Box Office 2019

‘Captain Marvel’ Launches To a Massive $153M Domestic Opening and $455M at the Worldwide BO!!!

Disney‘s release of Marvel Studios‘s Captain Marvel gave the domestic box office a much needed jolt after the first two months of the year struggled to compete with 2018. The twenty-first entry into the Marvel Cinematic Universe delivered the franchise’s seventh largest opening weekend of all time while grossing more over its first three days than the combined totals of any previous three-day weekend so far this year.

With an estimated $153 million, Captain Marvel proved a massive success, bringing in the third highest March opening of all-time, and don’t be surprised to see actuals push the film’s total a bit higher come Monday afternoon. Historically, the performance ranks among openings that include The Dark Knight ($158.4m opening), The Hunger Games: Catching Fire ($158m opening), Rogue One ($155m opening) and The Hunger Games ($152.5m opening), the four of which representing a total domestic gross ranging from $408-530+ million.

On average, the 20 previous releases in the MCU delivered a 2.76x multiplier, which would suggest Captain Marvel’s run would finish around $422 million based on the film’s domestic opening weekend. That said, should it manage to top Iron Man 3‘s $409 million domestic run it would rank as the fifth largest film in the MCU and, in terms of genre competition, it has a few weeks all to itself before WB‘s Shazam! opens on April 5.

It is interesting to note exits, which show the film playing to an opening weekend crowd that was 55% male and 45% female, which, along with Black Panther and Ant-Man and the Wasp, is the smallest gender divide among films in the MCU, but nowhere near the 52% female crowd Wonder Woman played to back in June 2017. Additionally, 64% of the film’s opening weekend crowd was aged 25 or older, which ranks as one of the older audiences for an MCU film, while it earned an “A” CinemaScore.

Internationally, Captain Marvel delivered an estimated $302 million, making it the fifth highest international opening weekend of all-time and the sixth largest worldwide debut ever. Leading the way was the film’s opening in China, which is estimated at $89.3 million, which ranks as the third largest MCU opening weekend ever in the market behind Avengers: Infinity War and Captain America: Civil War. Behind China is South Korea with a $24.1 million debut followed by the UK ($16.8m), Brazil ($13.4m), Mexico ($12.8m), Australia ($10.7m), Indonesia ($10.1m), Russia ($9.8m), France ($9.2m), Germany ($7.8m), India ($6.9m), Thailand ($6.6m), Taiwan ($6.4m), Philippines ($6.3m), Malaysia ($5.6m), Italy ($5.5m) and Hong Kong ($5.2m). Next weekend the film will open in Japan serving as the only market where the film has yet to be released.

Universal‘s How to Train Your Dragon: The Hidden World finished in the runner-up position with an estimated $14.7 million for a domestic cume just shy of $120 million as it enters its third week in release. The film also added another $21.7 million internationally this weekend, for an overseas cume that now totals $315.5 million for a global tally topping $435 million.

Tyler Perry‘s A Madea Family Funeral dipped -55% in its second weekend, delivering an estimated $12.05 million, pushing the film’s domestic cume just shy of $46 million.

WB‘s The LEGO Movie 2 entered its fifth week in release with an estimated $3.8 million as it continues to inch toward $100 million domestically. The film also added another $3.9 million internationally this weekend for an international cume that is now $67.3 million, and a worldwide gross totaling $164.4 million.

Rounding out the top five is Fox‘s Alita: Battle Angel, which dipped -56% for an estimated $3.2 million three-day and a domestic cume that now totals just over $78 million. The film also added $11.6 million from 74 overseas markets, lifting the international cume over $300 million for a worldwide tally that now stands at $382.6 million.

Elsewhere, Neon‘s Apollo 11, which expanded into 405 theaters after playing in 120 IMAX exclusive locations last weekend, rounded out the top ten with an estimated $1.3 million for a $3,212 per theater average.

In limited release, Reliance‘s Badla brought in an estimated $614,328 from 94 locations ($6,535 PTA); Lionsgate‘s The Kid delivered an estimated $513,000 from 268 locations ($1,912 PTA); A24‘s Gloria Bell debuted with an estimated $154,775 on 5 screens in NY and LA, for a per screen average of $30,955; Kino Lorber‘s re-release of Babylon brought in an estimated $20,096 from one theater; and Greenwich‘s Ferrante Fever opened with an estimated $4,000 from one location.

Overall, this is the first weekend in 2019 that saw the overall weekend gross manage to outperform the same weekend in 2018, doing so by a strong +48% based on estimates. The year, however, is still pacing -27% behind 2018’s record pace, but with so many major releases still in the pipeline 2019 should start closing that gap sooner than later.

Next weekend Paramount‘s animated feature Wonder Park will open in ~3,500 locations; Lionsgate‘s Five Feet Apart will debut in 2,600 theaters; and Focus will go nationwide with Captive State in ~2,200 theaters.

via Box Office Mojo

Title Weekend Gross Weeks
Captain Marvel Captain Marvel $153.0M $153.0M 1
How to Train Your Dragon: The Hidden World How to Train Your Dragon: The Hidden World $14.7M $119.7M 3
A Madea Family Funeral A Madea Family Funeral $12.1M $45.9M 2
The Lego Movie 2: The Second Part The Lego Movie 2: The Second Part $3.8M $97.1M 5
Alita: Battle Angel Alita: Battle Angel $3.2M $78.3M 4
Green Book Green Book $2.5M $80.1M 17
Isn't It Romantic Isn’t It Romantic $2.4M $44.2M 4
Fighting with My Family Fighting with My Family $2.2M $18.7M 4
Greta Greta $2.2M $8.3M 2
Apollo 11 Apollo 11 $1.3M $3.8M 2
Reported by Box Office Mojo © 2019

‘How to Train Your Dragon 3’ Holds off Madea’s ‘Family Funeral’ at the BO!!

Universal and DreamWorks Animation‘s How to Train Your Dragon: The Hidden World was able to fend off Lionsgate‘s release of Tyler Perry‘s A Madea Family Funeral and retain the weekend’s #1 spot at the box office even though Perry‘s final outing as Madea outperformed expectations with the fourth best opening in the now nine-film franchise. Focus‘s Greta settled outside the top five in its debut weekend, while Universal‘s Best Picture winner, Green Book, saw a strong bump following its Oscar night win.

With an estimated $30 million, Universal‘s How to Train Your Dragon: The Hidden World dipped -45% in its second weekend, pushing the film’s domestic cume to $97.6 million after ten days in release. The film dipped a little more than we expected heading into the weekend, but still managed to hold on better than the second film in the franchise over its sophomore frame as it is still outpacing its predecessors at the same point in the release cycle, though it’s looking less and less likely it can maintain that momentum.

Internationally, Hidden World added $52 million this weekend, the bulk of which came from its debut in China where it racked up an estimated $33.4 million. The film’s international cume now stands at $277.7 million for a worldwide cume that now tops $375 million. The film still has eight markets left to release, the last of which being Japan on August 23.

In second place is Tyler Perry‘s ninth film in the Madea film franchise and the multi-hyphenate is reportedly making this his final Madea feature. If that holds true and Lionsgate can’t talk him into a tenth pic, the titular character is going out with a bang, delivering an estimated $27 million debut, the fourth largest in the franchise. The film also received an “A-” CinemaScore from opening weekend audiences and if past performances from Madea titles means anything, look for the film to finish right around $60 million if not a bit higher. The film’s opening weekend audience was 67% female and 78% of the crowd was age 25 and over, lining up with previous releases.

Fox‘s Alita: Battle Angel finished with an estimated $7 million in third place, pushing the film’s domestic cume over $72 million as it begins its third week in release. The film also added another $40.4 million internationally this weekend from 81 markets for an overseas cume that now totals $278.2 million, giving the $170 million production a global tally that now tops $350 million.

WB‘s The LEGO Movie 2 took fourth place with an estimated $6.6 million as its domestic cume now stands at $91.6 million. The film also added another $6.1 million internationally this weekend for an international cume that now over $61 million and a worldwide tally that stands at $152.8 million.

Rounding out the top five is last weekend’s winner of Oscar’s Best Picture, Universal‘s Green Book, which saw a +121% jump and brought in an estimated $4.7 million, pushing the film’s domestic cume over $75 million. Additionally, Lionsgate and Amblin‘s release of the film overseas delivered $31.9 million from 63 markets this weekend, for an international cume that now totals $112.1 million and a worldwide total over $188 million.

Outside the top five, in something of a log jam from spots five thru eight, is where we find Focus Features‘s release of Greta, which debuted with an estimated $4.58 million. The performance is within Mojo‘s expectations, but with 2,411 locations in play that’s only $1,902 per location. The film received a “C-” CinemaScore from opening day audiences and played to a crowd that was 55% female with 29% of the overall audience coming in aged 35 and older. The film also opened in Australia and New Zealand this weekend, bringing in an estimated $400,000.

In limited release, Neon‘s documentary Apollo 11 led the way, debuting exclusively on 120 IMAX screens with an estimated $1.65 million for a per screen average of $13,750. The film will expand everywhere next weekend.

Additional limited releases include Well Go‘s Furie, which brought in $145,400 from 14 locations ($10,386 PTA); A24‘s Climax brought in $121,655 from five screens for a chart-topping $24,331 per theater average; Music Box‘s Transit delivered $35,368 from two theaters; Vertical‘s Giant Little Ones opened in one location with an estimated $13,500; IFC‘s The Wedding Guest debuted in four theaters with $20,156 ($5,039 PTA); Ammo‘s Chokehold brought in $3,900 from three theaters ($1,300 PTA); Oscilloscope‘s re-release of The Hours and Times opened with an estimated $2,250 from one theaters; and Blue Fox‘s Saint Judy debuted with $41,234 from 55 theaters ($750 PTA).

Lastly, Disney‘s Ralph Breaks the Internet finally topped $200 million domestically this weekend after having already outperformed the first film, which reached $189.4 million domestically back in 2012. Internationally, the Ralph sequel is now just shy of $320 million for a global cume totaling $520 million. The first film finished with over $471 million globally.

