Top Domestic Grosser 2019 (U.S only)
⇒ $858,373,000
Top Global Grosser 2019
⇒ $2,797,800,564
| Rank | Title | Distributor | Worldwide gross |
|---|---|---|---|
| 1 | Avengers: Endgame | Disney | $2,797,800,564 |
| 2 | The Lion King | $1,656,556,149 | |
| 3 | Frozen II | $1,217,590,889 | |
| 4 | Spider-Man: Far From Home | Sony | $1,131,927,996 |
| 5 | Captain Marvel | Disney | $1,128,274,794 |
| 6 | Toy Story 4 | $1,073,394,593 | |
| 7 | Joker | Warner Bros. | $1,062,994,002 |
| 8 | Aladdin | Disney | $1,050,693,953 |
| 9 | Hobbs & Shaw | Universal | $758,910,100 |
| 10 | Star Wars: The Rise of Skywalker | Disney | $724,796,816 |
‘Cats’ Bound To Lose At Least $71M at the BO!!
No amount of star power from Taylor Swift, James Corden, Idris Elba, Jason Derulo, etc., nor the direction of Oscar-winner Tom Hooper, could save Cats at the global box office.
Our finance sources informed us over this weekend that the Universal/Amblin/Working Title feature adaptation of the near $4 billion-grossing Andrew Lloyd Webber stage musical is bound to lose at least $71M — that is, if the pic reaches a global box office result of $100M, meaning $40M stateside and $60M abroad. This is based off a production cost of $90M net–the pic was shot on soundstages in London–and a $115M estimated global P&A spend.
Broken further out, total WW theatrical rentals, global free/pay TV, and global home entertainment revenues, including streaming, are expected to total at least $155M. Home entertainment costs plus global P&A stands around $226M, we’re informed. Universal wasn’t available for comment on these numbers.
We went into a deep dive last week as to why Cats went sideways. But, in short, let’s just say that there was a reason why this unusual, song-driven (not plot-driven) musical based on T.S. Eliot’s 1939 book of poems, Old Possum’s Book of Practical Cats, didn’t make it to the screen sooner. The whole concept of humans-dressed-as-felines and crooning away might seem ripe for live-stage theater crowds, but it’s enough to make critics break out in hives (20% Rotten) and, unfortunately, audiences too (C+ CinemaScore, and now 1/2 star from Comscore/Screen Engine PostTrak moviegoers). In the mid ’90s, Amblin pondered an animated version, but then bailed on it when they shuttered their animation arm.
In the wake of musicals, from Broadway/London adaptations like Hooper’s Les Miserables ($441.8M WW) to original ones like The Greatest Showman ($435M), and titles based on pop musicians, a la Bohemian Rhapsody ($903.6M) being sound-proof forms of counter-programming against superhero IP at the box office — just because people sing doesn’t mean a musical is destined to succeed.
Uni put this project in the capable hands of Hooper, who, in my opinion, made the best big screen version of this musical possible (seriously, it doesn’t get any better than this), and they cast it up to hit demos from the teens, with Swift, to sophisticated adults with Judi Dench and Ian McKellan. But it was the whole concept of Cats in and of itself that got its tail stuck in a mousetrap.
The uncanny valley of cat hair on people just freaked too many out. It also speaks to the challenges of bringing Lloyd Webber’s fare to the big screen; his Evita and The Phantom of the Opera didn’t make waves at the B.O., with big budgets and inadequate global movie ticket sales of $141M-plus and $154M-plus, respectively. Lloyd Webber told me he hated Norman Jewison’s 1973 big screen version of Jesus Christ Superstar. However, he loved the NBC televised live event. One has to think there was some reason why Comcast NBC sent that musical straight to the small screen versus theatrical.
Even though Cats had a late marketing campaign because of the film being finished beyond the wire with VFX, and a bad release date going up against Star Wars: The Rise of Skywalker (some say it should have opened on Christmas instead) — even if you changed those elements, it would not correct the course we’re seeing for Cats. Audiences hated this, too, and that’s what prevented this pic from being the uber word-of-mouth success that The Greatest Showman was coming out of the Christmas holiday. Adding insult to injury: you have people like Corden, who stars in Cats, saying in interviews he “heard it’s terrible” and tastemakers like Frozen 2‘s Evan Rachel Wood bashing it. Oy vey.
Definite recommend for Cats on PostTrak among general audiences was a low 30%. This weekend in U.S./Canada, Cats made $4.8M, -27% during a time when other family pics like Frozen 2 and Jumanji: The Next Level saw boosts post-holiday, with a robust debut by Sony’s Little Women ($29M) for a 10-day of $17.8M. Overseas, Cats dragged in $13.6M from 37 new markets for a running total of $20.6M, with lackluster debuts on the top 10 chart across South Korea, Mexico, Spain and France, among many other markets.
The scariest takeaway here from the bombing of Cats (and this observation is continually the headache of all major studio marketing and PR departments for all their marquee titles) is that, despite all the goodwill creatively in building a premium feature take on a big IP musical over the course of a year, the final death sentence for Cats came down in its last few days before its opening. Years ago, a studio could open a movie with bad reviews and have it play out. But the collective power of Rotten Tomatoes is the Roman thumbs up or down that determines the fate of a movie at the box office.
Even the most popular of Broadway musicals sometimes fail to work on the big screen, i.e. 2005’s Rent (close to $32M WW) and Rob Marshall’s Chicago follow-up Nine (near $54M WW). Hopefully, Universal or industry execs don’t get cold feet in making these movies again. Because when they work, it’s huge. On the horizon for Universal is a big screen take on the $2.5 billion-grossing musical Wicked on Dec. 22, 2021 with the six-time Tony winner Dear Evan Hansen in early development. Next year, Fox/Amblin has Steven Spielberg’s West Side Story on Dec 18, and Warner Bros. has In the Heights on June 26.
Word to the wise: Just don’t make Lloyd Webber’s roller skate-singing train musical Starlight Express into a major motion picture.
‘Little Women,’ ‘Spies in Disguise,’ and ‘Uncut Gems’ Open Strong at the BO!!
Disney‘s Star Wars: The Rise of Skywalker topped the weekend box office for a second weekend in a row, while the weekend’s newcomers — Sony‘s Little Women and Fox‘s animated feature Spies in Disguise — both topped studio expectations as did this weekend’s expansion of Uncut Gems, which has now topped $20 million domestically.
With an estimated $72 million, Disney‘s Star Wars: The Rise of Skywalker dipped -59% in its second weekend, pushing the film’s domestic gross over $361 million after ten days in release. The drop is much larger than we expected given the past performances of films over the same time frame. It is, however, better than the -67.5% second weekend plunge for The Last Jedi a couple of years ago as it has managed to close the gap between the two films after ten days in theaters.
Internationally, Rise of Skywalker added $94.3 million this weekend for a $363 million overseas cume and a global tally that is now just shy of $725 million. This weekend didn’t see any new markets released as the UK still leads all international markets with $51.4 million. Next weekend will see the film open in Vietnam.
Sony‘s Jumanji: The Next Level landed in second place with an estimated $35.3 million for the three-day, playing more in line with expectations at this time of year, improving +33% compared to last weekend and topping $175 million domestically as it enters its third week in release. Internationally, the film added another $61.6 million, pushing its overseas cume to $296 million for a global tally that now stands at $472 million.
Third is where we find the first of the weekend’s new wide releases in Sony‘s Little Women, the latest retelling of the Louisa May Alcott classic from writer-director Greta Gerwig. The film, which stars Saoirse Ronan, Emma Watson, Florence Pugh and Eliza Scanlen brought in an impressive $29 million over the course of its five-day debut ($16.52m three-day). The performance is well ahead of Sony‘s extraordinarily low expectations of $16-17 million for the first five days, but does line-up with Mojo‘s pre-weekend forecast. The film received an “A-” CinemaScore from opening day audiences that saw crowds that were 70% female with 71% of the audience coming in aged 25 or older.
Internationally, Little Women launched in the UK and Spain this weekend, bringing in $4.6 million and $1.6 million respectively for an estimated $6.3 million start. The film will open in Australia and France on January 1 followed by openings in Brazil (Jan 9), Italy (Jan 9), Mexico (Jan 24), Germany (Jan 30) and Russia (Jan 30).
Disney‘s Frozen II also saw a jump this weekend compared to last, improving +27% with an estimated $16.5 million three-day and a domestic cume that now stands at $421.3 million. Internationally the film added another $42.2 million for an overseas cume totaling nearly $800 million as the global tally now stands at $1.217 billion making it the third largest animated release all-time worldwide, topping Minions ($1.159b).
Rounding out the top five is Fox‘s animated feature Spies in Disguise, which delivered an estimated $22 million five-day performance ($13.5m three-day) after launching on Christmas Day. The film received an “A-” CinemaScore from opening day audiences while playing to an audience that was 54% female with 40% of the crowd coming in aged 25 or older.
Internationally, Spies in Disguise brought in an estimated $16 million from approximately 51% of the international marketplace for a $38.1 million global debut. Mexico led the way with an estimated $2.3 million opening followed by France ($2.2m), UK ($1.9m), Germany ($1.2m) and Spain ($1m). The film will open in Australia and China next weekend with January launches set for Russia, Kore and Brazil, ending in Japan with a May 22 release.
Outside the top five, landing in seventh position, is A24‘s Uncut Gems, which went wide this past week, playing in 2,348 locations and delivered an estimated $18.86 million over the last five days, pushing the film’s domestic cume over $20 million, serving as the largest five-day performance in the studio’s history, although the sample size is relatively small. One potential cause for concern, however, is that while the film scored an “A-” CinemaScore in limited release, this week’s wide audience gave it a “C+”. The audience score at RottenTomatoes is also just 54%, which puts a question mark on the film’s future.
This weekend also saw the limited release of Sam Mendes‘s 1917 in 11 locations in Los Angeles, New York, San Francisco, Chicago, Dallas, Washington DC and Toronto where it brought in an estimated $1 million over its first five days in release after launching on Christmas Day. The weekend’s limited release audience gave the film an “A” CinemaScore and it will break nationwide on January 10 after having already secured three Golden Globe nominations, including Best Picture, Best Director and Best Original Score and eight Critics’ Choice nominations.
WB had the limited release of Just Mercy in four locations in New York and Los Angeles where it brought in an estimated $229,000 over its first five days in release ($111,000 three-day). The film scored an “A+” CinemaScore from all demographics along with a 98% audience score on RottenTomatoes. The film will go wide on January 10 in over 2,200 locations.
Also in limited release, Sony Classics released The Song of Names in ten locations and brought in an estimated $41,156 ($4,115 PTA) over the three day and $78,770 in its first five days in release while Neon‘s Clemency opened in two theaters with an estimated $37,078 ($18,539 PTA).
Next weekend sees just one new wide release hitting theaters with Sony once again bringing The Grudge to the big screen, this time around the remake is rated R and will debut in over 2,500 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
 |
Star Wars: Episode IX – The Rise of Skywalker | $72.0M | $361.8M | 2 |
|
 |
Jumanji: The Next Level | $35.3M | $175.5M | 3 |
|
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Little Women | $16.5M | $29.0M | 1 |
|
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Frozen II | $16.5M | $421.3M | 6 |
|
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Spies in Disguise | $13.2M | $22.1M | 1 |
|
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Knives Out | $9.7M | $110.2M | 5 |
|
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Uncut Gems | $9.6M | $20.0M | 3 |
|
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Cats | $4.8M | $17.8M | 2 |
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Bombshell | $4.7M | $15.6M | 3 |
|
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Richard Jewell | $3.0M | $16.1M | 3 |
|
‘Frozen 2’ Has Already Surpassed its Predecessor at the BO!!!
In 2019, Disney released a lot of stuff and made a lot of money. Like, a lot of money. Three Marvel films, a new Star Wars, a brand spankin’ new streaming service? The folks at Disney are swimmin’ in coin, Scrooge McDuck-style (which you can see for yourself now that Ducktales is streaming on Disney+). Now, you can add another ledger line to Disney’s accounting books, as the latest box office totals for Frozen 2 are in, representing another huge win for the Mouse House.
The original Frozen, released in 2013, made a total of $400.7 million at the domestic box office. Frozen 2, in its sixth week of general release, just surpassed $400 million at the domestic box office — meaning it’s already made more in six weeks than Frozen made in its entire box office run. It’s now achieved the distinction of becoming the 7th highest-grossing animated film of all time — and Disney predicts it will soon enter the top 5, besting its own works like Toy Story 3 and the original Lion King.
Globally, Frozen 2 is shattering records as well, earning $1.16 billion in total, which is, of course, an absurd amount of money that does not actually exist in real life. In Scandinavian countries like Finland, Norway, and Sweden — the cultures of which are borrowed to great effect for the Frozen franchise — the film opened to the biggest animated box office totals of all time. In Denmark, Frozen 2‘s opening even bested heavy-hitters like Avengers: Endgame and Star Wars: The Rise of Skywalker. Skeptics, take note: Looks like Disney’s new journey “into the unknown” paid off handsomely.
via Collider
‘Star Wars: The Rise of Skywalker’ Flops Spectacularly at the China BO!!
Star Wars: The Rise of Skywalker sputtered back to earth moments after making liftoff in the massive China market over the weekend, opening to a dismal $12 million including previews.
The Disney/Lucasfilm mega-tentpole, directed by J.J. Abrams, was knocked out cold by Donnie Yen‘s martial arts epic Ip Man 4: The Finale, which brought in a healthy $47.1 million. It also was beaten by a holdover Chinese thriller, Sheep Without A Shepherd, which debuted back on Dec. 13 but added $23.6 million in its second weekend.
Not including its lavish preview screenings on Wednesday and Thursday of last week, Rise of Skywalker earned just $8.9 million from Friday to Sunday, which was less than yet another Chinese release. Feng Xiaogang‘s romantic drama Only Cloud Knows grossed $9.4 million from Friday to Sunday, or $10.7 million including Thursday previews. Including its more aggressive preview rollout, Skywalker scores third for the weekend, but discounting sneaks it slips to fourth.
Ip Man 4 is the final installment in director Raymond Yip‘s film series detailing the real and imagined exploits of the eponymous kung fu master who famously mentored Bruce Lee. Ip Man‘s franchise finale has been showered with all of the pent-up love and nostalgia for myth and character that the Chinese audience decidedly does not feel for the Star Wars saga. Ip Man 4 generated high social scores across platforms, such as 9.5 out of 10 on Maoyan, 9.3 on Taopiaopiao and 7.3 on Douban. Rise of Skywalker tepid reception clocked in at 7.8, 8 and 6.6, respectively.
