. Welcome to the $1B Club…we’ve been expecting you.
— Exhibitor Relations Co. (@ERCboxoffice) March 9, 2018
via Collider
‘Black Panther’ Box Office Passes ‘Beauty and the Beast’ to Land at #9 on All-Time List!!!
In case you were wondering, Black Panther is still absolutely destroying at the box office. The Marvel Studios film got more than a couple shoutouts at the Oscars ceremony on Sunday and for good reason: ABC no doubt hopes the Academy sparks to this worldwide phenomenon in the wake of record-low ratings for the Oscars telecast. While that’s a ways off and Black Panther is far from an awards season sure thing, the film is showing no signs of slowing down at the box office.
Yesterday saw Black Panther’s domestic box office total hit $506.4 million, passing the live-action Beauty and the Beast’s $504 million to take the #9 slot on the all-time domestic chart. It now seems entirely possible that the film could overtake the domestic grosses of Rogue One and The Dark Knight to potentially nab the #7 slot on the list, and could it possibly go as high as $623 million to become the highest-grossing Marvel movie of all time?
For reference, here’s the list of the Top 10 domestic box office grosses of all time:
1. Star Wars: The Force Awakens – $934.6 million
2. Avatar – $760.5 million
3. Titanic – $659.4 million
4. Jurassic World – $652.3 million
5. Marvel’s The Avengers – $623.4 million
6. Star Wars: The Last Jedi – $619.1 million
7. The Dark Knight – $534.9 million
8. Rogue One: A Star Wars Story – $532.2 million
9. Black Panther – $506.4 million
10. Beauty and the Beast (2017) – $504 million
On the world’s stage, Black Panther also continues to soar. With a worldwide gross of $909.8 million, the film has now surpassed the worldwide grosses of Thor: Ragnarok ($854M), Guardians of the Galaxy Vol. 2 ($864M), Batman vs Superman ($874M), Spider-Man: Homecoming ($880M) and Spider-Man 3 ($891M). That puts it in the #46 position, but with a China opening set for this weekend and a lot of leg room to go, expect the film to crack $1 billion in short order.
via Collider
‘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
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Black Panther | $65.7M | $501.1M | 3 |
|
| |
Red Sparrow | $17.0M | $17.0M | 1 |
|
| |
Death Wish | $13.0M | $13.0M | 1 |
|
| |
Game Night | $10.7M | $33.5M | 2 |
|
| |
Peter Rabbit | $10.0M | $84.1M | 4 |
|
| |
Annihilation | $5.7M | $20.6M | 2 |
|
| |
Jumanji: Welcome to the Jungle | $4.5M | $393.2M | 11 |
|
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Fifty Shades Freed | $3.3M | $95.6M | 4 |
|
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The Greatest Showman | $2.7M | $164.6M | 11 |
|
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Every Day | $1.6M | $5.3M | 2 |
|
‘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.
via BoxOfficeMojo
| Title |
|
Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Black Panther | $108.0M | $400.0M | 2 |
|
| |
Game Night | $16.6M | $16.6M | 1 |
|
| |
Peter Rabbit | $12.5M | $71.3M | 3 |
|
| |
Annihilation | $11.0M | $11.0M | 1 |
|
| |
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 |
|
| |
Every Day | $3.1M | $3.1M | 1 |
|
 |
Early Man | $1.7M | $6.8M | 2 |
|
‘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.