All that being said, 2019 continues to dig itself a hole, currently pacing -26% behind 2018 and is actually pacing behind each of the last five years at the domestic box office. As a result, next weekend’s release of Marvel‘s Captain Marvel will be watched closely as it is set to debut in 4,100+ locations with tracking as of last week targeting as much as $140 million for the three-day. Will it be the start of a major turnaround?

via Box Office Mojo

Title Weekend Gross Weeks
How to Train Your Dragon: The Hidden World How to Train Your Dragon: The Hidden World $30.0M $97.7M 2
A Madea Family Funeral A Madea Family Funeral $27.1M $27.1M 1
Alita: Battle Angel Alita: Battle Angel $7.0M $72.2M 3
The Lego Movie 2: The Second Part The Lego Movie 2: The Second Part $6.6M $91.7M 4
Green Book Green Book $4.7M $75.9M 16
Fighting with My Family Fighting with My Family $4.7M $14.9M 3
Isn't It Romantic Isn’t It Romantic $4.6M $40.3M 3
Greta Greta $4.6M $4.6M 1
What Men Want What Men Want $2.7M $49.6M 4
Happy Death Day 2U Happy Death Day 2U $2.5M $25.3M 3
Reported by Box Office Mojo © 2019

‘Avengers: Endgame’ Tracking to Beat ‘Infinity War’s Weekend Box Office Record!!

In news that will come as a surprise to exactly no one, Avengers: Endgame is tracking to bring home some big box office bucks when it lands in theaters this April. According to Researcher Exhibitor Relations (and common sense), Endgame is on track to best Avengers: Infinity War and set a new opening weekend record. As of right now, Endgame is tracking for a $282 million opening weekend haul, which would shatter the $258 million record set by Infinity War last year.

Of course, we’re still months out from the film’s theatrical debut so the numbers are liable to shift, but it would be pretty surprising if Endgame failed to top Infinity War. After all, the fourth Avengers film represents the culmination of a decade’s worth of filmmaking in the MCU and it comes on the heels of one of the biggest cliffhangers in movie history — we’re all dying to know what happens after the snap.

Indeed Researcher Exhibitor Relations senior analyst Jeff Block noted in an e-mail that one of the few factors that could affect the opening weekend tally would be a runtime over three hours. Marvel has yet to confirm the running time for the film, but directors Joe and Anthony Russo recently told us that it still sits around the three-hour mark in the edit. That wouldn’t just be the longest movie in MCU history, it would also limit the number of screenings per theater, per day.

Either way, Endgame is undoubtedly on track to become one of the biggest hits of the year — and possibly of all time. As of now, Disney holds nine of the biggest domestic opening weekends of all time (Jurassic World is the lone holdout in the #4 spot). The bigger question mark right now is Captain Marvel, which arrives in theaters a month ahead of Endgame, introducing the long-awaited debut of the comic icon played by Brie LarsonCaptain Marvel is currently tracking for an opening weekend of upwards of $100 million domestic, but as Black Panther proved last year when it swiped the #1 box office spot for 2018, Marvel’s new and exciting titles can pack an even bigger box office punch than the epic crossover films (Infinity War took the #2 spot). Either way, Disney appears to be on track for yet another record-breaking year at the box office.

 

via Collider

‘Alita: Battle Angel’ Delivers Record Opening at the China BO!!

It may not quite have set the North American box office alight, but it looks like the international markets may save director Robert Rodriguez and producer James Cameron’s Alita: Battle Angel from all of the early predictions of doom and gloom.

The manga adaptation opened in China this weekend, where it secured 20th Century Fox its biggest ever opening in the Middle Kingdom with $64.8 million. It has now grossed $202.7 million internationally to soften a domestic drop of almost 60% in its second weekend, and has amassed $263.3 million globally to date.

Alita had a production budget of around $170 million, and when you factor in an expensive marketing campaign, some analysts had been suggesting that Fox could lose around $200 million on the movie. That seems highly unlikely at this point now, although it’s said that the film will need to gross anywhere between $400 million and $500 million to break even.

Visionary filmmakers James Cameron (AVATAR) and Robert Rodriguez (SIN CITY) create a groundbreaking new heroine in ALITA: BATTLE ANGEL, an action-packed story of hope, love and empowerment. Set several centuries in the future, the abandoned Alita (Rosa Salazar) is found in the scrapyard of Iron City by Ido (Christoph Waltz), a compassionate cyber-doctor who takes the unconscious cyborg Alita to his clinic. When Alita awakens she has no memory of who she is, nor does she have any recognition of the world she finds herself in. Everything is new to Alita, every experience a first. As she learns to navigate her new life and the treacherous streets of Iron City, Ido tries to shield Alita from her mysterious past while her street-smart new friend, Hugo (Keean Johnson), offers instead to help trigger her memories. A growing affection develops between the two until deadly forces come after Alita and threaten her newfound relationships. It is then that Alita discovers she has extraordinary fighting abilities that could be used to save the friends and family she’s grown to love. Determined to uncover the truth behind her origin, Alita sets out on a journey that will lead her to take on the injustices of this dark, corrupt world, and discover that one young woman can change the world in which she lives.

Alita: Battle Angel features a cast that includes Rosa Salazar (Maze Runner: The Scorch Trials), Christoph Waltz (Django Unchained), Michelle Rodriguez (The Fate of the Furious), Keean Johnson (Nashville), Jackie Earle Haley (Preacher), Jennifer Connelly (American Pastoral), Ed Skrein (Deadpool), Eiza Gonzalez (From Dusk Till Dawn), Mahershala Ali (Luke Cage), Lana Condor (X-Men: Apocalypse) and Jorge Lendeborg Jr. (Spider-Man: Homecoming).

 

via Flickering Myth

‘URI: The Surgical Strike’: Continues To Bring in Record Numbers in its Fifth Week at the BO!!!

RSVP‘s URI: The Surgical Strike which is on a record-breaking spree has achieved yet another feat as it emerges as the only film to clock the highest numbers daily after the fifth Friday.

URI: The Surgical Strike has ranked at No. 29 in the list of Highest Grossing Indian Films. RSVP‘s first release of the year has witnessed the highest fourth, fifth and sixth week beating the blockbuster Baahubali: The Conclusion.

Achieving the milestone like no other film, URI: The Surgical Strike has become the first ever film to cross 2 crores on its fifth Friday.

URI – The Surgical Strike becomes the second Bollywood film after 1971’s Anand to bag its place in IMDB‘s Top Rated Indian Movies of all times.

Keeping the josh high at the box office URI: The Surgical Strike is on the winning spree and has minted 1 crore and now taking the grand total 229.77 crores.

Touted to be the first content film of the year, Uri: The Surgical Strike has been winning hearts emerging to be the first blockbuster hit of 2019.

The movie is receiving immense appreciation from all quarters from the Prime Minister of the country Narendra Modi, the men in the uniform, audience and the members of Bollywood.

Uri: The Surgical Strike is based on the surgical strikes which were carried out by the Indian army in 2016. Besides Vicky Kaushal, the film also features Yami Gautam, Paresh Rawal, Kirti Kulhari and debutante Mohit Raina. The film has been directed by Aditya Dhar and it has been produced by Ronnie Screwvala.

Uri: The Surgical Strike hit the screens on 11th January 2019 and is running successfully at the box office in its sixth week.

 

via Santa Banta

‘How to Train Your Dragon 3’ Marks Franchise Best Debut at the BO!!!

The 2019 box office has finally received a jolt of energy with an impressive, $55.5 million debut for DreamWorks Animation‘s How to Train Your Dragon: The Hidden World. The performance led the weekend box office, closing out the final weekend within what has been a rough start to the first two months at the domestic box office this year. The weekend also saw MGM‘s expansion of Fighting with My Family, which debuted at the lower end of industry expectations, while Roadside‘s Run the Race found itself within the top ten from just 853 locations.

With an estimated $55.5 million, Universal‘s release of the DreamWorks Animation title How to Train Your Dragon: The Hidden World delivered not only the #1 movie at this weekend’s box office, but the largest debut of the year so far, surpassing Glass by more than $15 million. The opening is also the largest debut in the How to Train Your Dragon franchise, topping the $49.4 million opening for How to Train Your Dragon 2 back in 2014. The film’s overall domestic performance so far totals over $58 million once you include the $2.5 million it brought in from an exclusive Fandango event earlier this month. The question now is to wonder how the film will perform from here.

Following a $43.7 million opening, the first film went on to gross over $217.5 million in 2010, a nearly 5x multiplier. The second film, while still strong, mustered a 3.58x multiple and just over $177 million for its domestic run. Like its predecessors, Hidden World received an “A” CinemaScore and was well received by critics, earning a 91% score at RottenTomatoes. One interesting note is this is the first film in the franchise to play to an audience that skewed more male than female, albeit by a small margin, with males making up 51% of the opening weekend audience compared to 45% and 47% for the last two films. It also skewed slightly younger with 39% of the overall audience coming in aged 25 or older compared to 51% and 44% for its predecessors respectively.

Looking ahead, Using the multipliers for the first two films gives us a range anywhere from $198 million to as much as $277+ million and the film does face genre competition in the relatively near future with Wonder Park opening in three weeks. That said, a $200+ million domestic performance feels like a sure bet at this point, which is great news for Universal with their first release since acquiring DreamWorks Animation back in 2016 for $3.8 billion not to mention Hidden World carries the lowest price tag among the three films in the franchise, coming in with a reported budget of $129 million vs. $165 million for the original and $145 million for the first sequel.

And while the second film may not have lived up to its predecessor domestically, it more than made up for it overseas, outperforming the first film by more than $167 million internationally and The Hidden World appears to be following suit. After opening in just two markets six weeks ago, the film entered its seventh weekend in international release this weekend and is now playing in 53 territories including nine new markets this weekend. Leading the weekend charge was a #1 opening in Russia with $11.2 million followed by Spain where it also debuted atop the charts with an estimated $2.8 million. The film’s top market is the UK where it has brought in over $20 million so far. Next weekend it continues its rollout with a March 1 debut in China followed by an August 23 release in Japan. The film has so far brought in $216.9 million overseas for a global tally that is currently just shy of $275 million.