Skywalker‘s woeful opening continues a downward spiral for Star Wars earnings in the Middle Kingdom. Abrams’ own The Force Awakens (2015) totaled $124 million, which already was considered somewhat disappointing in light of the Chinese market’s size and the film’s earnings elsewhere. Franchise spinoff Rogue One (2017) then slipped to $69 million despite the well received supporting performances of two Chinese stars, Jiang Wen and Donnie Yen himself, aka Ip Man. Rian Johnson‘s The Last Jedi (2017) eroded further to $42.5 million and Solo: A Star Wars Story brought in just $16.4 million.
Many local analysts believe Rise of Skywalker will struggle to crack $20 million. Either way, its performance is unlikely to make it into China’s top 50 releases of 2019, and it will trail many much smaller imported releases, including, ironically, titles like Rian Johnson‘s mid-budget murder mystery Knives Out and 20th Century Fox‘s bungled franchise closer, X-Men: Dark Phoenix.
A large part of the Star Wars franchise’s struggles in China stem from the fact that the original three films never received a wide release in the country. The reference and nostalgia-heavy story beats of the updated Disney films, meanwhile, haven’t helped matters, often leaving young Chinese filmgoers befuddled and unenthused. Disney has worked hard and spent heavily to bring the Chinese market up to speed on the ways of the Force, but mostly to no avail.
‘Star Wars: Rise of Skywalker’ Opens Big While ‘Cats’ Flops at the BO!!
Disney‘s Star Wars: The Rise of Skywalker led the weekend box office, though there is likely to be a bit of pushing and pulling from analysts as to whether the film’s $175.5 million debut is a worthy opening for the final installment in the now 42-year-old Skywalker saga. Meanwhile, Universal‘s Cats fell well short of expectations and appears to have already been left out in the rain.
With a $175.5 million three-day debut, Disney‘s Star Wars: The Rise of Skywalker delivered the third largest December opening of all-time. While the performance tops the studio’s conservative, $165 million opening, many, including BoxOfficeMojo, expected the film to top $200 million for the weekend and the slide to $175.5 million is a bit below where expectations were just yesterday, when it appeared the film would open anywhere from $190-195 million after Friday estimates. The slide began following the film’s opening day, which was pretty much on par with recent Star Wars releases, which saw preview grosses making up 44% of the film’s opening day. However, it is the only Star Wars release of the five released by Disney thus far, to see the Friday gross make up over 50% of the film’s total opening weekend, which brings into question what kind of impact word of mouth will have on the film’s final gross.
While The Force Awakens and Rogue One saw multiples that came in at 3.78x and 3.43x respectively, The Last Jedi and Solo could only muster multiples finishing at 2.82x and 2.53x respectively. That said, the four previous Star Wars releases saw multiples averaging 3.14x, which would give The Rise of Skywalker a $551 million domestic run, which is hardly a small number, but it does show a downward trend for the brand following the massive performance for The Force Awakens in 2015. Of this weekend’s audience, 59% were male and 64% of the crowd was aged 25 or older, all of which pretty much lines up with the last four Star Wars releases, though the film’s “B+” CinemaScore is the first Star Wars film outside of 2008’s animated Clone Wars to receive a CinemaScore outside the “A” range.
Internationally, Rise of Skywalker delivered a $198 million debut overseas from 52 markets, giving the film a $373.5 million global launch. Leading the way was the UK with a $26.8 million opening followed by Germany ($21.8m), France ($15.2m), Japan ($14.6m), Australia ($12.6m), China ($12.1m), Spain ($7.6m), Mexico ($7.4m), Brazil ($5.9m), Italy ($5.9m), Russia ($5.8m) and Sweden ($4.6m). The film is now open in 98% of the international marketplace with January debuts still set for Vietnam, Korea and the Philippines.
In second, Sony‘s Jumanji: The Next Level dipped -56%, bringing in an estimated $26.1 million for a domestic cume that now tops $101 million after ten days in release. The performance is significantly below Mojo‘s pre-weekend expectations, which were perhaps a bit unfair given the release of a new Star Wars film, but it will be interesting to see how Jumaji progresses over the next couple days as Christmas Day is one of the biggest movie going days of the year. The first Jumanji feature fared very well in the face of The Last Jedi two years ago and perhaps with the debut of Rise of Skywalker out of the way, audiences will again turn their attention to Sony‘s adventure comedy over the coming days.
Internationally, Jumanji added another $32.6 million from 52 markets this weekend, bringing the film’s overseas cume to $210 million for a global tally that now stands at $312 million. The film will debut in Italy and Australia in the coming days, finishing in Brazil in mid-January.
Disney‘s Frozen II landed in third with an estimated $12.3 million giving the animated feature a domestic cume that now now stands at $386.5 million. Internationally the film’s cume is now over $717 million for a global tally reaching $1.103 billion, making it the fourth largest animated release of all time worldwide, passing Despicable Me 3 ($1.035b), Toy Story 3 ($1.067b) and Toy Story 4 ($1.074b).
Landing in fourth position is Universal‘s Cats with a disappointing $6.5 million from 3,380 locations, ranking in the top twenty among worst openings all-time for a film playing in over 3,000 locations. Negative reviews for the film heading into the weekend were met with a disappointing “C+” CinemaScore from opening day audiences and the film continued to lose momentum from there. Internationally it opened in the UK this weekend with an estimated $4.4 million for a global launch just shy of $11 million. Cats expands next week in 37 markets including France, Australia, Germany, Korea and Mexico, and continues its international rollout through February.
Rounding out the top five is Lionsgate‘s Knives Out with an estimated $6.1 million for a domestic cume that now stands at $89.5 million. Internationally the film added another $6.4 million for an overseas cume that now stands at $96 million for a global tally reaching $185.6 million with January releases in Germany and Japan still to come.
Just outside the top five is Lionsgate‘s expansion of Bombshell, which took in an estimated $5 million this weekend from 1,480 locations, serving as the third new wide release this weekend to fall below expectations. In terms of audience, 62% of this weekend’s crowd was female and 87% were over the age of 25.
In limited release, Amazon Studios debuted Invisible Life in just two locations with an estimated $8,364.
Next week gets off to an early start with two new wide releases debuting on Christmas day along with the nationwide expansion of A24‘s Uncut Gems. As for those debuts, Sony will release Greta Gerwig‘s Little Women and Fox will offer families yet another film to consider with the animated feature Spies in Disguise. On top of that, WB‘s Just Mercy and Universal‘s 1917 will hit limited release.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Star Wars: Episode IX – The Rise of Skywalker | $175.5M | $175.5M | 1 |
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Jumanji: The Next Level | $26.1M | $101.9M | 2 |
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Frozen II | $12.3M | $386.5M | 5 |
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Cats | $6.5M | $6.5M | 1 |
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Knives Out | $6.1M | $89.6M | 4 |
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Bombshell | $5.1M | $5.5M | 2 |
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Richard Jewell | $2.6M | $9.5M | 2 |
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Queen & Slim | $1.9M | $36.6M | 4 |
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Black Christmas | $1.8M | $7.2M | 2 |
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Ford v Ferrari | $1.8M | $102.0M | 6 |
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‘Jumanji: The Next Level’ Demolishes Competition With Massive $60 Million Opening at the BO!!
While the studio attempted to downplay expectations, Sony‘s Jumanji: The Next Level opened at the top end of industry expectations, leading the weekend charge with a December studio record opening and getting the box office off to a strong start for the holiday frame. Though, it has to be mentioned, that strong start didn’t trickle down to the weekend’s two other new wide releases as both Universal and Blumhouse‘s Black Christmas and WB‘s Richard Jewell fell well below expectations.
The $60.1 million opening for Jumanji: The Next Level is the 13th largest December opening ever and the largest December debut for Sony. While the film will have to contend next weekend with the release of Star Wars: The Rise of Skywalker, the opening weekend performance, along with a strong audience reaction; which gave the film an “A-” CinemaScore; puts it in a fantastic position heading into the Christmas holiday frame. Two years ago Jumanji: Welcome to the Jungle sat at $52.7 million after its first five days in release and went on to gross over $404 million domestically and nearly $1 billion worldwide, serving as the largest domestic gross in Sony‘s history. Can the sequel take it to the… next level?
In terms of audience, the film played to a crowd that was 56% male and only 29% of the overall audience was over the age of 25, which speaks to its ability to appeal to a younger audience base. In fact, while the gender demographics are the same as the first film, 45% of the opening weekend audience for the first film was aged 25 or older, which means not only did the sequel bring in a larger crowd, it brought in a younger crowd at that.
Internationally, The Next Level got its overseas start last weekend and this weekend added 34 new markets for a total of 52, from which it brought in an estimated $85.7 million, pushing its international total to $152.5 million for a $212.6 million global cume. This weekend saw the UK lead all markets with a 5-day total of $12.6 million followed by Russia ($8.9m) and Germany ($4.6m). The film has still yet to release in Italy (Dec 25), Australia (Dec 26) and Brazil (Jan 16).
Slipping to second for the first time since release, Disney‘s Frozen II brought in an estimated $19.2 million to kick off its fourth week in release, pushing the film’s domestic cume to $366.5 million. Added to that, the film’s overseas total has now blossomed to $666 million for a global cume totaling $1.032 billion. This makes Frozen II Disney‘s sixth $1+ billion global release of 2019 alone. It also serves as the third Walt Disney Animations Studios release to top $1 billion alongside Frozen and Zootopia and the seventh largest animated release ever worldwide. It also now stands as the tenth largest animated release domestically of all-time, moving ahead of Inside Out.
Third place belongs to Lionsgate‘s Knives Out, which added an estimated $9.25 million this weekend, pushing the film’s domestic cume just shy of $80 million. In addition to that, the film added another $13.6 million from 73 international markets this weekend for an overseas cume that now stands at an estimated $83.3 million, for a global tally topping $162 million with releases in Germany (Jan 2) and Japan (Jan 31) still to come.
Fourth and fifth place belong to the weekend’s two other new wide releases, both of which were expected to reach $10+ million, but struggled to hit half that number, both finding a place within the top 50 worst openings ever. First is WB‘s Richard Jewell, which opened in just over 2,500 locations with an estimated $5 million. The Clint Eastwood drama was never able to get started and while it received an “A” CinemaScore from opening day audiences, it seems the abundance of adult-targeted features in theaters right now was just too much to overcome.
Right behind Jewell is Universal and Blumhouse‘s Black Christmas, a remake of the 1974 holiday horror, and it was only able to muster an estimated $4.4 million from 2,625 locations. While this isn’t the worst wide release for Blumhouse ever, it is the second worst wide release for a Blumhouse feature debuting in over 2,000 theaters behind 2015’s bust Jem and the Holograms. And while the film entered the weekend with a 43% score on RottenTomatoes, horror films can typically withstand poor reviews, but audiences seemed to agree, giving the film a “D+” CinemaScore. Of the opening weekend crowd, 54% were female and 57% were aged 25 or older.
Internationally, Black Christmas opened in 37 international territories including France, Spain, Germany, Australia and the U.K. & Ireland for a weekend total of $3.1 million. France led the way with a $421k debut followed by a $379k release in the UK. The film will launch in Russia and Mexico next weekend.
Elsewhere, A24‘s limited release of the Safdie brothers’ Uncut Gems saw the drama deliver the studio’s largest per screen opening average ever, debuting with an estimated $525,498 in five locations for a $105,100 per theater average. The performance ranks as the 26th best opening average all-time. Looking ahead, the film received an “A-” CinemaScore from opening day audiences and will go wide on Christmas day, though we’ve yet to receive word on just how wide A24 will go with the release.
This weekend also saw Lionsgate release the controversial Fox News drama Bombshell into four theaters in New York and Los Angeles ahead of its nationwide opening next weekend, where it delivered an estimated $312,000 for a $78,000 per theater average. The weekend crowd was 59% female while 86% of the audience was over the age of 25.
Additionally, Fox Searchlight‘s release of Terrence Malick‘s A Hidden Life had a somewhat muted debut in five locations in NY and LA, bringing in an estimated $52,000 ($10,400 PTA). The film will expand into an additional 47 markets next weekend, bringing the theater count to 90-100 locations.
Next weekend will see Disney debut Star Wars: The Rise of Skywalker in over 4,200 locations while Fox releases the animated feature Spies in Disguise in ~3,300 theaters and Universal debuts the musical stage adaptation Cats in over 3,300 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Jumanji: The Next Level | $60.1M | $60.1M | 1 |
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Frozen II | $19.2M | $366.5M | 4 |
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Knives Out | $9.3M | $78.9M | 3 |
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Richard Jewell | $5.0M | $5.0M | 1 |
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Black Christmas | $4.4M | $4.4M | 1 |
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Ford v Ferrari | $4.1M | $98.2M | 5 |
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Queen & Slim | $3.6M | $33.2M | 3 |
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A Beautiful Day in the Neighborhood | $3.4M | $49.3M | 4 |
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Dark Waters | $2.0M | $8.9M | 4 |
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21 Bridges | $1.2M | $26.4M | 4 |
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Disney Marks Record with $10 Billion at the Worldwide BO!!
Disney’s record for the highest box office in a calendar year has been absolutely crushed… by Disney. The Mouse House crossed the $10 billion threshold at the 2019 worldwide box office this weekend, bolstered by the continued success of Frozen II, solidifying its record for the highest box office in a calendar year. The previous record was set by Disney in 2016 with a measly $7.6 billion. Chump change.
And that insane $10 billion doesn’t even count Fox’s box office, which officially became part of Disney this year. If you add in the Fox receipts, Disney’s total worldwide box office in 2019 amounts to $11.94 billion. And this is all before Star Wars: The Rise of Skywalker opens on December 20th, which will boost Disney’s numbers even higher.
This banner year for the Walt Disney Company has been anchored by the worldwide successes of Avengers: Endgame ($2.79 billion), The Lion King ($1.6 billion), Captain Marvel ($1.2 billion), Toy Story 4 ($1.07 billion), Aladdin ($1.05 billion), and the aforementioned Frozen II, whose global box office tally now stands at a whopping $920 million after only three weeks in release.
Disney’s 2019 release calendar was filled out almost entirely by sequels and live-action remakes, and even the films that didn’t quite hit as big as the others still pulled in not-insignificant numbers. Dumbo crossed $353.2 million this spring, while Maleficent: Mistress of Evil cleared $481.3 million worldwide this fall—although the latter film came up nearly $300 million short of the box office tally of the first Maleficent. So don’t hold your breath for Maleficent 3—the bar for success at Disney has basically risen to $500 million worldwide as a minimum.
But even factoring in these “disappointments,” Disney shattered its own box office record. The only film that could remotely be considered an “original” in here is Captain Marvel, which chronicled the origin story of Brie Larson’s titular superhero. But even then, as with every previous Marvel movie, it benefited from being an integral part of the Marvel Cinematic Universe and is of course based on an existing comic book.