via Collider
‘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.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Black Panther | $192.0M | $192.0M | 1 |
|
| |
Peter Rabbit | $17.3M | $48.2M | 2 |
|
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Fifty Shades Freed | $16.9M | $76.1M | 2 |
|
| |
Jumanji: Welcome to the Jungle | $7.9M | $377.6M | 9 |
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| |
The 15:17 to Paris | $7.7M | $25.4M | 2 |
|
| |
The Greatest Showman | $5.1M | $154.5M | 9 |
|
| |
Early Man | $3.2M | $3.2M | 1 |
|
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Maze Runner: The Death Cure | $2.5M | $54.0M | 4 |
|
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Winchester | $2.2M | $21.9M | 3 |
|
 |
Samson | $2.0M | $2.0M | 1 |
|
‘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.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
 |
Fifty Shades Freed | $38.8M | $38.8M | 1 |
|
| |
Peter Rabbit | $25.0M | $25.0M | 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 |
|
| |
Winchester | $5.1M | $17.2M | 2 |
|
 |
The Post | $3.5M | $72.8M | 8 |
|
 |
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.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Jumanji: Welcome to the Jungle | $11.0M | $352.6M | 7 |
|
| |
Maze Runner: The Death Cure | $10.2M | $39.8M | 2 |
|
| |
Winchester | $9.3M | $9.3M | 1 |
|
| |
The Greatest Showman | $7.8M | $137.5M | 7 |
|
 |
Hostiles | $5.5M | $21.2M | 7 |
|
| |
The Post | $5.2M | $67.2M | 7 |
|
 |
12 Strong | $4.7M | $37.3M | 3 |
|
| |
Den of Thieves | $4.7M | $36.3M | 3 |
|
| |
The Shape of Water | $4.3M | $44.6M | 10 |
|
 |
Paddington 2 | $3.1M | $36.3M | 4 |
|
‘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.”
via Variety
‘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.
via BoxOfficeMojo
| Title | Weekend |
|
Weeks | ||
|---|---|---|---|---|---|
| |
Maze Runner: The Death Cure | $23.5M | $23.5M | 1 |
|
| |
Jumanji: Welcome to the Jungle | $16.4M | $338.1M | 6 |
|
| |
Hostiles | $10.2M | $12.1M | 6 |
|
| |
The Greatest Showman | $9.5M | $126.5M | 6 |
|
| |
The Post | $8.9M | $58.5M | 6 |
|
| |
12 Strong | $8.6M | $29.8M | 2 |
|
| |
Den of Thieves | $8.4M | $28.5M | 2 |
|
| |
The Shape of Water | $5.7M | $37.7M | 9 |
|
| |
Paddington 2 | $5.6M | $32.0M | 3 |
|
 |
Padmaavat | $4.3M | $4.8M | 1 |
|
‘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.
via Collider
‘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.
via BollywoodMDB
‘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.
via BoxOfficeMojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Jumanji: Welcome to the Jungle | $20.0M | $317.0M | 5 |
|
| |
12 Strong | $16.5M | $16.5M | 1 |
|
| |
Den of Thieves | $15.3M | $15.3M | 1 |
|
| |
The Post | $12.2M | $45.2M | 5 |
|
| |
The Greatest Showman | $11.0M | $113.5M | 5 |
|
| |
Paddington 2 | $8.2M | $25.0M | 2 |
|
 |
The Commuter | $6.7M | $25.7M | 2 |
|
 |
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.
via BoxOfficeMojo
| Title |
|
Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Jumanji: Welcome to the Jungle | $27.0M | $283.2M | 4 |
|
| |
The Post | $18.6M | $23.1M | 4 |
|
| |
The Commuter | $13.5M | $13.5M | 1 |
|
| |
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 |
|
| |
Paddington 2 | $10.6M | $10.6M | 1 |
|
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Proud Mary | $10.0M | $10.0M | 1 |
|
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Pitch Perfect 3 | $5.7M | $94.7M | 4 |
|
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Darkest Hour | $4.5M | $35.7M | 8 |
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‘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
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Jumanji: Welcome to the Jungle | $36.0M | $244.4M | 3 |
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Insidious: The Last Key | $29.3M | $29.3M | 1 |
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| |
Star Wars: Episode VIII – The Last Jedi | $23.6M | $572.5M | 4 |
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The Greatest Showman | $13.8M | $75.9M | 3 |
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| |
Pitch Perfect 3 | $10.2M | $86.0M | 3 |
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Ferdinand | $7.7M | $70.5M | 4 |
|
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Molly’s Game | $7.0M | $14.2M | 2 |
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| |
Darkest Hour | $6.4M | $28.4M | 7 |
|
 |
Coco | $5.5M | $192.1M | 7 |
|
 |
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.
via Variety
‘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!
via Collider