In second place is Fox‘s Alita: Battle Angel, which managed to outperform expectations last weekend, but this weekend suffered a setback. The film dipped a healthy -58% in its sophomore frame for a $12 million three-day, for a domestic total topping $60 million after 11 days in release. Internationally the film faired a bit better, debuting in China with an estimated $62.2 million for a #1 finish and contributing a significant portion of its overall $92.4 million overseas weekend. At this point Alita has brought in over $202 million internationally for a global cume totaling more than $263 million.

Warner Bros. pulled into third position with The LEGO Movie 2, but it also found itself struggling in the face of the newest Dragon feature as it dipped -52% this weekend for an estimated $10 million three-day and a 17 day cume now totaling $83.6 million. Internationally, the film is also struggling, adding just $10.3 million from 73 markets this weekend for an international cume that now stands at $53 million. Overall the global tally stands at $136.6 million with Australia remaining the lone market yet to release, where the film will debut on March 21.

In fourth position we come to MGM‘s expansion of the comedic drama Fighting with My Family. After opening in four theaters last weekend the film expanded into 2,711 locations this weekend and delivered a $8 million performance.

WB‘s release of New Line‘s Isn’t It Romantic rounded out the top five with an estimated $7.5 million, pushing its domestic cume approaching $34 million.

Elsewhere in the top ten, STX‘s The Upside took in and estimated $3.2 million this weekend for a cume that is now just shy of $100 million, a milestone the film will most likely surpass on Monday. Internationally, the film has taken in $10.8 million from 52 markets released so far.

Rounding out the top ten is Roadside‘s release of the Tim Tebow-produced Run the Race, which debuted in 853 theaters with an estimated $2.27 million. The film played to a crowd that was 53% female with 77% of the overall audience coming in aged 25 or older.

In limited release, Fox‘s Total Dhamaal opened in 202 theaters with an estimated $950,000 ($4,703 PTA) and Santa Rita‘s The Iron Orchard debuted in eight theaters with $49,250 ($6,156 PTA).

Next weekend sees the release of Focus‘s thriller Greta in ~2,000 theaters while Tyler Perry returns with his latest Madea feature in A Madea Family Funeral, debuting in ~2,350 theaters.

via Box Office Mojo

Title Weekend Gross Weeks
How to Train Your Dragon: The Hidden World How to Train Your Dragon: The Hidden World $55.5M $58.0M 1
Alita: Battle Angel Alita: Battle Angel $12.0M $60.7M 2
The Lego Movie 2: The Second Part The Lego Movie 2: The Second Part $10.0M $83.6M 3
Fighting with My Family Fighting with My Family $8.0M $8.2M 2
Isn't It Romantic Isn’t It Romantic $7.5M $33.8M 2
What Men Want What Men Want $5.2M $45.1M 3
Happy Death Day 2U Happy Death Day 2U $5.0M $21.6M 2
Cold Pursuit Cold Pursuit $3.3M $27.1M 3
The Upside The Upside $3.2M $99.7M 7
Run the Race Run the Race $2.3M $2.3M 1
Reported by Box Office Mojo © 2019

‘Captain Marvel’: MCU Film Expected to Open around $100 million to $120 million at the Domestic BO!!

2019 has got off to a fairly slow start at the domestic box office, with ticket sales down on the same period from last year, but it seems business is about to pick up in March as Marvel Studios releases the year’s first superhero blockbuster Captain Marvel.

According to Variety, the movie – which opens in the U.S. on March 8th and stars Brie Larson as U.S. Air Force Pilot turned cosmic superhero Carol Danvers – is tracking a North American opening weekend of between $100 million and $120 million.

Should it reach the lower end of that range, that would put Captain Marvel on par with the last female-fronted superhero blockbuster, Warner Bros. and DC FilmsWonder Woman, which opened to $103 million back in 2017.

Marvel’s last release, Ant-Man and the Wasp, debuted to $75 million this past July, while fellow franchise launcher Black Panther amassed a whopping $202 million in its first three days last February. Nevertheless, it looks like the MCU is on course for its eleventh $100 million plus opening weekend, and should Captain Marvel manage to reach $120 million, it would give it a better start than Spider-Man: Homecoming, which earned $117 million in its opening weekend in July 2017.

Set in the 1990s, Marvel Studios’ Captain Marvel is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe that follows the journey of Carol Danvers as she becomes one of the universe’s most powerful heroes. While a galactic war between two alien races reaches Earth, Danvers finds herself and a small cadre of allies at the center of the maelstrom.

Captain Marvel is being directed by Anna Boden and Ryan Fleck (Mississippi Grind) and sees Brie Larson (Kong: Skull Island) leading the cast as Carol Danvers alongside Samuel L. Jackson (The Avengers), Ben Mendelsohn (Rogue One: A Star Wars Story), Djimon Hounsou (Guardians of the Galaxy), Lee Pace (Guardians of the Galaxy), Lashana Lynch (Fast Girls), Gemma Chan (Fantastic Beasts and Where to Find Them), Algenis Perez Soto (Sambá), Rune Temte (Eddie The Eagle), McKenna Grace (I, Tonya), Annette Bening (American Beauty), Ana Ayora (The Big Wedding), Vik Sahay (Chuck), Kenneth Mitchell (Star Trek: Discovery), Chuku Modo (The Good Doctor), Clark Gregg (The Avengers) and Jude Law (Fantastic Beasts: The Crimes of Grindelwald). It is set for release on March 8th.

 

via Flickering Myth

Fox’s ‘Alita’ Does Better Than Expected, while Other Releases Open Modest at the BO!!!

The three-day President’s Day weekend last year saw the top twelve gross over $270 million, the bulk of which was due to the over $202 million three-day opening for Black Panther, accounting for nearly 74% of the combined top twelve gross. This year didn’t have such a monster release, and while expectations were muted, the top twelve’s combined $109.1 million makes for the worst three-day President’s Day weekend since 2004.

Leading the charge was Fox‘s Alita: Battle Angel, delivering $27.8 million for the three-day. Elsewhere, while Universal‘s release of Blumhouse‘s Happy Death Day 2U fell short of expectations, it has already grossed more than its production budget and WB‘s release of New Line‘s Isn’t It Romantic took advantage of Valentine’s Day leading into the weekend and delivered a third place finish.

Fox‘s Alita: Battle Angel topped the weekend box office with ease, outperforming expectations and delivering an estimated $27.8 million over the three-day weekend with expectations to hit over $33 million for the four-day weekend. The result would push the film’s five-day cume over $41 million, well ahead of the $30 million expectations for the film heading into the weekend. Of course, despite the film’s over-performance, it still carries a lofty $170 million price tag with sources suggesting it needs to gross $500-550 million globally to break even, which, at this point, looks nearly impossible.

Internationally, Alita debuted in 11 markets last weekend and expanded to 86 total markets this weekend, delivering $56.1 million for an overseas cume that now stands at $94.3 million. Leading the way this weekend was the film’s opening in Russia where it brought in $6.45 million followed by openings in France ($5.87m), Mexico ($4.18m), Australia ($2.97m), Germany ($2.96m), Thailand ($2.48m), Spain ($195m), UK ($1.8m), Vietnam ($1.5m) and Italy ($1.2m). The film’s top market is South Korea where it added another $2.5 million this weekend for a cume that now totals $14.75 million. Alita will be releasing in China and Japan on February 22.

WB‘s The LEGO Movie 2: The Second Part dipped -37.8% over the three-day and delivered an estimated $21.2 million, pushing the film’s domestic cume to $62.7 million. The film is expected to do well on President’s Day, looking at a four-day total topping $27 million and a domestic cume just shy of $70 million by end of day Monday. Internationally it added over $12 million this weekend from 69 markets for a global cume that is now just shy of $98 million with releases in France and Italy this coming week followed by a March 21 release in Australia.

Warner also landed in third place with the release of New Line‘s Isn’t It Romantic starring Rebel Wilson. The film generated an estimated $14.2 million over the three-day and is expected to push toward $16.5 million for the four-day weekend. The result would give the film a $22-23 million six-day performance following its Wednesday debut. The film received a “B” CinemaScore and played to a crowd of which 80% were aged 25 and up.

Paramount‘s What Men Want landed in fourth place, dipping -40% in its sophomore session, delivering an estimated $10.9 million for the three-day and is expected to top $12.5 million for the four-day weekend, resulting in a domestic cume just shy of $38 million come end of day Monday. The film also added $2.2 million from six overseas markets this weekend for an early international cume totaling $2.5 million.

Rounding out the top five is Universal‘s release of Blumhouse Productions‘s Happy Death Day 2U, which brought in an estimated $9.8 million for the three-day weekend and is expected to deliver just over $11 million for the four-day weekend. After opening on Wednesday this would give the horror sequel a $15+ million six-day start, which is shy of the $20+ million expectations heading into its opening.

It’s difficult to suss out just why the film fell short of expectations, as our research led us to believe industry expectations were mostly spot on. IMDb page view performance heading into the film’s opening was a bit further down than we might have liked heading into release, but we chalked that up to sequels typically pacing behind their predecessors. Though, with even that being said, six-day expectations for the sequel were still well below the over $26 million the first film opened with over just three days. Of course, it’s important to remember that this film is carrying just a $9 million budget. 2U received a “B” CinemaScore, matching its predecessor, while playing to a crowd that was 51% female and 41% were aged 25 and older.

Happy Death Day 2U also got its start internationally this weekend with $11.8 million in 41 markets, led by a $2.2 million performance in South Korea followed by France ($1m), Germany ($1m), UK & Ireland ($900k), Indonesia ($900k) and Spain ($500k). The film will open in Italy and Russia on February 28 followed by a July 12 release in Japan.