So yes, it is quite depressing to see the box office record shattered using only known IP, but clearly Disney isn’t going to stop clinging to existing properties as long as audiences keep showing up in droves. 2020 does bring us two original Pixar movies and a unique-looking live-action remake in Mulan, but there’s still plenty of franchise material on the way. Here’s hoping Disney at least continues to let Fox make bold, original films like A Cure for Wellness and Red Sparrow or even “adult dramas” like this year’s excellent Ford v Ferrari.
via Collider
‘Frozen 2’ Continues Domination as ‘Playmobil’ Bombs at the BO!!!
It was yet another weekend atop the weekend box office for Disney‘s Frozen II, which has now topped $900 million globally, well on its way to becoming the studio’s sixth 2019 release to top the $1 billion mark at the worldwide box office. Meanwhile, while Focus Features saw Dark Waters finish just outside the top five in its nationwide expansion this weekend, STX‘s release of Playmobil failed to make the top ten, delivering the third worst opening ever for a film debuting in over 2,000 locations.
At the top of the box office is Frozen II, dipping -59.7% with an estimated $34.7 million for a domestic cume totaling $337.6 million, making it the seventh highest grossing release of the year so far domestically. For some perspective, it wasn’t until the original film’s 61st day in release that it topped $337 million domestically, before going on to gross over $400 million after 57 weeks in release.
In addition to the domestic performance, Frozen II added another $90.2 million internationally, for an overseas cume that now totals over $582 million and a global tally that now stands just shy of $920 million. This means the animated feature will soon become the eighth 2019 release to top $1 billion globally, of which Disney has released six.
In second place is Lionsgate‘s release of Knives Out, which dipped just -47% for an estimated $14.15 million three-day and a domestic cume that now stands at $63.5 million. The film also added another $18.7 million internationally, pushing the overseas cume to $60.6 million for a global cume that is now just shy of $125 million. The film’s top overseas market remains China with $23.6 million while it has still yet to open in Brazil (Dec 12), Germany (Jan 2) and Japan (Jan 31).
It’s a close race for third with the edge currently going to Fox‘s Ford v Ferrari, but just $7,000 separates it from Universal and Makeready‘s Queen & Slim as both films generated an estimated $6.5 million this weekend. Ford v Ferrari is now in its fourth week in release with a domestic cume totaling over $91 million while it also added another $8.3 million internationally for an international cume totaling $76.5 million and a global tally that now stands at $167.6 million. As for Queen & Slim it is entering its sophomore frame, dipping just -45% following its holiday weekend debut with a domestic cume that now stands at $26.9 million.
Rounding out the top five is Sony‘s A Beautiful Day in the Neighborhood with an estimated $5.2 million, pushing the film’s domestic cume over $43 million as it enters its third week in release.
Just outside the top five is Focus‘s nationwide expansion of Dark Waters. The adult-targeted feature was entering a marketplace loaded with content targeting the same audience and was unable to see the kind of breakout I’m sure they were expecting, especially considering audiences seem to be taking to the film as much as critics did. That said, it did deliver an estimated $4.1 million.
Falling well outside the top ten is STX‘s release of the animated feature Playmobil, which the studio picked up for domestic distribution after Global Road filed for bankruptcy in 2018. The studio is emphasizing the use of variable pricing for the film, which included a $5 a ticket experiment to “encourage and incentivize audiences to see the film, while allowing theaters to begin to explore value pricing for a first-run movie”. The experiment didn’t exactly pay off, resulting in an estimated $660,000 three-day from 2,337 locations and a $282 per theater average, the third worst opening average ever for a film opening in 2,000 or more locations.
In limited release, Reliance‘ Panipat opened with an estimated $285,275 from 172 theaters ($1,659 PTA); Lionsgate‘s En Brazos de un Asesino delivered an estimated $230,000 from 160 locations ($1,438 PTA); Neon‘s Portrait of a Lady on Fire opened in two locations with an estimated $33,552; and 1091‘s Midnight Family opened at the Metrograph in New York with an estimated $3,5000.
Next weekend sees several new releases make their way to theaters including the wide releases of Jumanji: The Next Level, Clint Eastwood‘s Richard Jewell and Black Christmas. Meanwhile, Uncut Gems and Bombshell will begin their limited releases as they begin their awards season runs.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Frozen II | $35.2M | $338.1M | 3 |
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Knives Out | $14.2M | $63.6M | 2 |
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Ford v Ferrari | $6.7M | $91.2M | 4 |
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Queen & Slim | $6.6M | $27.0M | 2 |
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A Beautiful Day in the Neighborhood | $5.2M | $43.1M | 3 |
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Dark Waters | $4.0M | $5.2M | 3 |
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21 Bridges | $2.9M | $23.9M | 3 |
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Playing with Fire | $2.0M | $42.0M | 5 |
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Midway | $1.9M | $53.4M | 5 |
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Last Christmas | $1.0M | $33.5M | 5 |
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‘Frozen 2’ Continue to Top as ‘Knives Out’ Opens Strong at the BO!!
The folks at Disney have full bellies after the animated feature Frozen II delivered three and five-day Thanksgiving records as the film topped $287 million domestically after just ten days in release and $739 million globally in the film’s first 12 days. But it wasn’t all Disney this weekend as Lionsgate‘s Knives Out exceeded expectations with a five-day performance topping $41 million and Universal‘s Queen & Slim found a place in the top five.
With an estimated $85.2 million three-day and a $123.7 million five-day performance, Disney‘s Frozen II not only topped the standard and extended weekend, it delivered record performances serving as the largest three and five-day grosses over the Thanksgiving holiday frame ever. To go along with that, the film has now grossed over $287 million in just ten days of release trailing just Incredibles 2 over the same number of days, which stood at an impressive $349.7 million after just ten days. In fact, Frozen II is already the 17th highest grossing animated film ever and is showing little sign of stopping.
Internationally, the film added another $163.8 million over the three-day and has now grossed $451 million overseas, already having topped the original Frozen in several markets, including China. That puts the global total at $738.6 million after just 12 days in release as it remains the #1 film in all markets released other than India, where it is still the #1 western title. This weekend the animated juggernaut opened in Russia ($13.7m), Italy ($8.6m) and Australia ($6.6m) with openings in South Africa, Uruguay and Paraguay set for next weekend while a January 2 release in Brazil remains the last major market where the film has yet to release.
In second place is Lionsgate‘s release of Rian Johnson‘s Knives Out, which came in well ahead of expectations, delivering an estimated $41.7 million over the five-day weekend, serving as the 16th largest five-day Thanksgiving opening ever. The film is also looking at a strong run ahead as word of mouth seems high thanks to an “A-” CinemaScore and what is currently an 8.1/10 rating on IMDb. The opening weekend audience was 51% male with 68% of the overall crowd coming in aged 25 or older.
Internationally, Knives Out added another $28.3 million for a $70 million global debut, which includes a $13.5 million launch in China, where it ranked #3 in the marketplace. Additional openings include a $3.8 million opening in the UK followed by Russia ($2m), Australia ($1.9m) and France ($1.5m). The film will add another 14 markets next weekend including South Korea, Denmark, Italy, Mexico and Norway.
Fox‘s Ford v Ferrari keeps firing on all cylinders, dipping just -17% over the three-day with an estimated $13.2 million and a $19 million five-day performance as the film’s domestic gross now stands at $81 million. Internationally it added another $10.2 million this weekend for an overseas cume totaling $62.3 million and a global tally that now tops $143 million. Russia remains the film’s top international market with $8.8 million as it will open in South Korea along with Thailand, Panama and Chile next weekend with a January 10 release set for Japan.
Sony lands in fourth position with A Beautiful Day in the Neighborhood, dipping just -11% in its second weekend with an estimated $11.8 million for the three-day and a $17.3 million five-day performance. The film’s domestic cume now stands at $34.3 million after ten days in release.
Rounding out the top five is Universal‘s Queen & Slim, delivering an estimated $11.7 million over the three-day and an estimated $15.8 million over the five-day opening. The film received an “A-” CinemaScore from opening day audiences and played to a crowd that was 51% female with 61% of the overall audience coming in aged 25 or older.
Next weekend sees only one new wide release in STX‘s pickup of the animated title Playmobil, which was originally set up at Global Road until the studio shuttered its doors.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Frozen II | $85.3M | $287.6M | 2 |
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Knives Out | $27.0M | $41.7M | 1 |
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Ford v Ferrari | $13.2M | $81.0M | 3 |
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A Beautiful Day in the Neighborhood | $11.8M | $34.3M | 2 |
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Queen & Slim | $11.7M | $15.8M | 1 |
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21 Bridges | $5.8M | $19.5M | 2 |
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Playing with Fire | $4.2M | $39.2M | 4 |
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Midway | $4.0M | $50.3M | 4 |
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Joker | $2.0M | $330.6M | 9 |
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Last Christmas | $2.0M | $31.7M | 4 |
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‘Star Wars: The Rise of Skywalker’ Set for $200 Million Opening at the BO!!
It should come as no surprise that Star Wars: The Rise of Skywalker is going to make truckloads of money when it opens on December 20th. But just how many truckloads that is remains to be seen. New estimates err on the conservative side of things with $175 million on the low side and $200 million on the high end. Now that’d be a great weekend get for just about any movie out there, franchise or not; even Frozen 2 managed to over-perform estimates and set records with “only” $127 million on the domestic front. But for not just a Star Wars movie, but the one that brings the multi-decade Skywalker Saga to an end, it feels low even on the high side.
And yet THR‘s box office tracking report sets those markers for the forthcoming ninth installment in the world-famous franchise. Admittedly, those estimates are early figures and conservative ones at that since Disney/Lucasfilm is said to be managing expectations. Competition from Jumanji: The Next Level, which opens on December 13th, could sap some box office strength from Star Wars: The Rise of Skywalker. But prior installments suggest that final film should at least crest the $200 million mark; The Force Awakens set a high bar with nearly $248 million in its domestic weekend opening, followed by The Last Jedi‘s $220+ million.
Will the final chapter in the overall Skywalker Saga be the lowest performing debut film of the modern trilogy? Maybe so, but I doubt it’ll have any difficulty passing $200 million. Expect that number to change in the weeks ahead as tracking improves, even if the box office narrative that Star Wars: The Rise of Skywalker is a franchise underdog remains.
via Collider
Disney Sequel ‘Frozen II’ Delivers Massive $127 million Debut at the BO!!!
Tom Hanks stars as Fred Rogers in “A Beautiful Day in the Neighborhood,” a biographical drama chronicling the real-life friendship between the beloved TV personality and journalist Tom Junod (portrayed by Matthew Rhys). Marielle Heller (“Can You Ever Forgive Me?”) directed the movie, inspired by Junod’s Esquire article “Can You Say… Hero?”
Another newcomer, STX’s suspense thriller “21 Bridges” starring Chadwick Boseman, followed behind at No. 4 with $9.2 million from 2,665 venues. Produced by the Russo brothers, the film earned a B+ CinemaScore and drew a mostly older male audience. Over 50% of ticket buyers were male, while 75% were over the age of 25.
“21 Bridges” follows NYPD detective (Boseman) who closes down every bridge in Manhattan as part of a citywide manhunt after a drug heist gone wrong. It carries a $33 million budget.
This weekend was an undisputed win for Disney as “Ford v Ferrari” finished its sophomore outing in second place, collecting $16 million for a domestic tally of $57 million. Those figures, combined with “Frozen 2,” boosted the studio past the $3.5 billion mark domestically (including Fox movies), the third time Disney has reached that particular milestone.
Rounding out the top five, Lionsgate’s war drama “Midway” earned $4.7 million in its third frame, taking box office receipts to $43 million in North America.
Elsewhere, Sony’s “Charlie’s Angels” stumbled in its second weekend, suffering a painful 62% decline to $3.1 million for a domestic total of $13.9 million.
At the specialty box office, Todd Haynes’ legal thriller “Dark Waters” began its platform release, generating $110,000 from four theaters. The movie will expand to 100 venues on Wednesday. Mark Ruffalo and Anne Hathaway star in “Dark Waters,” based on a 2016 New York Times article about the lawyer who took on the Dupont chemical company.
Focus Features, who is distributing the film, is encouraged by its 91% rating on Rotten Tomatoes and positive exit polls and expects a strong showing from audiences during Thanksgiving.
“Clearly, this urgent, heroic story told by acclaimed filmmaker Todd Haynes is really resonating in an incredible way,” said Focus president of distribution Lisa Bunnell.
Meanwhile, Amazon’s “Honey Boy” is nearing $1 million after three weeks of limited release. Shia LaBeouf’s auto-biographical drama brought in $269,280 from 44 venues, taking ticket sales to $939,676.
Thanksgiving, one of the busiest times of year for moviegoing, will see Lionsgate’s whodunit “Knives Out” and Universal’s thriller “Queen & Slim” hit theater marquees. For Rian Johnson’s star-studded murder mystery, Lionsgate held early access screenings across the country, bringing in $2 million ahead of its Wednesday launch.
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Frozen II | $127.0M | $127.0M | 1 |
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Ford v Ferrari | $16.0M | $58.0M | 2 |
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A Beautiful Day in the Neighborhood | $13.5M | $13.5M | 1 |
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21 Bridges | $9.3M | $9.3M | 1 |
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Midway | $4.7M | $43.1M | 3 |
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Playing with Fire | $4.6M | $31.6M | 3 |
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The Good Liar | $3.4M | $11.8M | 2 |
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Charlie’s Angels | $3.2M | $13.9M | 2 |
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Last Christmas | $3.0M | $27.8M | 3 |
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Joker | $2.8M | $326.9M | 8 |
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‘Ford v Ferrari’ Races to #1 While ‘Charlie’s Angels’ Struggles at the BO!!
Fox‘s Ford v Ferrari more than lived up to the most aggressive of pre-weekend expectations, delivering a #1 performance at the domestic weekend box office. However, Sony‘s Charlie’s Angels struggled mightily in its debut, failing to reach the lowest of expectations, which means the film’s third place finish puts the weekend’s overall performance into perspective. In better news, WB‘s Joker became the fourth DC Comics adaptation to ever top $1 billion at the global box office and the first R-rated movie to ever reach that milestone.
Finishing in the winner’s circle atop the weekend box office, is Fox‘s Ford v Ferrari with an estimated $31 million. The performance is well ahead of Mojo‘s pre-weekend forecast and even tops the most optimistic of industry expectations and comes with an outstanding “A+” CinemaScore. The film played to a male-dominated crowd with men making up 62% of the audience and 79% of the overall crowd coming in aged 25 or older.
Internationally, Ford v Ferrari brought in $21.4 million from 41 markets for a $52 million global debut, enjoying #1 openings in several including Russia, which serves as the film’s top international market with a $3.2 million debut. Additional openings include the UK ($2.3m), France ($2.3m), Australia ($1.7m), Italy ($1.3m), Mexico ($1.1m) and Germany ($1.0m). Upcoming releases include a December 5 release in Korea followed by Japan on January 10.