A couple milestones to note include Universal‘s Glass, which recently topped $100 million domestically, and WB‘s Aquaman, with a domestic gross over $331 million, has now topped Batman v Superman: Dawn of Justice to become the second highest grossing domestic release among films in the DC Extended Universe behind only Wonder Woman ($412.56m)

In limited release, MGM‘s Fighting with My Family debuted in four theaters this weekend ahead of its nationwide debut next weekend and brought in an estimated $131,625 for a strong, $32,906 per theater average.

Additional limited releases include Janus Films‘s re-release of War and Peace into one theater where the seven hour feature from Sergey Bondarchuk brought in an estimated $22,000. Oscilloscope debuted CatVideoFest 2019 at Chicago’s Music Box Theatre, where it grossed an estimated $11,000 after just two screenings; Sony Classics debuted Ruben Brandt, Collector in 2 locations where it brought in an estimated $6,394 ($3,197 PTA) and Cinema Guild‘s Hotel by the River opened in one theater with an estimated $5,870.

Next weekend will see the wide release of Universal and DreamWorks Animation‘s How to Train Your Dragon: The Hidden World in over 4,000 locations. The film has been in release internationally for six weeks already, generating over $172 million from 49 markets and will arrive in theaters with expectations for a debut in line with its predecessors as Universal becomes the third different studio to release the film.

via Box Office Mojo

Title Weekend Gross Weeks
Alita: Battle Angel Alita: Battle Angel $27.8M $36.5M 1
The Lego Movie 2: The Second Part The Lego Movie 2: The Second Part $21.2M $62.7M 2
Isn't It Romantic Isn’t It Romantic $14.2M $20.5M 1
What Men Want What Men Want $10.9M $36.2M 2
Happy Death Day 2U Happy Death Day 2U $9.8M $13.5M 1
Cold Pursuit Cold Pursuit $6.0M $21.1M 2
The Upside The Upside $5.6M $94.2M 6
Glass Glass $3.9M $104.5M 5
The Prodigy The Prodigy $3.2M $11.0M 2
Green Book Green Book $2.8M $65.8M 14
Reported by Box Office Mojo © 2019

‘Alita: Battle Angel’ Takes a Solid Start at the International BO!!

Despite predictions of doom and gloom – with some analysts suggesting that Fox could be looking at a loss as high as $200 million – Robert Rodriguez and James Cameron’s manga adaptation Alita: Battle Angel has got off to a solid start at the international box office with $32 million from just 11 markets.

Deadline reports that Fox executives are very pleased with the film’s performance, and with the film said to be tracking a lowly $25 million opening weekend in North America, the hope is that the international territories – particularly Asia – will propel the movie into the black.

Alita opens in China on February 22nd, where it is the first big foreign title of the New Year, and Fox is planning a huge premiere in the Middle Kingdom in order to capitalize on the IP’s brand awareness, and James Cameron’s popularity in the region.

Visionary filmmakers James Cameron (AVATAR) and Robert Rodriguez (SIN CITY) create a groundbreaking new heroine in ALITA: BATTLE ANGEL, an action-packed story of hope, love and empowerment. Set several centuries in the future, the abandoned Alita (Rosa Salazar) is found in the scrapyard of Iron City by Ido (Christoph Waltz), a compassionate cyber-doctor who takes the unconscious cyborg Alita to his clinic. When Alita awakens she has no memory of who she is, nor does she have any recognition of the world she finds herself in. Everything is new to Alita, every experience a first. As she learns to navigate her new life and the treacherous streets of Iron City, Ido tries to shield Alita from her mysterious past while her street-smart new friend, Hugo (Keean Johnson), offers instead to help trigger her memories. A growing affection develops between the two until deadly forces come after Alita and threaten her newfound relationships. It is then that Alita discovers she has extraordinary fighting abilities that could be used to save the friends and family she’s grown to love. Determined to uncover the truth behind her origin, Alita sets out on a journey that will lead her to take on the injustices of this dark, corrupt world, and discover that one young woman can change the world in which she lives.

Alita: Battle Angel features a cast that includes Rosa Salazar (Maze Runner: The Scorch Trials), Christoph Waltz (Django Unchained), Michelle Rodriguez (The Fate of the Furious), Keean Johnson (Nashville), Jackie Earle Haley (Preacher), Jennifer Connelly (American Pastoral), Ed Skrein (Deadpool), Eiza Gonzalez (From Dusk Till Dawn), Mahershala Ali (Luke Cage), Lana Condor (X-Men: Apocalypse) and Jorge Lendeborg Jr. (Spider-Man: Homecoming).

 

via Flickering Myth

‘The LEGO Movie 2′ Disappoints With $34 Million Opening at the BO!!!

The weekend didn’t turn out to be quite as big as expected, thanks mostly due to a severe underperformance from Warner Bros.‘s The LEGO Movie 2: The Second Part, which debuted approximately $20 million below expectations as franchise fatigue seems to have settled in rather quickly. Otherwise, the rest of the weekend’s new releases fell, for the most part, within expectations with What Men Want finishing in the runner-up position followed by Lionsgate‘s release of Summit‘s Cold Pursuit while Orion‘s The Prodigy fell just a bit outside industry expectations.

At the top of the box office, Warner Bros.‘s The LEGO Movie 2 brought in an estimated $34.4 million, falling well short of the anticipated $50-55 million the studio was anticipating heading into the weekend. The performance is also well below the $69 million the first film opened with back in February 2014 as well as below the $53 million opening for The LEGO Batman Movie in February 2017. That same year WB debuted a second LEGO feature in The LEGO Ninjago Movie, which opened with a franchise low, $20.4 million in September 2017. The dwindling returns for the films in this franchise suggests the studio jumped the gun with so many spin-offs before actually establishing the overall series.

That said, critics have given three of the four films (Ninjago excluded) top marks, with those three declared “Certified Fresh” on RottenTomatoes and the same going for audience response on those same three films. Audiences gave LEGO 2 an “A-” CinemaScore, matching the same score for LEGO Batman, though the films have been trending increasingly male with LEGO 2 playing to an audience that was 57% male, the largest gender discrepancy among all four films so far. Overall, however, ancillaries should most likely remain high with LEGO 2 suggesting this is far from the end of the franchise, and WB may simply need to change tact looking ahead.

Internationally, LEGO 2 brought in an estimated $18.1 million from 63 overseas markets. Comparatively, the first LEGO Movie brought in $18.4 million in its first weekend from ~30 fewer markets. As for the sequel’s performance, the UK led the way with $5.3 million followed by Russia ($1.7m), Poland ($1.3m), Germany ($1.1m), Spain ($830k), Brazil ($707k), the Netherlands ($622k) and South Korea ($500k). The film will open in Mexico on February 14 followed by openings in France (Feb 20), Italy (Feb 21) and Australia (Mar 21).

Paramount‘s What Women Want came in smack dab in the middle of studio expectations, debuting with an estimated $19 million from 2,912 locations. The film entered the weekend with relatively weak reviews — 47% on RottenTomatoes and 51 on Metacritic — and audiences seem to have agreed based on a 49% audience score at RottenTomatoes and a very weak, 3.6/10 on IMDb. That said, the film’s CinemaScore was still an “A-“, matching the likes of Night School, which pulled off a 2.83x multiplier, which would mean a $53 million run for What Men Want on a reported $20 million budget should it enjoy a similar run.

Lionsgate‘s release of Summit’s Cold Pursuit slightly exceeded expectations with an $10.8 million opening from 2,630 locations. The film played to an opening weekend crowd that was 58% male with 79% of the overall audience coming in aged 25 or older, playing to similar demographics to that of star Liam Neeson‘s The Commuter, which opened last January with $13.7 million and went on to gross over $36 million. A similar run for Cold Pursuit would have it ending its run just shy of $30 million domestic. The film received a “B-” CinemaScore.

In fourth is STXFilms‘s The Upside, continuing its strong week-over-week performance, this time dipping just -17% compared to last weekend with an estimated $7.2 million and a domestic cume that now stands at $85.8 million, well on its way to a $100 million domestic run. The film has also brought in $8.9 million internationally so far, boosting its worldwide cume to $94.7 million.

Rounding out the top five is Universal‘s Glass with an estimated $5.8 million for a domestic cume that now totals $98.4 million. The film also added $6.6 million internationally this weekend for an overseas cume that now totals $123 million, pushing its global cume over $221 million.

Finishing outside the top five is Orion‘s release of the horror thriller The Prodigy, which debuted in 2,530 locations with an estimated $6 million. The performance is short of the $7-9 million the studio was anticipating heading into the weekend, but with a $6 million budget the film should break even easily enough, though weak reviews and a relatively poor audience response means it won’t be sticking around too long. Overall, the film played to an audience that was 54% male with 61% of the crowd coming in aged 25 or older. The film received a “C+” CinemaScore.

Elsewhere in the top ten, Universal‘s Green Book added $3.56 million domestically for a cume totaling $61.5 million while Lionsgate‘s and Amblin‘s release of the film overseas added an additional $11.4 million internationally this weekend for a worldwide cume topping $106 million for the Oscar contender.

In limited release Focus Features‘s Everybody Knows, starring Javier Bardem and Penélope Cruz, opened in four locations in New York and Los Angeles with an estimated $75,000 ($18,750 PTA). Additionally, Magnolia released the 2019 Oscar Nominated Short Films in 265 theaters, the widest release ever in the distributor’s 14 years of releasing the shorts and the result was the largest debut, coming in at an estimated $912,000 ($3,442 PTA).

Additional limited releases include Gunpowder & Sky‘s Lords of Chaos, which opened in four theaters with an estimated $28,086 ($7,021 PTA); Good Deed‘s To Dust opened with $8,400 in one theater; and STX released Peppa Celebrates Chinese New Year in 67 locations with an estimated $70,000 ($1,045 PTA) for a $127,195 cume since debuting on Wednesday.