Lionsgate‘s Midway slipped to second this weekend, dipping -51% with an estimated $8.75 million for a domestic cume that now tops $35 million after ten days in release. The film’s position in the top ten, however, is a tight one as two more films have a chance of moving up the list once actuals come in tomorrow.
First in line, competing for second place, is Sony‘s Charlie’s Angels, which was expected to finish anywhere from $12-13 million this weekend, but was ultimately unable to hit double digits, delivering a disappointing $8.6 million debut. The $48 million production received a “B” CinemaScore from opening weekend audiences, which were 61% female with 55% of the overall audience coming in aged 25 or older.
Internationally, Angels began its overseas play in 26 markets with an estimated $19.3 million, including a $7.7 million opening in China. The film also brought in $1.3 million with a second place finish in Australia and another $1 million from Russia. Upcoming releases including a November 29 release in the UK followed by Spain (Dec 5), France (Dec 25), Mexico (Jan 1), Germany (Jan 2), Italy (Jan 9), Japan (Jan 21) and South Korea (Feb 26). Overall, the film is looking at a disappointing, $27.9 million global debut.
Paramount‘s Playing with Fire, holding on extremely well in its sophomore frame, dipped just -33% for an estimated $8.55 million, moving the film up one spot from its opening last weekend, though once actuals come in it could move up a bit more. The film’s domestic cume now stands at $25.4 million as the studio appears to have a small family hit on their hands.
Internationally, Playing with Fire maintained its release in the same 11 markets from last weekend and added another $1.3 million for an overseas cume that now stands at $4.5 million. The film will open in Australia in mid-December followed by releases in the UK (Dec 27), Spain (Jan 17), Brazil (Jan 23) and Germany and Russia in early February.
Rounding out the top five is Universal‘s Last Christmas with an estimated $6.7 million, pushing the film’s domestic cume to $22.6 million after ten days in release. Internationally the film added $8.6 million for a $13 million overseas cume and a global total that now stands at $35.5 million.
Further down the list, WB‘s The Good Liar debuted in 2,439 locations and delivered on expectations with an estimated $5.65 million, The film received a “B” CinemaScore while playing to a crowd that was 60% female with 85% of the overall crowd coming in aged 35 or older. Internationally, the film began playing overseas last weekend and is now playing in 12 markets where it grossed an estimated $1.5 million for an international cume that now stands at $3.9 million for a worldwide total reaching $9.6 million.
In eighth position is where WB‘s Joker finished this weekend at the domestic box office, adding another $5.6 million to its now $322.6 million domestic cume. However, it’s the film’s global performance that is making news this weekend as the film became only the fourth DC Comics adaptation, the seventh release of 2019 and the first ever R-rated movie to top the $1 billion mark. Equally impressive is the Joker is only the third movie ever to top $1 billion without a China release, the other two being fellow DC adaptation The Dark Knight and 2006’s Pirates of the Caribbean: Dead Man’s Chest.
Overall, to go along with its $322.6 million domestically, Joker added $13 million this weekend internationally for an overseas cume totaling $694 million and a global tally reaching $1.017 billion. The performance currently places the film 43d all-time at the worldwide box office, just ahead of The Dark Knight ($1.004b).
In limited release, A24‘s Waves delivered an estimated $144,562 for a chart-topping, $36,140 per theater average. The film will open in top markets this coming weekend and continue to rollout slowly into the holiday season. Additionally, Roadside debuted The Warrior Queen of Jhansi in 276 locations with an estimated $125,395 ($454 PTA) and Utopia‘s Mickey and the Bear opened in one theater with an estimated $9,523.
Next weekend will see Disney‘s Frozen II explode into over 4,200 theaters alongside Sony‘s A Beautiful Day in the Neighborhood in 3,100 locations and STX‘s action thriller 21 Bridges, debuting in ~2,700 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Ford v Ferrari | $31.0M | $31.0M | 1 |
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Midway | $8.8M | $35.1M | 2 |
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Charlie’s Angels | $8.6M | $8.6M | 1 |
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Playing with Fire | $8.6M | $25.5M | 2 |
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Last Christmas | $6.7M | $22.6M | 2 |
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Doctor Sleep | $6.2M | $25.0M | 2 |
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The Good Liar | $5.7M | $5.7M | 1 |
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Joker | $5.6M | $322.6M | 7 |
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Maleficent: Mistress of Evil | $5.2M | $106.0M | 5 |
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Harriet | $4.8M | $31.9M | 3 |
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‘Joker’ Becomes the First R-Rated Film to Pass $1 Billion at the Worldwide BO!!
It turns out people really, really like the Joker. The gritty alternate origin story of Batman’s most famous villain just became the first R-rated film to hit $1 billion at the worldwide box office. It’s the seventh movie to cross the billion-dollar line this year, and the only non-Disney property to do so (so far). The milestone is much rarer for Warner Bros. – the studio has only released four films that have crossed the $1 billion mark, and half of them feature the Joker.
Todd Phillips’ take on the popular DC Comics character was met with mild controversy in the weeks before its release, with some criticizing the film’s arguable glorification of a character who is a mass murderer, but Joker has proven to be an unstoppable force at the box office. It set a record for the biggest opening weekend in history for the month of October, and star Joaquin Phoenix has been enjoying virtually non-stop Oscar buzz since its release.
Joker is a much-needed win for Warner Bros., after a series of high-profile flops like The Goldfinch, The Kitchen, Motherless Brooklyn, and Doctor Sleep. The Scorsese-inspired comic book adaptation had a mid-level production budget of approximately $62 million, effectively making it one of the most successful films in history in terms of recouping its costs.
Even though making a sequel to a billion-dollar movie seems like a no-brainer, especially a movie about a comic book character, plans for a Joker sequel are very much up in the air. Both Phillips and Phoenix have expressed interest in making a second movie only if they can find a compelling artistic reason to do so, and not just for the money. Phillips may be more susceptible to the financial argument of doing a follow-up (*cough* The Hangover 3 *cough*), so I expect Phoenix to be the real holdout on a Joker 2. We’ll see what happens as Joker continues to sell tickets around the globe.
via Collider
‘Doctor Sleep’ Set To Lose $20M+ For Warner Bros!!!
Finance sources tell us today that Warner Bros.’ weekend Stephen King upset Doctor Sleep is poised to lose around $20M after all ancillaries, should it earn $100M at the global box office.
If ticket sales are lower, in the $80M range, then the loss swells to around $30M+. This comes after the grand under-performance of the mid-$50M Warner Bros. horror production, a studio which often hits home runs in the horror field off its New Line label, not to mention it’s the third dud from the Burbank lot in a row this fall after wide releases The Goldfinch (a reported $50M loss) and Motherless Brooklyn (studio’s exposure is less than 25% on the $26M production, which has only rang up $7.5M WW to date).
By comparison, the reboot of King’s Pet Sematary from Paramount made over $112M WW back in the spring off a $21M production cost. I hear Warner suits are baffled and saddened by how a well-reviewed (74% fresh) and good audience polled movie like Doctor Sleep, with a B+ CinemaScore and 4 Stars/82% fresh on PostTrak, just crapped the bed. This one will have them Monday morning quarterbacking tomorrow.
What a horror show the November box office is turning out to be: Last weekend, Paramount/Skydance Media/Fox’s Terminator: Dark Fate tanked, indicating an ultimate $130M loss. This weekend, it’s Doctor Sleep. Some even have their doubts about the overall global on Midway (though Lionsgate should be fine stateside), plus look out next weekend, but Sony’s Charlie’s Angels is already having its box office obituary written with a mid-teen domestic start (unless they can get young females out at the last minute and push the pic to a $20M+ opening. Good luck).
Oh, Anna and Elsa, save us from this autumn B.O. damnation! By the way, had Warners kept Wonder Woman 1984 on the calendar and MGM kept Bond 25, we wouldn’t be in this toilet.
Estimates figure that Doctor Sleep will clear $149M in revenues from global theatrical rentals, global free and pay TV, plus global home entertainment, including streaming next to combined production, global P&A, participations, residuals, and global home entertainment costs of $171M, (and, no, Joker did not cost $100M in global P&A!!)
We already laid out to you why Doctor Sleep was in a deep coma: A late-breaking, uneventful campaign (no tee off to the horror fans at San Diego Comic-Con), its 2 1/2 hour running time, which doesn’t work for horror fans or exhibitors, the latter who are cuffed at programming the pic (one auditorium can get as little as 4 showtimes in a given day for Doctor Sleep).
Also, this 2013 novel by King doesn’t have the brand equity that It did. Not to mention, Doctor Sleep didn’t wake up the young female and Hispanic horror-going demos with its billing as a sequel to the 1980 movie The Shining. When it came to those who cited the franchise as their reason to attend, females under 25 were last in that category, 18% behind all other demos. Ditto for the 13-17 year olds (17%, yes, it’s an R-rated movie, but they’ll still go).
Not to mention Hispanics, another prime horror movie-going demo, trailed Caucasians, 18% to 32%, for that same reasoning. Many are also citing that Ewan McGregor’s cold turn as the young psychic Danny also softened grosses, with PostTrak showing that he was not the top reason why people went to see the movie; top influences being genre (40%), subject matter (39%) and the King canon (26%). McGregor was a distant reason at 16%.
All of this said, film industry social media analytics corp RelishMix cited a huge reason why Doctor Sleep didn’t work: “For those who have seen the movie, and who share frustrations with Kubrick’s Shining, Sleep similarly departs from the novel in ways they would not have preferred.” Boom, mic drop.
Here’s the silver lining in all of this for Warner Bros.: similar to Disney when they stumble, Warners can afford this latest string of fall losses, for Joker and It Chapter Two are poised to deliver well north of $600M in profits after all ancillaries.
‘Doctor Sleep’ Loses #1 Spot to ‘Midway’ at the BO!!
Heading into the weekend we were anticipating a top ten that would deliver around $110 million, as it turns out the top ten currently falls just short of a combined $100 million as Lionsgate‘s Midway delivered a surprise #1 finish, topping WB‘s Doctor Sleep, which slipped to second and well below expectations. Paramount‘s Playing with Fire joined Midway in outperforming expectations while Universal‘s Last Christmas fell below Mojo‘s forecast, but well within studio expectations.
At the top of the weekend box office is Lionsgate‘s Midway, finishing ahead of expectations with an estimated $17.5 million from 3,242 locations. The film also scored an “A” CinemaScore from opening day audiences and should expect a strong performance over Veteran’s Day tomorrow that should push the film’s four-day gross over $20 million. Overall, the opening weekend audience skewed male and older with males making up 60% of the audience and 87% of the overall audience coming in aged 25 and older.
Finishing in second is Warner Bros.‘s release of Doctor Sleep, which was expected to deliver at least $25 million this weekend, but could only manage just a bit over half that number, finishing with an estimated $14.1 million from 3,855 locations. The film did score a “B+” CinemaScore from opening day audiences, which is solid for a genre film, but that wasn’t enough to turn the weekend around. Opening weekend crowds were 57% male and 74% of the overall audience was aged 25 or older. Compared to Pet Sematary, which opened with $24.5 million earlier this year, Doctor Sleep played to a crowd that was older and leaned a bit more male, suggesting ties to Stanley Kubrick‘s nearly 40-year-old adaptation of The Shining didn’t work in the film’s favor.
Internationally, after opening in a handful of markets last weekend, Doctor Sleep is now playing in 68 overseas markets and delivered an estimated $13 million this weekend for an overseas cume that now stands at $20 million. This weekend saw the film open in Russia with an estimated $2 million followed by Mexico ($1.5m) and Brazil ($577k). The film will open in Germany next week followed by a November 29 opening in Japan.
Paramount‘s Playing with Fire scored a third place finish with an estimated $12.8 million, topping expectations which saw the film finishing with $10 million at the most. The film scored a “B+” CinemaScore from opening day audiences. The weekend’s audience was 51% male with families making up 61% of the crowd. Internationally the film opened in ten markets with $2.5 million led by a $1.1 million opening in Mexico.
Universal‘s Last Christmas slipped to fourth with an estimated $11.6 million, which is well within expectation, but a bit lower than Mojo‘s forecast heading into the weekend. The film scored a “B-” CinemaScore and played to an opening weekend crowd that was 65% female and 65% of the overall audience was aged 25 or older. While the performance is a bit light, it could very easily deliver a solid overall performance over the weeks ahead, playing throughout the holiday season.
Internationally, Last Christmas opened in ten markets with an estimated $3.1 million, half of which came from Australia where it debuted with an estimated $1.58 million. Looking ahead the film will open in Germany and the UK next weekend followed by openings in France (Nov 27), Brazil (Nov 28), Spain (Nov 29), Russia (Dec 5), Korea (Dec 5), Mexico (Dec 6), Japan (Dec 6) and Italy (Dec 19).
Rounding out the top five is Paramount‘s Terminator: Dark Fate with an estimated $10.8 million, dipping -63% following last weekend’s disappointing opening as the film’s domestic cume now stands at $48.45 million after ten days in release, already pacing well behind Terminator Genisys, which topped $59 million after its first ten days domestically. Internationally, the film added another $29.9 million this weekend for an overseas cume that now totals over $150 million and a global cume that is just shy of $200 million. This weekend the film debuted in Japan where it brought in an estimated $6 million as China still leads all overseas markets with nearly $45 million.
Falling outside of the top five for the first time since release, WB‘s Joker added another $9.2 million this weekend for a domestic cume that now stands at $313.5 million. Internationally it added another $20.3 million for an overseas cume that now stands at $671.2 million as it is now just over $15 million shy of reaching the billion dollar mark worldwide with a $984.7 million global cume. Once it reaches that billion dollar mark it will serve as only the fourth DC Comics adaptation to do so joining Aquaman ($1.148b), The Dark Knight Rises ($1.84b) and The Dark Knight ($1.003b).
Currently finishing just outside the top ten based on estimates is Fox Searchlight‘s Jojo Rabbit, which expanded nationwide into 802 theaters this weekend and finished with an estimated $3.9 million ($4,862 PTA). The film’s domestic cume now tops $9 million domestically. The film will expand slightly next weekend, looking to continue its strong run in moderate release.
In limited release, Amazon Studios‘s Honey Boy opened in four locations this weekend with an estimated $288,825 for a chart-topping $72,206 per theater average. The film will expand further next week, reaching the top 15 markets over the next two weekends before a nationwide expansion timed to the announcement of Golden Globe nominations in early December.
Additional limited releases include Greenwich‘s debut of The Kingmaker in two locations with an estimated $23,600 and Cohen Media‘s re-release of A Fish in the Bathtub opened with $1,826 from three locations.
Next weekend sees the release of Fox‘s Ford v Ferrari in 3,500 theaters, Sony will debut the latest adaptation of Charlie’s Angels into ~3,300 theaters; and WB will release New Line‘s The Good Liar into over 2,500 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Midway | $17.5M | $17.5M | 1 |
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Doctor Sleep | $14.1M | $14.1M | 1 |
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Playing with Fire | $12.8M | $12.8M | 1 |
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Last Christmas | $11.6M | $11.6M | 1 |
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Terminator: Dark Fate | $10.8M | $48.5M | 2 |
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Joker | $9.2M | $313.5M | 6 |
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Maleficent: Mistress of Evil | $8.0M | $97.3M | 4 |
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Harriet | $7.2M | $23.5M | 2 |
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Zombieland: Double Tap | $4.3M | $66.7M | 4 |
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The Addams Family | $4.2M | $91.5M | 5 |
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‘Joker’ Is Officially the Most Profitable Comic Book Movie of All Time!!
The Joker has pulled off no shortage of gags, boners, and heists since he first popped up in Batman #1 in April of 1940, but the Clown Prince of Crime has officially netted his biggest score yet. A box office report from Forbes notes that Todd Phillips‘ Joker starring Joaquin Phoenix will reach a global total of $957 million by the end of November 8, making it the most profitable comic book movie of all time on a reported budget of $62.5 million.
Joker would be toppling the former record holder The Mask, which nabbed $351 million on a $23 million budget in 1994. Other notable names on the list are Venom ($854 million on a $90 million budget), Batman ($411 million on a $35 million budget), and Deadpool ($783 million on a $58 million budget).
The potential future this situation presents is vurry intriguing. Warner Bros. was reportedly a bit wary about Joker given its R-rating and subject matter—which resulted in the relatively tiny budget— but the film’s undeniable success makes the case for smaller-budgeted and hyper-focused stories told separately from the studio’s main DC Universe. It’s been a long, bumpy trial-and-error process for Warner Bros. in figuring out how to build their connected DC landscape, and while they’ve had major success recently with mostly standalone-ish entries like Wonder Woman, Aquaman, and Shazam!, making movies with those types of production budgets—$150 million, $160 million, and $100 million, respectively—obviously comes with inherent risks.
There is also the obvious matter of a hypothetical Joker sequel. Phillips and Phoenix were initially adamant that the origin story was meant to be a one-and-done affair—and Phoenix is just the sort of guy you can’t see getting roped into a multi-movie saga—but those dollar signs sure are doing a stair jig in front of Warner Bros.’ eyes. Plus, it appears Phoenix has warmed up to the idea, at least somewhat; he remains committed to saying a sequel won’t happen, but he did make some fake Joker 2 posters for Todd Phillips. You know, just for laughs.
via Collider
‘Terminator: Dark Fate’ Could Lose Over $100 Million at the BO!!
“Terminator” might not be back any time soon. “Dark Fate,” the most recent installment in the sci-fi series, fell flat at the box office and stands to be a big money loser for Paramount, Skydance and Disney, the studios backing the big-budget tentpole.
The sixth “Terminator” entry debuted with a dismal $29 million in North America and $102 million overseas, disappointing figures for a movie that cost $185 million to produce, plus $80 million to $100 million in global marketing and distribution fees. Unless “Terminator: Dark Fate” sees an exceptionally strong hold in the coming weeks, sources at rival studios estimate the movie could lose $100 million theatrically. It will be able to earn back some of that money in television and streaming licensing deals, as well as through home entertainment sales and rentals.
Paramount, Skydance and Disney (through 20th Century Fox) co-financed the movie, meaning any potential damages will be broken up among the Hollywood companies. The three studios each put up 30% of the budget, with China’s Tencent contributing the remaining cash. Box office experts say the film needs to earn around $450 million to break even but predict that “Terminator: Dark Fate” will end its box office run with an uninspiring $180 million to $200 million globally.
Paramount and Skydance, the companies responsible for releasing “Dark Fate” domestically, hoped the latest movie would kick off with over $40 million in North America, but after it fell short of expectations, insiders at rival studios suggest it’s unlikely “Dark Fate” will hit triple digits in the U.S. and might not even pass $70 million.
The movie failed to make up much ground overseas, where it’s playing in 80% of foreign markets. China was expected to be a key market for the tentpole release, but launched with an underwhelming $28 million. After a weak start, sources estimate it could struggle to reach $50 million in that territory.
“They made a bad decision in greenlighting this film with this particular budget,” said Eric Handler, a media analyst with MKM Partners. “They were clearly hoping this franchise could still resonate overseas, and it didn’t really do that.”
The most recent “Terminator” films — 2009’s “Terminator Salvation” and 2015’s “Terminator Genisys” — were both panned by critics and failed to recoup their pricey budgets. “Terminator: Dark Fate” was hailed as a return to form for the 35-year-old franchise, even landing a B+ Cinemascore from audiences and a 69% average on Rotten Tomatoes. But not even the presence of original stars Arnold Schwarzenegger and Linda Hamilton, along with series creator James Cameron on board as a producer could reignite interest among moviegoers. Despite mostly positive reviews, critics said the latest entry didn’t bring much new to the decades-old series, which has been mined and mined again for numerous offshoots and TV shows.
“This is an aging franchise with aging actors, and the reviews were mediocre,” Handler said. “As good of a franchise as this might have been, it doesn’t have the same appeal now.”
In “Dark Fate,” Hamilton’s Sarah Connor must protect a young girl from a deadly new Terminator from the future. Tim Miller (“Deadpool”) directed the sequel from a screenplay by David S. Goyer, Justin Rhodes and Billy Ray.
“Terminator: Dark Fate” is the second high-profile misfire for Paramount and Skydance this fall following “Gemini Man.” The action thriller starring Will Smith and directed by Ang Lee cost $135 million and has generated $153 million worldwide since debuting in October.
Up next, Skydance is teaming with Netflix for “6 Underground,” an action thriller starring Ryan Reynolds that starts streaming on Dec. 13.
Paramount scored over the summer with “Rocketman,” an R-rated musical biopic about Elton John that amassed $195 million globally. It also fielded modest successes with thrillers “Crawl” ($90 million) and “Pet Sematary” ($112 million). However, the twin failures of “Gemini Man” and “Terminator: Dark Fate” end the year on a sour note for Paramount: its only remaining theatrical release in 2019 is John Cena’s comedy “Playing With Fire.” The studio will look ahead to 2020 hoping to recapture its former glory with sequels to “A Quiet Place” and “Top Gun.”
‘Joker’ Crosses $900M at the Worldwide BO!!
Fall blockbuster Joker racked up another milestone on Saturday when crossing the $900 million in worldwide ticket sales.
Director Todd Phillips‘ R-rated pic starring Joaquin Phoenix in the titular role is a huge win for Warner Bros. and DC, particularly since it isn’t a traditional superhero movie.
Joker, costing a relatively modest $60 million to produce before marketing, is now assured of generating profits of $500 million or more for Warners and partners Village Roadshow and Bron Studios.
The dark supervillain movie has shattered a slew of records since its early October debut, including passing up Deadpool ($783 million) to become the top-grossing R-rated title of all time, not adjusted for inflation.
Box office analysts say Joker will gross $950 million or more by the end of its theatrical run. And it even has a shot of clearing $1 billion.
Through Friday, Joker‘s domestic cume was $289.5 million, while the foreign tally through Thursday was $602.3 million for a global cume of $891.8 million (overseas numbers for Friday weren’t immediately available).
Warners will announce the $900 million milestone early Sunday when releasing weekend numbers. The movie will finish tomorrow with a global total of $920 million or more. That includes all but clearing the $300 million threshold in North America, where it’s set to come in second place in its fifth weekend.
In terms of the top-grossing superhero films of all time, Joker has passed up Spider-Man 3 ($895 million) to rank as No. 13, not adjusted for inflation. And it’s the fourth-top grossing DC title of all time behind Aquaman ($1.14 billion), The Dark Knight Rises ($1.08 billion) and The Dark Knight ($1 billion), unadjusted.
Village Roadshow and Bron Studios each have a 25 percent stake in Joker.
‘Terminator: Dark Fate’ Underperforms with $29 Million Opening at the BO!!
“Terminator: Dark Fate” shot past box office competition but fell significantly short of expectations as Paramount, Skydance Media and Disney’s sci-fi sequel debuted to $29 million in North America.
The sixth installment in the “Terminator” franchise landed in first place on domestic box office charts, but the results are disappointing given the film’s $185 million budget. Heading into the weekend, the movie was expected to collect over $40 million during its first three days in theaters. A start above $40 million seemed attainable since reviews were strong and audience sentiment was overwhelmingly positive. “Joker” could have cannibalized ticket sales for “Terminator” since both film’s catered to younger men. For “Dark Fate,” 60% of opening weekend crowds were male, over half of which were under the age of 30.
International audiences might give the film a boost, though China only brought in a middling $28 million and could continue to stall in coming weeks. Overseas, “Terminator: Dark Fate” earned another $72.9 million for a global tally of $123 million. Disney is releasing the movie in all foreign territories aside from China, where Tencent Pictures is handling distribution. Paramount, Skydance and Disney co-financed the movie.
“Dark Fate” reunites series creator James Cameron with stars Linda Hamilton and Arnold Schwarzenegger for the first “Terminator” movie since 1991’s “Terminator 2: Judgement Day.” They were joined by new cast members Mackenzie Davis, Natalia Reyes and Gabriel Luna. In this installment, Sarah Connor (Hamilton) must protect a young girl from a deadly new Terminator from the future. Tim Miller (“Deadpool”) directed from a screenplay by David S. Goyer (“The Dark Knight,” “Blade”), Justin Rhodes and Billy Ray.
“Terminator” might not be the only film with a dark fate at multiplexes. Edward Norton’s “Motherless Brooklyn” barely cracked the top 10, generating a paltry $3.6 million when it bowed in 1,300 North American theaters. Warner Bros.’ spent a modest $26 million to produce the neo-noir crime drama, based on Joanthan Lethem’s novel. In addition to writing and directing the long-gestating film, Norton stars as a private investigator with Tourette syndrome who works to solve the murder of his mentor. The cast also includes Bruce Willis, Gugu Mbatha-Raw, Bobby Cannavale and Alec Baldwin.
“It’s our hope that positive word of mouth will propel the movie,” said Jeff Goldstein, Warner Bros.’ president of domestic distribution. “It was an extremely well done movie, and it’s diverse programming. I think it’s a movie people are talking about.”
Fellow new release, Focus Features’ “Harriet,” had a far more promising start at the domestic box office, arriving at No. 4 with $12 million from 2,059 venues, ahead of expectations. The film boasts a rare A+ Cinemascore from audiences, signaling the historical drama could continue to benefit from positive word of mouth. Older female moviegoers drove inaugural sales: 62% were women and 59% were over the age of 35. African Americans accounted for nearly 50% of ticket buyers.
“Harriet” centers on Harriet Tubman (Cynthia Erivo), the abolitionist who led enslaved people to freedom on the Underground Railroad. Kasi Lemmons directed the film, which also stars Leslie Odom Jr., Joe Alwyn and Janelle Monae.
“Audiences have been unanimous for their love of this film, which is clear from its A+ CinemaScore and 98% Audience rating on Rotten Tomatoes,” said Lisa Bunnell, Focus Features’ president of distribution. “With the story of one woman’s strength that literally change the world we all live in today, it is the feel-great movie people are looking for — becoming an event for friends and families going to see together.”
Adds producer Debra Martin Chase, “This is not a slave movie. This is a movie that says we cannot control the circumstances into which we are born, but we can control what we do once we get here.”
This weekend’s final newcomer, Entertainment Studios Motion Pictures’ “Arctic Dogs,” lacked much bite, debuting in 10th place with $3.1 million from 2,844 screens. The kid-friendly animated adventure about a team of ambitions animals features the voice cast of Jeremy Renner, Heidi Klum, James Franco and Anjelica Huston.
Meanwhile, Warner Bros.’ “Joker” benefitted from Halloween and held steady at No. 2, declining just 29% to $13.6 million in its fifth weekend of release. “Joker” has generated a huge $299 million in North America and $934 million globally, putting Joaquin Phoenix’s super-villain origin story on track to clear the $1 billion mark worldwide.
Adds Warner Bros.’ Goldstein, “It really hit the zeitgeist globally in a way that audiences are interested in. The story had so much traction because of the realness of the characters.”
Holdovers Disney’s “Maleficent: Mistress of Evil” and MGM’s “The Addams Family” rounded out the top five. Angelina Jolie’s “Maleficent” sequel profited from the spooky spirit, landing in third with $12 million. After three weeks of release, “Mistress of Evil” has made $84 million in North America and $299 million overseas. At No. 5, “The Addams Family” brought in $8.5 million, boosting its domestic tally to $85 million.
Among specialty releases, Errol Morris’ Steve Bannon documentary “American Dharma” launched exclusively at NY’s Film Forum, pocketing $7,522 from the one venue. The film is expected to expand to Los Angeles next weekend.
Netflix’s “The Irishman” also debuted in a handful of theaters, though the company declined to report box office grosses. The mobster drama — directed by Martin Scorsese and starring Al Pacino and Robert De Niro — launches on the streaming service Nov. 27.
Elsewhere, Neon’s acclaimed thriller “Parasite” continues to impress, securing 11th place with $2.6 million from 463 theaters. The foreign-language film, from director Bong Joon Ho, has picked up a promising $7.5 million in North America to date.
Another awards season favorite, Fox Searchlight’s “Jojo Rabbit,” added $2.4 million when it expanded to 256 locations, boosting its domestic tally to $4.2 million. Taika Waititi wrote, directed and stars in the satire about a young German boy (Roman Griffin Davis) and his imaginary friend, Adolf Hitler (Waititi).
In box office milestones, Universal had two films clear the $150 million mark this weekend. “Yesterday,” a musical rom-com set to Beatles classics, has amassed $73.3 million in North America and $77.2 million overseas. “Abominable,” an animated adventure, hit $58 million at the domestic box office and earned another $101.2 million abroad.
Overall, domestic box office receipts declined 18% from the same weekend in 2018, pushing year-over-year sales down over 5%, according to Comscore.
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Terminator: Dark Fate | $29.0M | $29.0M | 1 |
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Joker | $13.9M | $299.6M | 5 |
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Maleficent: Mistress of Evil | $12.2M | $84.3M | 3 |
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Harriet | $12.0M | $12.0M | 1 |
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The Addams Family | $8.5M | $85.3M | 4 |
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Zombieland: Double Tap | $7.4M | $59.3M | 3 |
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Countdown | $5.9M | $17.8M | 2 |
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Black and Blue | $4.1M | $15.4M | 2 |
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Motherless Brooklyn | $3.7M | $3.7M | 1 |
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Arctic Justice | $3.1M | $3.1M | 1 |
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‘Joker’ Regains Top Spot Despite Competition at the BO!!