Next weekend sees the release of the Blumhouse sequel Happy Death Day 2U, which Universal will debut in ~3,000 locations and WB‘s release of New Line‘s Isn’t It Romantic with Rebel Wilson, opening in 3,300+ theaters.

via Box Office Mojo

Title Weekend Gross Weeks
The Lego Movie 2: The Second Part The Lego Movie 2: The Second Part $34.4M $34.4M 1
What Men Want What Men Want $19.0M $19.0M 1
Cold Pursuit Cold Pursuit $10.8M $10.8M 1
The Upside The Upside $7.2M $85.8M 5
Glass Glass $6.4M $98.5M 4
The Prodigy The Prodigy $6.0M $6.0M 1
Green Book Green Book $3.6M $61.5M 13
Aquaman Aquaman $3.3M $328.5M 8
Spider-Man: Into the Spider-Verse Spider-Man: Into the Spider-Verse $3.0M $179.8M 9
Miss Bala Miss Bala $2.7M $11.9M 2
Reported by Box Office Mojo © 2019

‘Alita: Battle Angel’: Fox Could Lose Around $200 million!!

Well, this is a position James Cameron hasn’t found himself in too often, but according to The Wrap, things aren’t looking good for his latest project, the Robert Rodriguez-directed Alita: Battle Angel, with the site reporting that studio 20th Century Fox could end up losing up to $200 million on the movie.

The manga adaptation, which Cameron has been planning since the early 2000s (he produces and co-writes, having stepped aside from the director’s in favor of his Avatar sequels), cost a reported $150 million to $200 million to make (plus marketing costs), and is tracking a lowly $25 million domestic opening weekend and a total North American haul of around $50 million.

Alita has already begun its international rollout ahead of its U.S. release next week, but one saving grace could be its performance in Asia, where the property is more well-known. The film launches in China and Japan on February 22nd where the hope will be that it manages to pull a Warcraft and proves a success in the Middle Kingdom.

Fox has already suffered one big box office flop this year in The Kid Who Could Be King, and at this rate the bean counters at 21st Century Fox will likely be hoping the Disney deal closes sooner rather than later.

Visionary filmmakers James Cameron (AVATAR) and Robert Rodriguez (SIN CITY) create a groundbreaking new heroine in ALITA: BATTLE ANGEL, an action-packed story of hope, love and empowerment. Set several centuries in the future, the abandoned Alita (Rosa Salazar) is found in the scrapyard of Iron City by Ido (Christoph Waltz), a compassionate cyber-doctor who takes the unconscious cyborg Alita to his clinic. When Alita awakens she has no memory of who she is, nor does she have any recognition of the world she finds herself in. Everything is new to Alita, every experience a first. As she learns to navigate her new life and the treacherous streets of Iron City, Ido tries to shield Alita from her mysterious past while her street-smart new friend, Hugo (Keean Johnson), offers instead to help trigger her memories. A growing affection develops between the two until deadly forces come after Alita and threaten her newfound relationships. It is then that Alita discovers she has extraordinary fighting abilities that could be used to save the friends and family she’s grown to love. Determined to uncover the truth behind her origin, Alita sets out on a journey that will lead her to take on the injustices of this dark, corrupt world, and discover that one young woman can change the world in which she lives.

Alita: Battle Angel features a cast that includes Rosa Salazar (Maze Runner: The Scorch Trials), Christoph Waltz (Django Unchained), Michelle Rodriguez (The Fate of the Furious), Keean Johnson (Nashville), Jackie Earle Haley (Preacher), Jennifer Connelly (American Pastoral), Ed Skrein (Deadpool), Eiza Gonzalez (From Dusk Till Dawn), Mahershala Ali (Luke Cage), Lana Condor (X-Men: Apocalypse) and Jorge Lendeborg Jr. (Spider-Man: Homecoming).

 

via Flickering Myth

‘Glass’ Threepeats at #1 as ‘Miss Bala’ Flops at the BO!!!

It was an incredibly soft start to the February box office with the top 12 grossing just a combined $55.4 million. You’d have to go back to the first weekend in September 2017 to find a worse performance from the top twelve films. The top of the box office was a repeat from the last three weekends with Glass taking the top spot while Sony‘s Miss Bala debuted in third place. Overall, the weekend is expected to be the worst Super Bowl weekend at the box office since 2000 when Destination Films‘s Eye of the Beholder starring Ashley Judd and Ewan McGregor topped the box office.

Universal‘s Glass topped the weekend box office for a third straight week, bringing in an estimated $9.5 million, pushing the film’s domestic gross over $88 million. Internationally the film added $12.2 million this weekend from 54 markets, for an overseas cume that now totals over $110 million and a global tally just shy of $200 million.

Placing second for a third straight weekend is STXFilms‘s The Upside, which continues a strong domestic run with a cume that has now topped $75.5 million. This weekend the film dipped just -26% for a $8.85 million fourth weekend.

Sony‘s Miss Bala landed in third position over its debut, pulling in an estimated $6.6 million from 2,203 locations. The performance is on the soft side for the $15 million production, which entered the weekend with mixed-to-negative reviews — 41 on Metacritic and 27% on RottenTomatoes — and there’s also a curious absence of the film’s CinemaScore despite the polling service reporting on Twitter they would be polling the film this weekend. To go by audience ratings at RottenTomatoes, 61% said they liked it, while the rating on IMDb tells a different story with a rating of 4.9/10. Opening weekend crowds broke down 54% female and 66% were 25 years of age or older.

WB‘s Aquaman landed in fourth place, dipping -34% for an estimated $4.78 million and a domestic cume that now totals $323.5 million. The film also brought in another $4.6 million internationally this weekend for a global cume that now totals $1.106 billion with the film set to open in Japan this coming Friday, February 8.

Rounding out the top five was Sony‘s Spider-Man: Into the Spider-Verse with an estimated $4.4 million for a domestic cume that now tops $175 million, now ranking as Sony Animation‘s highest grossing domestic release of all-time. The film also added another $1.6 million internationally this weekend for an overseas cume that now totals $172 million.

Just outside the top five is Universal‘s Oscar contender Green Book, which dipped just -21% in its second weekend since its post-Oscar nomination expansion. The film grossed an estimated $4.3 million over the three-day for a domestic cume that now tops $55 million. Internationally the film also expanded its footprint, delivering an estimated $11.8 million from nearly 50 markets for an international total that now tops $25 million.

Rounding out the top ten was WB‘s release of Peter Jackson‘s World War I documentary They Shall Not Grow Old, which scored a massive $8.3 million from just three event screenings prior to this weekend’s traditional release in 735 locations. The film ended up delivering an estimated $2.4 million over the three-day for a domestic total that now stands at $10.7 million.

In limited release, Fox International‘s Ek Ladki Ko Dekha Toh Aisa Laga brought in $600k from 193 locations ($3,109 PTA); Bleecker‘s Arctic delivered an estimated $56,463 from four theaters ($14,116 PTA); Greenwich released Piercing in 35 locations where it brought in $8,500 ($340 PTA); and Cinema Guild‘s The Wild Pear Tree brought in $5,392 from one theater.

Next weekend should see much better results with Warner Bros. debuting The LEGO Movie 2: The Second Part in over 4,100 locations along with Paramount‘s release of the R-rated comedy What Men Want, Summit‘s Cold Pursuit and Orion Pictures‘s debut of The Prodigy.

via Box Office Mojo

Title Weekend Gross Weeks
Glass Glass $9.5M $88.7M 3
The Upside The Upside $8.9M $75.6M 4
Miss Bala Miss Bala $6.7M $6.7M 1
Aquaman Aquaman $4.8M $323.6M 7
Spider-Man: Into the Spider-Verse Spider-Man: Into the Spider-Verse $4.4M $175.3M 8
Green Book Green Book $4.3M $55.8M 12
The Kid Who Would Be King The Kid Who Would Be King $4.2M $13.2M 2
A Dog's Way Home A Dog’s Way Home $3.5M $35.9M 4
Escape Room Escape Room $2.9M $52.1M 5
They Shall Not Grow Old They Shall Not Grow Old $2.4M $10.7M 7
Reported by Box Office Mojo © 2019

‘The Kid Who Would Be King’ Could Lose $50 Million at the BO!!!

The Kid Who Would Be King” isn’t exactly ruling over the box office.

Fox’s family friendly adventure is looking like one of the year’s first big-budget flops after the $60 million movie debuted last weekend with a disastrous $7 million from 3,521 theaters. It’s only January, but “The Kid Who Would Be King” also marks the lowest launch for a wide-release from a major studio in 2019.

Executives at rival studios estimate “The Kid Who Would Be King” could lose around $50 million after taking marketing and production costs into account. Marketing for a family movie tends to be pricer than the average film because studios have to pitch the movie to both kids and their parents. All that advertising can certainly add up.

Other insiders caution that number doesn’t account for home entertainment sales, television licensing pacts, and other ancillary revenues. Those could reduce losses.

Joe Cornish, best-known for writing “The Adventures of Tintin” and Marvel’s “Ant-Man,” directed the fantasy film. It also began its overseas rollout last weekend, earning a paltry $1.9 million for a global start of $10.45 million. Insiders at Fox disputed the $50 million number and remain hopeful that international numbers, especially in the United Kingdom where it has yet to open, will help recoup ticket sales. The film was made in part for the potential of a strong appeal in Europe.

“The Kid Who Would Be King” is the latest adaptation of King Arthur to misfire at the box office. This iteration follows a young boy who discovers the medieval leader’s legendary sword Excalibur and uses it to save the world from attack. It holds surprisingly strong reviews for a movie that saw such low ticket sales, but critical reception rarely sways the target audience for a PG film.

The fantasy movie doesn’t have the benefit of big stars who could have boosted the movie’s profile. Perhaps a few A-listers might have been able to make IP about King Arther seem more appealing to moviegoers. Newcomer Louis Ashbourne Serkis, the son of actor-director Andy Serkis, stars alongside Rebecca Ferguson and Patrick Stewart.