It’s a narrow race at the top of the box office, but based on estimates WB‘s Joker was able to return to the weekend #1 spot after a brief respite last weekend as Disney‘s Maleficent: Mistress of Evil falls to second in its sophomore frame Meanwhile it was an equally tight race for third as well as fifth with the new releases of Countdown and Black and Blue competing for that last spot in the top five.
Returning to the top of the weekend box office is WB‘s Joker, which dipped just -35% as it entered its fourth week in release with an estimated $18.9 million three-day. The film’s domestic cume now tops $277.5 million, which is enough to make it the seventh largest R-rated release domestically of all-time. Internationally the film added another $47.8 million this weekend, pushing the film’s overseas total to $571.5 million for a global tally totaling nearly $850 million. This makes it the fifth largest DC Comics adaptation globally of all-time, topping Wonder Woman ($821.8m) and just behind Batman v Superman ($873.6m).
Dropping to second after one weekend at #1 is Disney‘s Maleficent: Mistress of Evil, which fell -49.8% in its second weekend for an estimated $18.5 million and a domestic cume that now totals $65.4 million. Internationally the film added another $64.3 million for an overseas cume that now tops $228 million for a global tally just shy of $294 million.
In its third weekend of release, United Artists Releasing‘s animated comedy The Addams Family had the lowest drop on the board among holdovers, dropping just -28% as it enters its third week in release with an estimated $11.7 million three-day, lifting it to third place for a domestic cume that now stands at $72.8 million. Internationally, the film played in 19 markets this weekend and brought in an estimated $10.5 million for an overseas total that currently stands at $11.2 million for a worldwide cume totaling $84 million.
The Addams Family‘s hold on third place, however, is slight as Sony‘s Zombieland: Double Tap came in with an estimated $11.6 million, dipping -57% in its second weekend for a domestic cume that now stands at $47 million. Internationally, the film brought in $9 million this weekend as it is now playing in 40 markets for an overseas cume now totaling $16.6 million and a global cume that stands at $63.6 million.
Rounding out the top five is STXfilms‘s horror thriller Countdown with an estimated $9 million debut. The performance for the $6.5 million production is on par with expectations while earning a “C+” from opening day audiences. The opening weekend crowd was evenly split 50% male and female with 78% coming in under the age of 35. Internationally, the film debuted in 16 markets with an estimated $1.7 million, led by a $480k launch in the UK.
In sixth we find Screen Gems‘s R-rated action/thriller Black and Blue, which took in an estimated $8.3 million to go along with an excellent, “A+” CinemaScore. The film played to a crowd that was 54% male with 66% of the overall crowd coming in aged 25 or older.
Elsewhere in the top ten, A24‘s The Lighthouse had a solid showing as it expanded into 586 locations (+578) with an estimated $3.08 million and will expand further this next weekend as its domestic cume currently stands at $3.66 million after ten days in release.
Just behind it, 101 Studios‘s release of The Current War: Director’s Cut finished on par with expectations, delivering an estimated $2.7 million from 1,022 locations. The film received a “B” CinemaScore from opening day audiences while playing to a crowd that was 55% male and 35% of the audience was aged 35 or older.
Outside the top ten there is plenty to mention beginning with Fox International‘s Housefull 4, which opened in 315 locations with an estimated $880,000 ($2,794 PTA); Kanye West‘s Jesus is King, which debuted in 372 IMAX locations with an estimated $830,000 ($2,231 PTA); and WB‘s Bruce Springsteen doc Western Stars opened in 537 theaters with an estimated $560,000 ($1,043 PTA).
Further down the list, additional limited releases include Atlas‘s No Safe Spaces, which opened in one theater with an estimated $45,236; Metrograph‘s re-release of Downtown 81 in one theater with an estimated $25,000; and Sony Classics‘s release of Frankie in four theaters with an estimated $22,941 ($5,735 PTA).
Next weekend sees the release of Paramount‘s Terminator: Dark Fate in over 3,500 theaters; Arctic Dogs will play in over 3,600 locations; Harriet will open in ~2,000 theaters; and Warner Bros. will release Motherless Brooklyn in over 1,250 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Joker | $18.9M | $277.6M | 4 |
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Maleficent: Mistress of Evil | $18.5M | $65.4M | 2 |
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The Addams Family | $11.7M | $72.8M | 3 |
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Zombieland: Double Tap | $11.6M | $47.0M | 2 |
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Countdown | $9.0M | $9.0M | 1 |
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Black and Blue | $8.3M | $8.3M | 1 |
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Gemini Man | $4.0M | $43.3M | 3 |
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The Lighthouse | $3.1M | $3.7M | 2 |
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The Current War | $2.7M | $2.7M | 1 |
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Abominable | $2.0M | $56.8M | 5 |
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‘Housefull 4’ Has the Biggest Opening for the Franchise at the BO!!
Considering the pre-Diwali season, which is the weakest time period for a film to release, Housefull 4 was expected to open around the Rs. 20 crores mark. This is what happened as well, what with Friday collections turning out to be Rs.19.08 crores. The film started on a good note in the morning shows and post that the evening and night shows stayed decent as well, though with no real upswing as families do get busy with celebrations and festivities.
Nonetheless, the good news is that this Nadiadwala Grandson production is the biggest in the Housefull franchise as the collections are bigger than Housefull 3 [Rs. 15.21 crores], Housefull 2 [Rs. 14 crores] and Housefull [Rs. 10 crores]. Now it has to be seen how the weekend turns out to be since collections would be impacted further today and tomorrow due to Diwali celebrations. However, Monday is set to be good all over again due to it being the best day for the film when it comes to family audiences stepping in.
For Sajid Nadiadwala, the film has opened much bigger than his last two big successes, Super 30 [Rs. 11.83 crores] and Chhichhore [Rs. 7.32 crores]. Both of these were word of mouth films and managed to grow well over a period of time. Housefull 4 is a quintessential commercial entertainer though and hence would need sustained momentum.
As for Akshay Kumar, this is yet another good opener for him in 2019 after Mission Mangal [Rs. 29.16 crores] and Kesari [Rs. 21.06 crores] and one waits to see how the lifetime turns out to be for Housefull 4.
via Bollywood Hungama
‘Gemini Man’: Not Even Two Will Smiths Could Prevent $75 Million Loss!!!
The Will Smith action film Gemini Man, in which the Fresh Prince does battle with a younger clone of himself across several continents, is looking at a staggering loss of at least $75 million. In addition to being the worst-reviewed movie of Oscar-winning director Ang Lee’s career, the movie struggled with heavy competition from high profile franchise films Joker and Maleficent: Mistress of Evil.
Gemini Man is the latest in a string of commercial disappointments for Smith, who was once a worldwide sure thing at the box office. With the notable exceptions of Aladdin and Suicide Squad – ensemble franchise pictures from Disney and DC, two of the biggest entertainment brands in the world – many of Smith’s recent films have dramatically underperformed, including another high-profile bomb in 2013’s After Earth.
Originally written in the 90s with Clint Eastwood in mind for the lead role, Gemini Man has changed studios, directors, and stars several times over the past 20 years. (At one point, Nicolas Cage was attached, and now all I want in this world is to see Nicolas Cage’s Gemini Man.) The film’s much-touted de-aging effects (which sound great in theory but become something of a weirdly floaty uncanny valley when plastered into complicated action sequences) presumably added a few zeros to its astounding $140 million budget. Coupled with an additional marketing spend of approximately $100 million, Gemini Man’s astronomical failure is leaving its four (!) production and distribution companies – Paramount, Skydance, Fosun, and Alibaba – with multi-million dollar black eyes. The one bright side is that nobody has to eat that entire $75 million sandwich alone.
via Collider
‘Maleficent: Mistress of Evil’ Disappoints While ‘Zombieland 2’ Opens Strong at the BO!!
This weekend saw the release of two new sequels and Disney‘s Maleficent: Mistress of Evil topped the chart as expected, albeit with a lighter performance than expected. However, Sony‘s Zombieland: Double Tap came in on the high side of expectations while WB‘s Joker continued its strong run and will soon top $250 million domestically. Elsewhere, Neon‘s Parasite, A24‘s The Lighthouse and Fox Searchlight‘s Jojo Rabbit all had strong showings in limited release.
With an estimated $36 million, Disney‘s Maleficent: Mistress of Evil opened atop the weekend box office, but failed to reach studio or industry expectations. The performance is also nearly half of the $69.4 million opening for the 2014 original. We saw early signs the film might struggle as noted in our weekend preview when looking at IMDb page view data, but it does appear those that did make their way to theaters to see the follow up enjoyed it, giving the film an “A” CinemaScore and it currently holds a 96% audience score on RottenTomatoes. Overall, the film played to a crowd that was 56% female and 54% were aged 25 or older, compared to 60% female for the original, which also played a little younger.
Internationally, Maleficent launched in all major markets, bringing in an estimated $117 million for a $153 million global debut. Leading the way was a $22.4 million opening in China followed by Russia ($10.7m), Mexico ($7.8m), Indonesia ($4.8m), Italy ($4.7m), Korea ($4.6m), Brazil ($4.5m), UK ($4.3m), France ($3.9m), Thailand ($3.7m), Philippines ($3.5m), Germany ($3.4m) and Spain ($3.2m).
In second is yet another strong performance from WB‘s Joker, dipping -48% in its third weekend in release. The film’s three-day estimate comes in at $29.2 million for a domestic cume that now tops $247 million. Internationally, the film added another $77.8 million for an overseas cume that now tops $490 million and a worldwide total that now stands at $737.5 million.
Sony‘s Zombieland: Double Tap is the weekend’s other new wide release and it delivered on the high end of industry expectations, bringing in an estimated $26.7 million for the three-day weekend. Notable in this day and age, it also debuted higher than its predecessor, outperforming the $24.7 million opening for Zombieland. Of course, given that film opened ten years ago it isn’t exactly an apples-to-apples comparison. The film received a “B+” CinemaScore from opening day audiences and played to a crowd that was 57% male — which is almost the exact opposite compared to the first film — and 56% of the overall audience was aged 25+.
Internationally, Double Tap debuted in one market last weekend and is now playing in 17 overseas markets where it grossed $5 million this weekend for a cume that currently stands at $5.3 million. The UK led all markets with a $1.7 million performance this weekend followed by Australia with a $1.3 million debut. Looking ahead, the film will open in Russia, Brazil and Mexico next weekend followed by openings in France (Oct 30), Germany (Nov 7), South Korea (Nov 13), Italy (Nov 14) and Japan (Nov 22).
In its second weekend of release, United Artists Releasing‘s animated comedy The Addams Family grossed an estimated $16.05 million over the weekend, pushing the film’s domestic cume to $56.8 million after ten days in release.
Rounding out the top five is Paramount‘s Gemini Man dipping -59% as it kicks off its sophomore frame with an estimated $8.5 million for a domestic cume that now stands at $36.5 million. Internationally, the film brought in an estimated $33.4 million this weekend, the bulk of which coming from a $21 million opening in China. The film’s overseas cume now stands at $82.2 million for a global total reaching $118.7 million.
Outside of the top five, Focus‘s Downton Abbey reached a milestone recently, becoming the studio’s highest grossing film ever at the domestic box office. With an estimated $3.08 million as it enters its fifth week in release, the film’s domestic cume now stands at $88.6 million, besting the previous record held by 2005’s Brokeback Mountain with $83 million.
Finishing just outside the top ten is Neon‘s release of Parasite, which is now playing in just 33 locations (+30) and brought in an estimated $1.2 million ($37,616 PTA) for a domestic cume that now stands at $1.8 million after ten days in release.
Another strong performance in limited release comes from A24‘s The Lighthouse, which debuted in eight locations in NY, LA, SF, Boston, and Washington D.C. with an estimated $419,764 ($52,471 PTA). The film, which stars Robert Pattinson and Willem Dafoe expands nationwide next weekend, expected to play in over 500 theaters.
Not too far behind it is yet another limited release in Fox Searchlight‘s Jojo Rabbit, which debuted this weekend in just five locations and brought in an estimated $350,000, topping the chart with a $70,000 per theater average. The film received an “A” CinemaScore and played to a crowd that was 51% female. Looking ahead, it will add eight new markets next weekend while expanding further in New York and Los Angeles bringing the screen total to between 50+ locations.
Elsewhere in limited release, National Geographic‘s The Cave brought in $22,100 from two theaters; Freestyle‘s Immortal Hero launched in 12 locations with an estimated $18,845 ($1,570 PTA); IFC‘s Greener Grass opened in two locations and brought in an estimated $14,133); Music Box‘s opened a pair of films including By the Grace of God in two theaters with an estimated $8,188 and Stuffed in one location with an estimated $1,534
Next weekend Screen Gems will release the cop thriller Black and Blue in ~2,000 theaters; STX will get into the Halloween season with Countdown in 2,600 locations and 101 Studios will go wide with The Current War: Director’s Cut in an as yet undisclosed number of locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Maleficent: Mistress of Evil | $36.0M | $36.0M | 1 |
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Joker | $29.2M | $247.2M | 3 |
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Zombieland: Double Tap | $26.7M | $26.7M | 1 |
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The Addams Family | $16.1M | $56.8M | 2 |
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Gemini Man | $8.5M | $36.5M | 2 |
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| |
Abominable | $3.5M | $53.9M | 4 |
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Downton Abbey | $3.1M | $88.6M | 5 |
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Judy | $2.1M | $19.0M | 4 |
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Hustlers | $2.1M | $101.9M | 6 |
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It Chapter Two | $1.5M | $209.7M | 7 |
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‘Joker’ to Become the Top-Grossing R-Rated Pic of All Time at the BO!!
Joker continues to laugh all the way to the bank in record fashion.
The Warner Bros. pic, directed by Todd Phillips and starring Joaquin Phoenix as the menacing supervillain, is well on its way to becoming the top-grossing R-rated film of all time at the global box office, not adjusted for inflation.
Deadpool, the groundbreaking 2016 superhero pic starring Ryan Reynolds, is the current record holder with $783 million in worldwide ticket sales. (Deadpool 2‘s earnings were roughly $738 million before a PG-13 cut of the 2018 film brought the movie’s total grosses to $785 million.)
Through Sunday, Joker‘s global total stands at $737.5 million after three weekends in release, exceeding all expectations.
Joker’s domestic haul over the Oct. 18-20 frame was $29.2 million for a North American total of $247.2 million.
Overseas, the pic raked in another $77.9 million for a running tally of $490.3 million — the fourth-best international showing of all time for a DC title behind 2018’s Aquaman ($811.8 million), 2012’s The Dark Knight Rises ($636.3 million) and 2016’s Batman v. Superman: Dawn of Justice ($537 million).
Joker is expected to ultimately take in close to $900 million globally; some even think it has a shot at approaching $1 billion.
In terms of other movies topping the R-rated chart, The Matrix Reloaded grossed $738.6 million in 2003, followed by It‘s $697 million in 2017 and The Passion of the Christ‘s $622.3 million in 2003, not adjusted for inflation.
‘The Goldfinch’ May Be the Big Prestige Bomb of the Year!!
It’s the best of times and the worst of times for Warner Bros. right now. As the studio celebrates the financial glories of Joker, they also have to worry about just how hard The Goldfinch is bombing both here in the U.S. and internationally. Directed by John Crowley, starring Ansel Elgort and Nicole Kidman, and adapted from the acclaimed novel of the same name by Donna Tartt, The Goldfinch seemingly has all the right elements to make for a great, prestige movie. So, after a month of it hanging out in theaters, what happened?
Let’s get the cold, hard stats out on the table first. Thanks to a report of the international box office earnings for the Warner Bros. movies currently in theaters, I’ve learned that The Goldfinch‘s international box office total is $3.8 million. That number reflects the amount of money it’s made in one month and is a combined total of all the earnings from its international markets. The Goldfinch‘s highest-earning international markets include Russia ($1.6M), the UK ($394K), France ($151K), and Ukraine ($102K).
The narrative doesn’t get any better when you look at the figures here in the U.S. In The Goldfinch‘s opening night (September 13), the movie made an extremely grim $868,127, averaging $342 across the 2,542 screens it debuted on. Things have rapidly declined for The Goldfinch, going from $2.7 million earned domestically in its opening weekend to it now barely sitting about $5 million after a month. It’s remained on 2,542 screens in the U.S. but it pulling in some jaw-droppingly bad numbers, with per-screen averages currently ranging from $36 to $141. Given today’s ticket prices, that means about a dozen people or less are going to see The Goldfinch on any given day.
It’s no wonder Warner Bros. buried The Goldfinch‘s international earnings at the bottom of their report for the weekend of October 11; this is not good. It’s hard to pinpoint a culprit here, although poor reviews like the TIFF 2019 review from Collider’s own Matt Goldberg might have been enough to warn viewers of what they would be getting into if there were a culprit. Right now, just one month out, it seems a movie so clearly destined for awards season contemplation (an adaptation of a popular novel! A respected director! An award-winning cast!) is now one of Warner Bros. biggest misfires of the year.
The Goldfinch is currently in theaters worldwide.
via Collider
‘Joker’ Repeats at #1, as ‘Gemini Man’ Bombs at the BO!!!
In the face of three new wide releases, there was no dethroning Joker from the weekend’s top spot as the film not only topped the weekend box office domestically, internationally and worldwide, it has already generated over $543 million globally in just its first twelve days in global release. As for the newcomers, UAR‘s The Addams Family led the way with a solid second place debut while Paramount‘s Gemini Man and Lionsgate‘s Jexi struggled to find an audience. However, one film that didn’t struggle was Neon‘s release of the Palme d’Or winner Parasite, which made an impact in just three theaters this weekend.
With an estimated $55 million, WB‘s Joker easily repeat atop the weekend box office. The thriller dipped just -43% in its sophomore frame, pushing its domestic cume to $192.7 million after just ten days in release, dramatically outperforming pre-weekend expectations. In fact, it’s the largest October second weekend ever, topping Gravity’s $43.2 million sophomore frame back in 2013.
Internationally, Joker delivered on a large scale, bringing in an estimated $123.7 million from 79 markets for an overseas cume that now tops $351 million and a worldwide total that has already reached $543.9 million. This makes the film the ninth largest DC Comics adaptation worldwide ever, currently placing behind Justice League ($657.9m). New openings this weekend included a $10.3 million debut in France and a $9.3 million opening in Germany. The UK is the film’s top grossing overseas market with an estimated total that currently stands at $36.9 million.
Second place is where we find the first of the weekend’s new releases in UAR‘s animated adaptation The Addams Family, which managed to just outperform Mojo‘s pre-weekend expectations, delivering an estimated $30.29 million over the three-day weekend. Opening day audiences gave the film a “B+” CinemaScore with females representing 59% of the opening weekend crowd and 48% of the overall audience was under the age of 17. What will be interesting is to see how the film performs over the coming weeks as it should take advantage of the Halloween season.
Paramount‘s Gemini Man landed in third as the Ang Lee-directed doppelgänger action-thriller starring Will Smith managed just $20.5 million over its first three-days in release. The $138 million production received a “B+” CinemaScore from opening day audiences. Overall, the audience skewed male at 56% with 53% of the overall crowd coming in aged under 30.
Internationally, Gemini Man debuted in five markets last week and expanded to a total of 58 this weekend from which it brought in an estimated $31.1 million for an overseas cume that now totals $39 million. France and Germany, where the film opened last weekend, remain the top markets with comes totaling $5.1 million and $4.5 million respectively. As for the new markets, both Mexico and Russia saw $2.7 million debuts this weekend followed by South Korea and the UK, both opening with $2.2 million. The film has yet to open in Japan or Taiwan, where it will open on October 25.
Universal finished in fourth position with their animated feature Abominable, which brought in an estimated $6.17 million as it enters its third week in release. The film’s domestic cume now stands at $47.9 million. Additionally, the film brought in another $15 million internationally this weekend from 52 markets currently in play for an overseas cume totaling $60.1 million and a worldwide cume that now stands at $108.1 million.
Rounding out the top five is Focus‘s release of Downton Abbey, which is entering its fourth week in release and brought in an estimated $4.9 million, for a domestic cume that now stands at $82.68 million. Internationally the film added another $4.1 million this weekend for an overseas cume totaling $70 million and a worldwide cume that now stands at $152.7 million.
Elsewhere, Lionsgate‘s release of the comedy Jexi debuted in eighth position with an estimated $3.1 million from 2,332 locations.
Outside the top ten, Neon‘s release of Bong Joon Ho‘s Palme d’Or winner Parasite delivered an estimated $376,264 from just three locations in New York and Los Angeles. The film’s $125,421 per theater average was the largest of the year and the largest since 2016’s La La Land and the 18th largest of all-time. Despite the fact the film opened in only three locations, this is the fifth largest opening ever for a Palme d’Or winner, topping The Tree of Life‘s opening in 2011 from four locations.
Next weekend sees the release of a pair of sequels beginning with Disney‘s Maleficent: Mistress of Evil opening in 3,700 locations alongside Sony‘s Zombieland 2: Double Tap, debuting in 3,400 theaters. In addition to the wide releases, Fox Searchlight will release Jojo Rabbit and A24 will debut The Lighthouse, both in limited release.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Joker | $55.0M | $192.7M | 2 |
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The Addams Family | $30.3M | $30.3M | 1 |
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Gemini Man | $20.5M | $20.5M | 1 |
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| |
Abominable | $6.2M | $48.0M | 3 |
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Downton Abbey | $4.9M | $82.7M | 4 |
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| |
Hustlers | $3.9M | $98.0M | 5 |
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| |
Judy | $3.3M | $15.0M | 3 |
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| |
It Chapter Two | $3.2M | $207.1M | 6 |
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Jexi | $3.1M | $3.1M | 1 |
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Ad Astra | $1.9M | $47.0M | 4 |
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‘Terminator: Dark Fate’ Tracking at Franchise Best Opening at the BO!!
Arnold Schwarzenegger, Linda Hamilton and James Cameron reunite for the first time since 1991’s Terminator 2: Judgment Day as Paramount and Skydance Productions look to relaunch the Terminator franchise with the Tim Miller-directed Terminator: Dark Fate, and judging by tracking estimates, it seems said relaunch is on course to succeed.
As reported by Deadline, the R-rated Dark Fate is tracking a domestic opening weekend in excess of $40 million and may well top the $44 million franchise record opening set by Terminator 3: Rise of the Machines back in 2003. For comparison, the last entry Terminator: Genisys – which was itself intended as the start of a new trilogy – debuted to just $27 million in 2015 on its way to a domestic total of $89.8 million (it fared better overseas, with a global total of $440.6 million).
Dark Fate begins its international rollout from October 23rd, nine days before its U.S. release, and so its chances of a franchise record U.S. opening will likely be dependent on reviews and overseas reaction.
Terminator: Dark Fate is being directed by Tim Miller (Deadpool), with James Cameron producing, and sees Arnold Schwarzenegger (T-800), Linda Hamilton (Sarah Connor) and Edward Furlong (John Connor) reprising their roles alongside new cast additions Mackenzie Davis (Blade Runner 2049), Natalia Reyes (Lady), Diego Boneta (Pretty Little Liars) and Gabriel Luna (Agents of S.H.I.E.L.D.). The film will be released on October 23rd in the UK and November 1st in North America.
via Flickering Myth
‘Joker’ Delivers Largest October Opening Ever with $93.5 Million at the BO!!
This weekend saw the Warner Bros. DC Comics adaptation Joker deliver the largest October domestic opening weekend of all-time and the fourth largest opening ever for an R-rated feature. The film was the #1 movie domestically and overseas, kicking things off with a $234 million global launch.
With an estimated $93.5 million, Warner Bros.‘s Joker delivered the largest October domestic opening ever, topping the $80.25 million opening for Venom just last year, not to mention coming very close to the $93.8 million opening for Justice League in 2017, which it could very easily top once actuals come in on Monday.
The Joker’s performance is also the fourth largest domestic opening ever for an R-rated film and comes up just shy of becoming only the fourth R-rated film to ever open with $100+ million. Heading into the weekend the film had already broken a record, becoming the widest October opening ever, playing in 4,374 locations and on Thursday night it delivered an October record for preview grosses, bringing in $13.3 million. Now attention will turn to how well it will be able to holdover next week.
Opening day audiences gave the film a “B+” CinemaScore with the under-35 set giving it an “A-“. To go along with a solid critical opinion — 69% on RottenTomatoes — the film holds a 91% audience score on RottenTomatoes to go along with an impressive 9.1/10 from IMDb users. The opening weekend crowd skewed heavily male at 64% while 66% of the audience was under the age of 35.
Internationally, Joker debuted in 73 markets and brought in an estimated $140.5 million for a $234 million global debut. Leading the way was a $16.3 million opening in South Korea followed by the UK ($14.8m), Mexico ($13.1m), Russia ($10m), Brazil ($7.3m), Japan ($7.0m), Italy ($6.8m), Australia ($6.6m), Indonesia ($5.9m), Spain ($4.6m), India ($3.9m), Taiwan ($2.9m) and the United Arab Emirates ($2.7m). Of those openings, the debuts in UK, Russia, Italy, Spain, Poland, UAE, Japan, Korea, Indonesia, Brazil, Mexico and Australia marked the largest overseas openings for a WB title this year. Looking ahead, the film will open in France and Germany later this week.
Universal‘s animated feature Abominable comes in second. The DreamWorks Animation and Pearl Studio‘s title dipped -42% in its second weekend for an estimated $12 million three-day and a $37.8 million domestic cume after ten days in release. Internationally, the film opened in China this weekend with $11.2 million, contributing to a $24.6 million international performance from 44 overall markets and an overseas cume that now totals $38.5 million and a global cume totaling $76.3 million.
In third is Downton Abbey, which enters its third week dropping just -44% and delivering an estimated $8 million as the film’s domestic cume is now just shy of $74 million. Internationally, the film added $6.6 million this weekend, pushing its overseas cume to $61.8 million for a global total topping $135 million.
STX‘s Hustlers continues its strong run, topping $91 million domestically this weekend after dipping -45% and bringing in an estimated $6.3 million. Internationally, the film also added another $1.9 million for an overseas cume totaling $18.7 million and a global tally that now tops $110 million.
Rounding out the top five is WB and New Line‘s It: Chapter Two, which brought in an estimated $5.35 million as it enters its fifth week in release and becomes only the third R-rated film ever to top $200 million domestically. Internationally, the film added another $5.6 million from 78 markets for an international cume totaling $234.5 million and a worldwide total that now stands at $436.7 million with a November 1 opening in Japan still in the film’s future.
Just outside the top five, Roadside‘s expansion of Judy into 1,458 locations (+997) saw the film deliver a $4.4 million three-day, improving on the film’s limited opening last weekend by +52.4%. The film’s domestic cume now stands at $8.9 million after ten days in release.
Elsewhere in the top ten, Yash Raj‘s War launched on Wednesday and headed into the weekend playing in just 305 locations and landed a spot in the top ten with an estimated $1.58 million for a five day cume topping $2 million.
In limited release, Sony Classics‘s release of Pedro Almodovar‘s Pain & Glory got off to a strong start, bringing in an estimated $160,087 from four locations ($40,022 PTA). On the flip side, Fox Searchlight‘s Lucy in the Sky fizzled, opening in 37 theaters with an estimated $55,000 ($1,667 PTA).
Next weekend sees the release of three new wide releases including UAR‘s animated feature The Addams Family in over 3,800 theaters, Paramount will launch Ang Lee and Will Smith‘s Gemini Man in 3,500 locations; and Lionsgate will release the comedy Jexi in approximately 2,300 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Joker | $93.5M | $93.5M | 1 |
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Abominable | $12.0M | $37.8M | 2 |
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Downton Abbey | $8.0M | $73.6M | 3 |
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Hustlers | $6.3M | $91.3M | 4 |
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It Chapter Two | $5.4M | $202.2M | 5 |
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Ad Astra | $4.6M | $43.7M | 3 |
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Judy | $4.4M | $8.9M | 2 |
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Rambo: Last Blood | $3.6M | $39.8M | 3 |
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War | $1.6M | $2.1M | 1 |
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Good Boys | $0.9M | $82.0M | 8 |
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‘Abominable’ Continues Universal’s Winning Streak the BO!!!
Universal finished atop the weekend box office yet again this year with their animated adventure Abominable, while also taking second position with Focus‘s Downton Abbey, now in its second weekend. Meanwhile, Roadside saw a strong performance from their release of Judy, delivering a top ten performance in moderate release, while holdovers such as Hustlers and It: Chapter Two held on strong in their third and fourth weekends respectively.
At the top of the box office, Universal‘s release of DreamWorks Animation and Pearl Studio‘s animated title Abominable debuted with $20.85 million. While it doesn’t say much for this year’s slate of original animated titles, the performance does mark the largest opening for an original animated film in 2019, while joining Universal‘s Us and Good Boys as the only original films to open number one at the North American box office in 2019. Additionally, this is the seventh Universal title to top the charts this year (eight if you include Downton Abbey) giving the studio the most #1 films in 2019.