“The Kid Who Would Be King” doesn’t have much breathing room before a handful of titles geared at younger audiences hit theaters. The Super Bowl is this weekend, marking a traditionally slow time of year at multiplexes as audiences opt to plop down in front of their TV sets to watch the big game. The following frame sees the release of Warner Bros.“The Lego Movie 2: The Second Part,” and early estimates show the animated sci-fi sequel is heading toward a sizable opening weekend of $55 million.

It only gets more crowded from there as Universal’s “How to Train Your Dragon: The Hidden World” enters the marketplace shortly after. The third “Dragon” entry and “The Lego Movie” sequel both have the added benefit of a glowing critical response. With a slew of wide-releases debuting in February, exhibitors might abandon “The Kid Who Would Be King” sooner rather than later if the movie isn’t able to find an audience. They’ll want to use those screeners for other, more promising releases.

The hit comes as Fox prepares to merge most of its entertainment assets with Disney. Despite last weekend’s miss, the studio is ending its storied run on a high note. “Bohemian Rhapsody,” now nominated for five Academy Awards, has become a financial smash as the Queen biopic has drummed up over $817 million worldwide. The studio also re-released a PG-13 cut of “Deadpool 2” in China, where it launched last weekend with $21.4 million. All that extra cash is just icing on top of a very rich cake since grosses were added to the sum of the superhero sequel’s initial box office run last summer. Ryan Reynold’s Merc With a Mouth is now one of the top-grossing entries in the “X-Men” franchise.

 

via Variety

‘Aquaman’ Is Officially the Highest-Grossing DC Comics Movie Ever!!!

Because we truly live in the wackiest timeline of human existence imaginable, Aquaman is now officially the highest-grossing DC Comics film of all time. According to Box Office Mojo, James Wan‘s undersea epic hit the $1.09 billion mark at the worldwide box office this weekend, surpassing Christopher Nolan‘s The Dark Knight Rises, which hauled in $1.08 billion worldwide back in 2012.

Just to put this in perspective, the latest standalone Superman film, Man of Steel, topped out at $668 million worldwide, while a movie featuring the whole-ass Justice League reached just $657.9 million. The closest box office to Aquaman of Warner Bros.’ current DCEU era belongs to Wonder Woman, which ended its run with $821 million worldwide.

Aquaman was pretty divisive among critics, not entirely surprising considering it’s an insane movie in which Jason Momoa rides a Lovecraftian sea monster out from the core of the Earth. But still, this box office take is significant, and it’ll be fascinating to see what lessons, if any, Warner Bros. implements from the experience in the coming years. Aquaman was several thousand nautical miles removed from the grimdark tone of Zack Snyder‘s Batman vs. Superman: Dawn of Justice($873.6 million worldwide), which morphed into that weird “everything is fine” feeling on the half-Snyder, half-Joss Whedon joint Justice League, which was “lighthearted” the same way Stockholm Syndrome is romantic. But Aquaman was a genuinely joyous, well-earned turn for the DCEU, one that it’s worth noting included very little crossover with other DC properties. WB’s upcoming slate, at least, seems to be following that same path, with standalone films like Shazam! and Birds of Prey eyeing fun over fists. (Todd PhillipsJoker movie seems to be getting the dark and gritty treatment, but that film is reportedly betting with a lot less money.)

Of course, the question now isn’t if, but when we’ll officially be getting news about an Aquaman 2. Last we heard, the studio wants to set this ship a-sailin’ ASAP, but Wan is waiting on a worthwhile script until he officially signs on. Which, you know, duh.

 

via Collider

‘Glass’ Stays Solid While ‘Kid Who Would Be King’ and ‘Serenity’ Bomb at the BO!!!

The weekend turned out a bit better than expected with Universal‘s Glass holding on to the top spot with an estimated $19 million on its way to a $100+ million domestic run, though the weekend’s newcomers in Fox‘s The Kid Who Would be King and Serenity struggled. Meanwhile this year’s crop of Oscar nominees saw Green Book re-enter the top ten following its five nominations while The Favourite, Bohemian Rhapsody and A Star is Born all improved compared to last weekend.

Finishing with an estimated $19 million, Universal‘s Glass dipped -53% in its second weekend for a domestic cume that now stands at $73.5 million after just ten days in release. Internationally, the film added $23.6 million from 55 markets for an overseas cume totaling $89.1 million and a global tally reaching $162.7 million. The film is now open in all markets except for China where it still does not have an official release date.

Second place went to The Upside, which continues its impressive run, dipping just -18.4% this weekend for an estimated $12.2 million and a domestic cume that now tops $63 million. The performance is a notch ahead of Mojo‘s lofty, pre-weekend projections, and other than the expansion of Green Book, it currently has the best hold among holdover films in the top ten. Internationally, the film brought in an estimated $1.1 million this weekend for an international cume totaling $6.1 million, from 38 markets released for a worldwide tally topping $69 million.

For now, Warner Bros.‘s Aquaman holds a narrow lead for third place, bringing in an estimated $7.35 million for a domestic cume that now tops $316 million. In even bigger news, the film has now topped $1.09 billion at the global box office making it the largest DC Comics adaptation of all-time globally, the third largest WB movie all-time worldwide and now ranks as the 25th largest worldwide release ever.

In fourth, by just $100k, is Fox‘s The Kid Who Would be King with an estimated $7.25 million debut. Budgeted at a reported $59 million, the family feature had strong reviews heading into the weekend, but just wasn’t able to capture audience attention. Opening day audiences gave the film a “B+” CinemaScore while the overall audience coming in was 53% female and 53% of the opening weekend crowd was aged 25 or older. Internationally, the film began playing last weekend and this weekend added $1.94 million for an overseas total that now stands at $3.2 million as it is now in just 20 markets.

Rounding out the top five is Sony‘s Spider-Man: Into the Spider-Verse with an estimated $6.15 million bringing the film’s domestic cume to $169 million. The film is now less than $700k behind Hotel Transylvania 2, on its way to becoming the highest grossing domestic release ever for Sony Animation. Internationally the film added $2.8 million this weekend for an overseas cume of $169.1 million and a global tally topping $338 million.

Just outside the top five is Universal‘s Oscar contender Green Book, which expanded into 2,430 locations (+1,518) this weekend following this week’s Oscar nominations and saw a +150% increase with an estimated $5.4 million three-day. The film has now grossed nearly $50 million domestically as it enters its eleventh week in release. Internationally, the film’s release is being handled by Lionsgate and Amblin, and it is playing in 33 markets where it grossed $5.7 million this weekend for an international cume topping $10 million and a worldwide gross that currently stands at $59.3 million.

It isn’t until eighth position that we find Aviron‘s release of Serenity which was unable to generate much attention, debuting with just $4.8 million from 2,561 locations ($1,874 PTA). Opening day audiences seemed to agree with critics, giving the film a “D+” CinemaScore. Overall, the opening weekend crowd was split 50/50 male vs. female while 73% of the audience coming in was aged 25 or older.

Looking at a few of the other Oscar contenders that expanded this weekend, Fox Searchlight‘s The Favourite brought in an estimated $2.56 million (+214%) after adding over one thousand theaters as its domestic cume now tops $26 million. Fox‘s Bohemian Rhapsody is slowly creeping up on A Star is Born‘s domestic cume after bringing in nearly $2.5 million (+7.6%) from 1,423 locations for a domestic total that now stands at $205.8 million. Speaking of A Star is Born, it too added some theaters this weekend, playing in 1,192 locations (+777) from which it brought in an estimated $1.26 million for a domestic cume that now stands at $206.3 million.

This weekend also saw Clint Eastwood‘s The Mule top $100 million on its 45th day of release.

In limited release, Greenwich‘s The Invisibles opened with $27,000 from four theaters ($6,750 PTA); Sony Classics debuted the Foreign Language contender Never Look Away in one theater from which it brought in $26,270, enough for the largest per theater average for the weekend; Kino Lorber‘s release of Jean-Luc Godard‘s The Image Book brought in $15,200 from three locations ($5,067 PTA); and Cinema Libre‘s Jihadists debuted in one theater with $1,188.

Next weekend sees the release of Sony‘s remake of Miss Bala opening in ~2,000 locations while Fox International will debut Ek Ladki Ko Dekah Toh Aisa Laga in ~175 theaters and Bleecker will release Arctic in four locations.

via Box Office Mojo

Title Weekend Gross Weeks
Glass Glass $19.0M $73.6M 2
The Upside The Upside $12.2M $63.1M 3
Aquaman Aquaman $7.4M $316.6M 6
The Kid Who Would Be King The Kid Who Would Be King $7.3M $7.3M 1
Spider-Man: Into the Spider-Verse Spider-Man: Into the Spider-Verse $6.2M $169.0M 7
Green Book Green Book $5.4M $49.0M 11
A Dog's Way Home A Dog’s Way Home $5.2M $30.8M 3
Serenity Serenity $4.8M $4.8M 1
Escape Room Escape Room $4.3M $47.9M 4
Doragon bôru chô: Burorî - Dragon Ball Super: Broly Doragon bôru chô: Burorî – Dragon Ball Super: Broly $3.6M $29.0M 2
Reported by Box Office Mojo © 2019

‘Glass’ Dominates With $40 Million Opening at the BO!!

Universal‘s Glass, from Blinding Edge Pictures and Blumhouse Productions, was unable to quite reach the lofty heights some had expected heading into the weekend, but the film still managed a solid #1 start, playing very similarly to its predecessor based on current estimates. Glass, however, might not be the biggest news of the weekend when you consider the monster debut of FUNimation‘s Dragon Ball Super: Broly, which is looking at a possible third place finish based on early estimates, but it’s important to note current results are not from the film’s domestic distributor, FUNimation. Elsewhere, STX‘s The Upside delivered on Mojo‘s pre-weekend expectations with a strong second weekend while WB‘s Aquaman topped $300 million domestically.

With an estimated $40.58 million over the three-day weekend, Universal anticipates M. Night Shyamalan‘s Glass will reach $47 million for the four-day holiday weekend. The performance is a bit shy of the studio’s $50 million expectations, but the three-day already more than doubles the film’s reported $20 million budget. In terms of some of the records it was eying this weekend, the three-day performance makes it the fourth largest January opening of all-time while on track to deliver the third largest Martin Luther King weekend performance of all-time.

Looking ahead, the film’s debut is just ahead of 2017’s Split, which opened with $40 million over the same weekend in 2017 and went on to gross over $138 million at the domestic box office. Glass received a “B” CinemaScore from opening day audiences, which is actually a grade higher than the “C” Unbreakable earned back in 2000, though behind Split‘s “B+” which would also seem to reflect the critical response which saw Split receive a 76% RottenTomatoes rating compared to the 35% for Glass. Audiences were 54% male with 65% of the audience coming in aged 25 or older. The difference in gender demographic is an interesting one considering Split played more like a well-reviewed horror film over its run, playing to an audience that was 52% female, not to mention a much younger crowd with 48% of Split‘s opening audience aged 25 or older. That said, Glass could be looking at a domestic performance ending around $85-95 million.

Internationally, Glass is being distributed by Buena Vista International (excluding China) and grossed $48.5 million this weekend from 55 markets. Leading the way was Russia with an estimated $5.2 million followed by Mexico ($4.5m), UK ($4.3m), France ($3.4m), Korea ($2.8m), Germany ($2.8m), Australia ($2.4m), Italy ($2.1m), Spain ($2.0m), Brazil ($1.5m) and Indonesia ($1.5m). Based on current exchange rates in the same suite of markets, Glass is outpacing Split by approximately +13%.

Finishing in second, following a strong debut last weekend, is STXfilms and Lantern Entainment‘s The Upside, dipping just -23% in its sophomore frame for an estimated $15.67 million. The studio anticipates the film will top $19.5 million over the 4-day Martin Luther King holiday weekend for a domestic cume just shy of $48 million after 11 days in release. The Upside has also brought in $4.1 million internationally thus far.

Looking at a surprise third place position is FUNimation‘s Dragon Ball Super: Broly, though, as noted in our lede, the studio is not reporting domestic grosses this morning. That said, results from third party sources show the film neck-and-neck with WB‘s Aquaman for a domestic three-day topping $10 million and a five-day total following its Wednesday release topping $21 million. On the lower end of projections, one source puts the film’s three-day at $9.3 million, which is still incredibly impressive and enough for a fourth place finish.

Internationally, Dragon Ball is entering its seventh week in release and does so with an estimated $5.3 million from 18 markets for an international cume that now totals $65.8 million for a global tally just shy of $87 million. The film’s top market is Japan with $33.3 million followed by Mexico where the film is in its second weekend and has brought in $9.5 million so far.

As for Aquaman, the film added an estimated $10.3 million to its domestic total this weekend, which now stands at $304.3 million. The film is still in fourth place among previous releases in the DC Extended Universe. The film also added $14.3 million from 79 overseas markets this weekend, bringing the international cume to $759.1 million for a global tally of $1.06 billion, just a little over $21 million shy of The Dark Knight Rises as it will soon become the highest grossing worldwide release among DC Comics adaptations.

Rounding out the top five is Sony‘s Spider-Man: Into the Spider-Verse, which enjoyed the smallest drop in the top ten (-19.8%) with an estimated $7.25 million for the three-day. The film is expected to top $9 million over the four-day weekend, pushing the film’s domestic cume over $160 million, which would put it ~$9 million shy of topping Hotel Transylvania 2 as Sony Animation‘s highest grossing domestic release of all-time. Internationally, the film added another $4.7 million this weekend, pushing its worldwide total over $322 million.

Elsewhere, on its 78th day of release, Fox’s Bohemian Rhapsody topped $200 million domestically this weekend as the film continues to play almost neck-and-neck with WB‘s A Star is Born, which topped $200 million on its 80th day of release. After an additional $639k this weekend, A Star is Born has now grossed just shy of $205 million domestically. Worldwide, however, it’s no competition with Bohemian Rhapsody adding another $11.3 million this weekend for an international cume that has now reached $596 million for a global tally $2 million shy of $800 million.

In limited release, Abramorama‘s Who Will Write Our History debuted with $12,719 in one theater; Distrib‘s The Heiresses opened in two locations with $11,288; and IFC‘s An Acceptable Loss opened in one theater with an estimated $5,103.

Next weekend sees the release of Fox‘s The Kid Who Would be King in ~3,400 locations along with Aviron‘s Serenity in ~2,500 theaters. It will also be interesting to see how well this year’s crop of awards contenders perform following Tuesday’s Oscar nominations announcement.

via Box Office Mojo

Title Weekend Gross Weeks
Glass Glass $40.6M $40.6M 1
The Upside The Upside $15.7M $44.0M 2
Doragon bôru chô: Burorî - Dragon Ball Super: Broly Doragon bôru chô: Burorî – Dragon Ball Super: Broly $10.7M $21.1M 1
Aquaman Aquaman $10.3M $304.3M 5
Spider-Man: Into the Spider-Verse Spider-Man: Into the Spider-Verse $7.3M $158.3M 6
A Dog's Way Home A Dog’s Way Home $7.1M $21.3M 2
Escape Room Escape Room $5.3M $40.7M 3
Mary Poppins Returns Mary Poppins Returns $5.2M $158.7M 5
Bumblebee Bumblebee $4.7M $115.9M 5
On the Basis of Sex On the Basis of Sex $4.0M $16.9M 4
Reported by Box Office Mojo © 2019

‘Uri’: Vicky Kaushal Starrer Is the First Bonafide Success of 2019!!!

After 2018’s bonanza of hits for Bollywood, it looks like this year too will reap rich harvests. 2018 ended with a big hit Simmba. Now 2019 has opened with a hit, the war film Uri which is showing very impressive box office numbers. The film collected Rs. 8.20 crore on Day 1. The figure leapt to Rs. 12.43 crores on Day 2. Over the weekend Uri has made a staggering Rs. 35.73 crores.

Made at a budget of approximately Rs. 25 crores, Uri is already showing an impressive profit within a week of its release. The other surprise success of the week is the Manmohan Singh bio-pic The Accidental Prime Minister. Like Uri, this film too has shown an impressive growth over the weekend and is expected to be a surprise success.

The Accidental Prime Minister is being dubbed into Tamil and Telugu from this Friday. Says trade analyst Amod Mehra, “People today are eager to see something different but it should have some substance to back it. Both films depict true-life incidents from recent history and both have their own audience. The modest budget of The Accidental Prime Minister has made the film commercially viable. URI arouses the patriotic emotions as it’s based on recent incidents and is a slap on the face to our enemy No.1, namely Pakistan.”

Adds trade pundit Atul Mohan, “Topical, well-made films, right marketing and buzz are the factors in favor of these two. The country is entering into election fever now and buzz around these two films that these are propaganda films by ruling party has also added to the curiosity element. People are liking these films and this positivity is growing into footfalls.”

Trade expert Girish Johar sees the triumph of two starless dramas on the same Friday as a victory of content. “To me it clearly shows that CONTENT IS KING. Despite the so called lesser mass appeasing stars these films have started well and have strongly consolidated there on. The audiences has shown clearly that all they want is good appealing content which not is entertaining but is also worth their time and money. This is a great trend for the business of film making as it will enable good stories to be told irrespective of who is starring in it. Overall is a very comfortable start movie business in 2019!

via Bollywood Hungama

‘The Upside’ Opens to No. 1 While ‘Aquaman’ Tops $1 Billion at the Worldwide BO!!!

Outperforming expectations, STXFilms‘s The Upside debuted atop the weekend box office, upsetting Aquaman’s bid for a fourth straight weekend at #1. That said, Aquaman isn’t exactly focused on its runner-up position domestically as the film is now the first in the DC Extended Universe to top $1 billion at the global box office. As for the rest of the week’s new wide releases, Sony‘s A Dog’s Way Home delivered on studio expectations while Entertainment Studios‘s sci-fi thriller Replicas failed to place within the weekend top ten.

With an estimated $19.59 million, STXFilms‘s The Upside topped the weekend box office, dramatically outperforming expectations heading into the weekend. The remake of the popular French film The Intouchables, The Upside stars Kevin Hart and Bryan Cranston, and while the reviews were mixed heading into the weekend, opening day audiences seemed to enjoy themselves, giving the film an “A” CinemaScore, which bodes well for the film’s future.

The Upside‘s opening audience was 59% female with 74% of the overall audience coming in aged 25 years or older. The film was originally rated R, but upon acquiring the the film following the Weinstein Co.‘s bankruptcy settlement, STX and Lantern Entertainment worked with director Neil Burger and the film’s producers to recut the movie to a PG-13, making it more accessible to a broader audience. The move paid off and gave STX its first #1 debut ever.

In second is Aquaman, which may have relinquished the #1 slot at the weekend box office to begin its fourth week in release, but Warner Bros. is unlikely to be too upset as the film added an estimated $17.26 million domestically and another $27.9 million internationally for a global cume that now stands at $1.02 billion. Domestically the film has grossed $287.8 million while China remains its top foreign market with $287.3 million. The film will open in Japan, the last market where the film has yet to debut, on February 8. Aquaman is the first film in the DC Extended Universe to top $1 billion globally and it ranks as the second largest among DC Comics adaptations behind only The Dark Knight Rises ($1.0849 billion).

Sony began its domination of the third, fourth and fifth spots at the weekend box office with the debut of its family feature, A Dog’s Way Home, which opened with an estimated $11.3 million from 3,090 locations. The adaptation of the W. Bruce Cameron novel received an “A-” CinemaScore from opening day audiences, which were 52% female with 51% of the audience coming in aged 25 years or older.

Sony Animation‘s Spider-Man: Into the Spider-Verse is fresh of its win at the Golden Globes last weekend and continued its excellent box office run with an estimated $9 million this weekend, dropping just 31% as it begins its fifth week in release. The film’s domestic cume now stands at $147.7 million as it will soon top the animation house’s Hotel Transylvania and become SPA‘s third highest grossing domestic release of all-time. Spider-Verse also added another $9.4 million internationally this weekend for a global cume that now tops $300 million.

Rounding out the top five is Sony‘s Escape Room, which had an excellent opening last weekend and followed that up with an estimated $8.9 million this weekend, bringing the $9 million production’s domestic cume to $32.4 million after just ten days in release.

Outside the top five, in eighth position, we find the expansion of Focus Features‘s On the Basis of Sex, which brought in an estimated $6.2 million from 1,923 locations (+1,811). The film received an “A” CinemaScore from audiences this weekend and has a domestic cume that now totals $10.55 million.

Also expanding this weekend, Annapurna‘s If Beale Street Could Talk hasn’t quite caught on as many may have expected earlier in the year as the film brought in an estimated $2.38 million from 1,018 locations (+683). The film’s domestic cume now stands at $7.68 million as it begins its fifth week in release.

One notch further down the list we come to Entertainment Studios‘s Replicas, a sci-fi thriller that was pretty much destroyed by critics and audiences didn’t seem to care for the Keanu Reeves starrer either, giving it a “C” CinemaScore. So it shouldn’t come as much of a surprise it debuted with just $2.5 million this weekend from 2,329 locations for a $1,073 per theater average. The performance ranks as one of the worst all-time among films debuting in over 2,000 theaters.

In limited release, Lionsgate‘s release of Pantelion‘s Perfect Strangers brought in an estimated $425,000 from 132 locations ($3,220 PTA) and Cohen Media‘s The Aspern Papers grossed $9,277 from ten locations ($928 PTA).

Next weekend Universal will debut M. Night Shyamalan‘s Glass, the sequel to the director’s 2000 film Unbreakable as well as 2017’s surprise hit Split. The film will open in approximately 3,500 locations.

via Box Office Mojo

Title Weekend Gross Weeks
The Upside The Upside $19.6M $19.6M 1
Aquaman Aquaman $17.3M $287.9M 4
A Dog's Way Home A Dog’s Way Home $11.3M $11.3M 1
Spider-Man: Into the Spider-Verse Spider-Man: Into the Spider-Verse $9.0M $147.8M 5
Escape Room Escape Room $8.9M $32.4M 2
Mary Poppins Returns Mary Poppins Returns $7.2M $150.7M 4
Bumblebee Bumblebee $6.8M $108.5M 4
On the Basis of Sex On the Basis of Sex $6.2M $10.6M 3
The Mule The Mule $5.5M $90.6M 5
Vice Vice $3.3M $35.9M 3
Reported by Box Office Mojo © 2019

‘The Grinch’ Tops ‘Home Alone’ as the Highest-Grossing Christmas Movie of All Time!!!

It’s taken 28 years, but the Macaulay Culkin-headlined Christmas classic Home Alone has finally been dethroned as the highest-grossing holiday movie of all time by Universal and Illumination Entertainment’s Dr. Seuss adaptation The Grinch.

The animated movie has grossed $500.6 million at the worldwide box office, which – not accounting for inflation – puts it ahead of Home Alone’s $476.7 million global tally.

Home Alone still retains the domestic crown however, having banked $285.8 million in North America during its original run, compared to The Grinch’s $269.8 million (for comparison, the 2000 live-action adaptation How the Grinch Stole Christmas earned $260 million domestically, with a worldwide total of $345.1 million).

Academy Award® nominee Benedict Cumberbatch lends his voice to the infamous Grinch, who lives a solitary life inside a cave on Mt. Crumpet with only his loyal dog, Max, for company. With a cave rigged with inventions and contraptions for his day-to-day needs, the Grinch only sees his neighbours in Who-ville when he runs out of food.

Each year at Christmas they disrupt his tranquil solitude with their increasingly bigger, brighter and louder celebrations. When the Whos declare they are going to make Christmas three times bigger this year, the Grinch realizes there is only one way for him to gain some peace and quiet: he must steal Christmas. To do so, he decides he will pose as Santa Claus on Christmas Eve, even going so far as to trap a lackadaisical misfit reindeer to pull his sleigh.

Meanwhile, down in Who-ville, Cindy-Lou Who-a young girl overflowing with holiday cheer-plots with her gang of friends to trap Santa Claus as he makes his Christmas Eve rounds so that she can thank him for help for her overworked single mother. As Christmas approaches, however, her good-natured scheming threatens to collide with the Grinch’s more nefarious one. Will Cindy-Lou achieve her goal of finally meeting Santa Claus? Will the Grinch succeed in silencing the Whos’ holiday cheer once and for all?

 

via Flickering Myth

‘Aquaman’ Tops ‘Batman v Superman’ To Become DCEU’s Highest-Grossing Film!!

After blowing the competition out of the water over the holiday period, Aquaman has now set a new milestone at the box office, overtaking 2016’s Batman v Superman: Dawn of Justice to become the highest-grossing installment in the DC Extended Universe.

The Jason Momoa-headlined solo movie has taken its global haul to $887 million, surpassing the $873 million worldwide take of Zack Snyder’s Batman v Superman.  Wonder Woman now sits in third place on $821.8 million, followed by Suicide Squad ($746.8 million), Man of Steel ($668 million) and Justice League ($657.9 million).

A billion dollar take for Aquaman is all but assured, and the underwater superhero epic may well go on to top Christopher Nolan’s The Dark Knight ($1.003 billion) and The Dark Knight Rises ($1.085 billion) to become the biggest DC movie of all time.

Given the difficulties the DCEU has faced, Warner Bros. is sure to be ecstatic with Aquaman’s performance, and it may well encourage the studio to give the green light to some of the many, many DC projects in various stages of development.

Next up for the DCEU is Shazam! in April 2019, followed by Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) in February 2020 and Wonder Woman 1984 in June 2020. Meanwhile, DC Films also has its standalone Joker movie incoming in October 2019.

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 as King Atlan.

 

via Flickering Myth

‘Aquaman’ Crosses $200 Million at the Domestic BO!!!

Warner Bros.’ DC movie Aquaman crossed the $200 million domestic mark on New Year’s Day, solidifying the film’s status as a bona fide hit. Many were skeptical that the film could fare as well as it did during the holiday corridor—myself included—but Aquaman has proved to be the big hit of the season, overshadowing more family friendly fare like Mary Poppins Returns and Bumblebee.

Aquaman finished Tuesday with a domestic total of $216.3 million, which puts it on track to easily surpass the lifetime domestic total of Justice League, which stands at $229 million. Worldwide, Aquaman has already hit nearly $800 million, swimming past the worldwide totals of Justice League ($657.9 million), Man of Steel ($668 million), and Suicide Squad ($746.8 million).

Elsewhere at the New Year’s box office, Mary Poppins Returns has hit $115 million domestic, which is solid but a far cry from the mega-sized hit Disney was anticipating. The film could still have strong legs and climb to big heights in the weeks to come a la The Greatest Showman, but most pegged the Mary Poppins sequel as the hit film of the holiday season. Instead, folks headed for Aquaman or stayed home and watched Bird Box.

The news is even worse for Bumblebee. The Transformers spinoff’s domestic total now stands at just $78.5 million after picking up another $7 million on New Year’s Day. While that’s not disastrous, it’s surely nowhere near what Paramount was hoping for a film that was intended to reorient the Transformers franchise going forward. Then again, after five films of Michael Bay smashing metal together in indistinguishable images and sounds, it’s tough to ask the audience to trust that the Travis Knight-directed film will be different. The film scored solid reviews so perhaps this is one folks will catch up on later in the year.

Circling back to Aquaman, the film is currently on track to become the highest grossing DCEU film ever worldwide, as it’s poised to easily surpass the grosses of Wonder Woman ($821 million) and Batman v Superman ($873 million) in due time. Domestically, however, it’s got a ways to go to catch up. For reference, here’s the domestic totals of every DCEU film—i.e. interconnected DC movies starting with Man of Steel—thus far.

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

 

via Collider

‘Aquaman’ Heads for $900M-Plus Win for DC at the BO!!!

James Wan‘s Aquaman more than conquered the Christmas box office swim meet.

The superhero tentpole finished Sunday with a shimmery global total of $751.8 million, guaranteeing that Aquaman will fly past $900 million by the end of its run and become the biggest Warner Bros./DC title since Christopher Nolan‘s The Dark Knight Rises earned $1.09 billion in 2012, not adjusted for inflation.

In the intervening years, DC and Warners have struggled to compete with Marvel‘s booming cinematic universe, both creatively and at the box office.

The sole exception was Patty JenkinsWonder Woman, which earned the adoration of fans and critics alike on its way to $821.8 million worldwide in 2016. Otherwise, the post-Nolan era at DC has lagged in terms of both meeting expectations and keeping up with Marvel.

Aquaman, starring Jason Momoa in the titular role, has already surpassed the entire lifetime gross of fellow DC pics Man of Steel ($668 million), Justice League ($657.9 million) and Suicide Squad ($746.8 million), and will soon overtake both Wonder Woman and Batman v Superman: Dawn of Justice ($873.6 million), not adjusted for inflation.

The event film co-stars Amber Heard, Willem Dafoe, Nicole Kidman, Patrick Wilson and Dolph Lundgren.

Domestically, Aquaman has grossed $188.8 million in its first 10 days.

Overseas, it has earned $560 million to date, the best showing ever for any DC superhero pic, including Dark Knight Rises. The film’s foreign tally includes a mighty $260 million from China alone (it opened in the Middle Kingdom three weeks ago).

In North America, exit polls show that Aquaman is succeeding in playing to both males and females of all ages. On its first weekend, 60 percent of moviegoers were male; that percentage dropped to 56 percent this past weekend, according to Comscore‘s PostTrak. It is also playing to an ethnically diverse audience, as well as to families; 32 percent of ticket buyers turning out on the second weekend were parents and kids.

Aquaman easily beat fellow Christmas competitors Mary Poppins Returns and Transformers spinoff Bumblebee.

There’s an outside chance that Aquaman could clear $1 billion globally, a feat only eight superhero films have accomplished. Six are from Marvel and the other two are The Dark Knight and The Dark Knight Rises.

 

via The Hollywood Reporter