That being said, with a $75 million price tag Abominable still has some work to do and with The Addams Family right around the corner it will need to work fast, at least at the domestic box office. The film did earn an “A” CinemaScore from opening day audiences and a 96% audience score RottenTomatoes, which could bode well for its holdover potential. The film played to a crowd that was 56% female.
Internationally, after opening in a couple of markets last weekend, Abominable is now playing in 30 overseas territories and brought in an estimated $8.8 million this weekend. Leading the way was a $1.98 million opening in Mexico, followed by a $1.45 million weekend in Brazil. The film still has several markets yet to open including Italy and Russia next weekend.
Universal also enjoyed second place with their release of Focus Features‘s Downton Abbey, which followed up a strong debut with a solid sophomore frame, bringing in an estimated $14.5 million, pushing the film’s cume over $58.5 million. The performance makes the film the fifth highest grossing Focus release of all-time after just ten days in release. The film also added another $10 million internationally for an overseas cume totaling $48.6 million and a worldwide tally that now stands at an impressive $107.1 million.
STX‘s Hustlers enjoyed an excellent third weekend in release, dipping just -32% for an estimated $11.47 million three-day and a domestic cume that now totals over $80 million. Hustlers is now the third largest STX release of all-time and will soon become the studio’s third film to top $100 million at the domestic box office. The film also added another $3 million internationally this weekend for an international cume just shy of $15 million and a worldwide tally topping $95 million.
In fourth position, Warner Bros. and New Line‘s It: Chapter Two also had an excellent weekend, dipping just -32% to enter its fourth week in release with an estimated $10.4 million. The performance gives the film a $193.9 million domestic cume as it pushes toward that $200 million milestone. Internationally, the film added another $11 million this weekend giving it a $223.5 million overseas total and a $417.4 million global cume.
Rounding out the top five is Fox‘s Ad Astra, which dipped -47% as it enters its second week in release. The performance resulted in a $10.1 million three-day for a domestic cume that now totals $35.5 million. The film also added another $18 million this weekend from 50 markets for a $53.5 million international cume and an $89 million global tally.
Just outside the top five, finishing in seventh is Roadside‘s Judy. The Renee Zellweger starrer debuted in just 461 theaters with an impressive $3.09 million. To go along with the performance the film received a “A-” CinemaScore from opening day audiences of which were 60% female, with 79% coming in aged 35 or older. The film will expand even further next weekend.
In limited release Swen‘s Nothing to Lose 2 opened with an estimated $5801,184 in 97 locations ($5,981 PTA) and Well Go‘s First Love brought in an estimated $24,150 from two locations.
Next weekend will see the release of the much talked about Joker from Warner Bros., opening in over 4,000 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Abominable | $20.9M | $20.9M | 1 |
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Downton Abbey | $14.5M | $58.5M | 2 |
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Hustlers | $11.5M | $80.6M | 3 |
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It Chapter Two | $10.4M | $193.9M | 4 |
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Ad Astra | $10.1M | $35.5M | 2 |
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Rambo: Last Blood | $8.6M | $33.2M | 2 |
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Judy | $3.1M | $3.1M | 1 |
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Good Boys | $2.0M | $80.4M | 7 |
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The Lion King | $1.6M | $540.0M | 11 |
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Angel Has Fallen | $1.5M | $67.2M | 6 |
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‘Downton Abbey’ Has Record Opening, While ‘Ad Astra’ and ‘Rambo’ Follow Up at the BO!!
It was a record weekend for Focus Features that saw Downton Abbey not only top the weekend box office, but it became the studio’s largest opener ever, topping $30 million. The weekend’s fellow new releases — Ad Astra and Rambo: Last Blood — delivered on expectations and are in a neck-and-neck battle for runner-up position and we’ll have to wait for actuals to tell the full story on Monday afternoon.
With an estimated $31 million, Focus Features‘s Downton Abbey topped the weekend box office, giving the studio their largest opening weekend ever. Previously, Insidious Chapter 3 was the studio’s record opener with $22.7 million followed by London Has Fallen, also making this their first release to ever top $30 million in nearly 20 years of film distribution. The film played to a crowd that was 74% female and of the total audience, 60% were aged 35 or older. Working in the film’s favor was a positive, “A” CinemaScore from opening day audiences to go along with a 96% audience score on RottenTomatoes and 7.8/10 user rating on IMDb. All that said, it will be curious to see how the film performs next weekend given more than $4 million of the film’s opening weekend gross was as a result of pre-weekend previews, though it did hold on well over the weekend suggesting a solid hold may be upcoming next weekend.
Internationally, after debuting in 17 markets last weekend, Downton Abbey added another 15 this week for a total of 32, from which the film brought in an estimated $10 million for the weekend for an overseas cume that currently stands just shy of $31 million. New markets were led by a $1.3 million debut in Germany while the UK remains the top overall market where the film added another $3.6 million in its second weekend for a cume that now totals $15.6 million. Next weekend the film will debut in France, Belgium and Denmark.
Second place is neck-and-neck at this time with Disney‘s release of Fox‘s sci-fi feature Ad Astra narrowly edging out Lionsgate and Millennium‘s Rambo: Last Blood, both bringing just over $19 million. At this time the edge goes to Ad Astra with an estimated $19.2 million from 3,460 locations. Reported to have been made for anywhere to $80-100+ million, the performance is hardly the kind of start the studio could have hoped for, not to mention the so-so “B-” CinemaScore from opening weekend audiences which were 54% male and 73% aged 25 or older.
Internationally, the film opened in 44 markets and hauled in an estimated $26 million for a $45.2 million global debut. Leading the way were $2.8 million openings in both Korea and the UK, followed by France ($2.7m), Spain ($2.2m), Japan ($2.2m), Mexico ($1.4m) and Australia ($1.3m). The film will debut in Italy, Russia and Brazil next weekend.
Just behind Ad Astra is Lionsgate and Millennium‘s Rambo: Last Blood with an estimated $19 million. The performance is just ahead of the $18.2 million opening for the last return of the title character in Rambo eleven years ago when the film opened with $18.2 million, albeit in nearly one thousand fewer locations. Working in the film’s favor when compared to the performance for Ad Astra is it was made for a reported $50 million. Opening day audiences gave the film a “B” CinemaScore and the makeup of that audience was 66% male.
WB and New Line‘s It: Chapter Two finished in fourth position, dipping -56% in its third weekend in release for an estimated $17.2 million and a domestic cume that now tops $179 million. The sequel ranks as the third largest R-rated horror of all-time domestically and will soon become only the third R-rated horror to ever top $200 million at the domestic box office. Internationally, the film added another $21.3 million for an overseas cume that now totals over $205 million and a worldwide total topping $385 million.
Rounding out the top five is STXfilms‘s Hustlers with a solid second weekend performance, dipping just -49% for an estimated $17 million three-day and a domestic cume that now stands at $62.5 million. The film now ranks as the fourth largest release for STX all-time and will soon top A Bad Moms Christmas on its way to topping $100 million and perhaps challenging Bad Moms to become the studio’s largest domestic release ever. The film also added another $3 million from 18 international markets currently in release for an overseas cume that now stands just shy of $10 million for a global tally topping $72 million.
In limited release, after two Fathom screenings earlier in the week, GKIDs debuted Promare in 31 theaters where it brought in an estimated $88,044 ($2,840 PTA); Fox International‘s The Zoya Factor opened in 100 locations with an estimated $79,000 ($790 PTA); Sony Classics opened Where’s My Roy Cohn? in four locations with an estimated $42,364 ($10,591 PTA); IFC‘s Loro brought in $5,567 in one theater; Oscilloscope‘s Midnight Traveler delivered $4,200, also from one location; and Cohen Media‘s Britt-Marie was Here debuted in three theaters with $4,090 ($1,363 PTA).
Next weekend Universal will debut Abominable in over 4,100 locations, serving as the first animated wide release in over a month.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Downton Abbey | $31.0M | $31.0M | 1 |
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Ad Astra | $19.2M | $19.2M | 1 |
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| |
Rambo: Last Blood | $19.0M | $19.0M | 1 |
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| |
It Chapter Two | $17.2M | $179.2M | 3 |
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| |
Hustlers | $17.0M | $62.6M | 2 |
|
| |
The Lion King | $2.6M | $537.6M | 10 |
|
| |
Good Boys | $2.5M | $77.3M | 6 |
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| |
Angel Has Fallen | $2.4M | $64.7M | 5 |
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Overcomer | $1.5M | $31.6M | 5 |
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Fast & Furious Presents: Hobbs & Shaw | $1.5M | $170.6M | 8 |
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‘It 2’ Repeats #1 as ‘Hustlers’ Exceeds Expectations with Huge Opening at the BO!!
It was a mixed bag of a weekend for Warner Bros. which saw It: Chapter Two deliver a strong hold and retain the weekend’s #1 spot at the box office, but their new release, The Goldfinch, bombed, delivering one of the worst openings ever for a wide release. Alternatively, STXfilms‘s Hustlers exploded out of the gates with the studio’s largest opening in its five year history as well as star Jennifer Lopez‘s largest live-action opening of all-time.
With an estimated $40.7 million, WB and New Line‘s It: Chapter Two topped the weekend for the second week in a row, dipping just -55% compared to its opening weekend and pushing the film’s domestic cume over $153 million after ten days in release. In addition to that, the horror sequel added another $47 million internationally this weekend for a global tally that now stands at $323.3 million. That total includes a $4.7 million #1 opening in France while the UK remains the film’s top international market with $16.5 million so far. Japan is the last key market yet to release where it will open on November 1.
Collectively, the two films in the It franchise have now grossed over $1.02 billion worldwide.
In second place with an excellent, $33.2 million debut is STXfilms‘s Hustlers. The opening is the largest in STX‘s short history, topping the $23.8 million opening for Bad Moms back in 2016. It’s also the largest live-action debut for star Jennifer Lopez, topping the $23.1 million opening for Monster-in-Law back in 2005. The film’s opening tops both Girls Trip and Bad Moms, which went on to gross over $115 million and $113 million respectively.
Hustlers made a splash at the Toronto Film Festival prior to its opening and entered this weekend with a strong, 88% critic rating on Rotten Tomatoes. The film’s audience was 67% female while 69% of the opening weekend crowd was aged 25 or older. Among that crowd 36% were Caucasian, 26% African American, 27% was Hispanic and 9% Asian. Opening day audiences gave the film a “B-” CinemaScore.
Internationally, Hustlers opened in 15 markets with $4.46 million. Openings included the UK where the film opened to #3 with an estimated $1.7 million followed by a $1.2 million debut in Russia.
Lionsgate‘s Angel Has Fallen continued its run with an estimated $4.4 million this weekend, dipping just -26.5% as its domestic cume now tops $60 million and continues to pace ahead of its predecessor.
Universal‘s Good Boys landed in fourth with an estimated $4.26 million as the $20 million production has now seen its domestic cume climb over $73 million. In addition to that, the film added another $1.8 million internationally this weekend for a worldwide cume that now tops $91 million with several overseas openings yet to come.
Placing in the top five for the ninth straight weekend is Disney‘s The Lion King, which added another $3.5 million domestically for a cume that now totals $533.9 million. This makes The Lion King the 12th largest domestic release of all-time, topping Rogue One and it will soon creep ahead of The Dark Knight ($535.2m) for a spot just outside the top ten. Internationally the picture added another $6.9 million for a global cume that now stands at $1.617 billion.
It isn’t until eighth position that we come to WB‘s The Goldfinch, which debuted with a disastrous $2.6 million from 2,542 locations. The performance is the sixth worst ever for a film debuting in over 2,500 locations and one more disappointment in a string of them for the studio this year including Shaft, The Kitchen, Blinded by the Light and The Sun is Also a Star.
The Goldfinch also premiered at the Toronto Film Festival, though it was met with a largely negative critical reaction, resulting in a 25% Rotten Tomatoes score. Opening weekend audiences were 57% female with a whopping 90% of the opening weekend crowd coming in aged 25 or older, which is a bad sign with the likes of Downton Abbey debuting next weekend. Opening day audiences gave the film a “B” CinemaScore.
Internationally, The Goldfinch opened in 12 markets with $985,000. Russia led the way with $581,000. The film will open in France this coming Wednesday.
Elsewhere, rounding out the top ten is Roadside‘s The Peanut Butter Falcon, which is now playing in 1,490 locations (+180) and dipped just -10% this weekend for an estimated $1.9 million. The film’s domestic cume now stands at $15 million after six weeks in release.
In limited release, Neon‘s Monos opened in five locations with an estimated $43,285 ($8,657 PTA); Abramorama‘s Moonlight Sonata opened in one theater with $7,120; Variance launched One Cut of the Dead in two theaters with an estimated $6,200; IFC‘s The Sound of Silence also opened in two locations, debuting with an estimated $6,148; Abramorama‘s Cracked Up brought in $5,580 from one theater; and Matson‘s Desolation Center opened in three theaters with $5,356 ($1,785 PTA).
Next weekend sees a trio of new wide releases including Fox‘s Ad Astra in 3,400 locations; Lionsgate‘s Rambo: Last Blood in 3,300 theaters and Focus‘s Downton Abbey launching in 3,050 domestic locations after kick-starting its theatrical release internationally this weekend, pulling in $11.7 million from 17 locations, including a #1 debut in the UK with an estimated $6.3 million.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
It Chapter Two | $40.7M | $153.8M | 2 |
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Hustlers | $33.2M | $33.2M | 1 |
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Angel Has Fallen | $4.4M | $60.4M | 4 |
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Good Boys | $4.3M | $73.3M | 5 |
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The Lion King | $3.6M | $534.0M | 9 |
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Fast & Furious Presents: Hobbs & Shaw | $2.8M | $168.3M | 7 |
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| |
Overcomer | $2.7M | $29.0M | 4 |
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The Goldfinch | $2.6M | $2.6M | 1 |
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The Peanut Butter Falcon | $1.9M | $15.0M | 6 |
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Dora and the Lost City of Gold | $1.9M | $56.7M | 6 |
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‘It: Chapter 2’ Floats with $185 Million Debut at the Worldwide BO!!!
Warner Bros. and New Line‘s It: Chapter Two kicked off the fall box office season with a strong, $91 million debut. The performance easily topped the weekend box office, finishing ahead of the second place film by $85 million. While the performance trails the first film’s $123 million opening back in 2017, it is still within studio expectations and ranks as the second largest horror opening of all-time while 2017’s It remains to be the only horror film to ever open with more than $100 million.
It: Chapter Two and its predecessor now rank as the first and second largest openings for both a horror film as well as the first and second largest September openings of all-time. Interestingly enough, one reason Chapter Two may have fallen short of its predecessor would appear to be the film’s inability to attract a female audience similar to the first film and most horror films nowadays, which tend to be majority female, even if by a small margin. Chapter Two drew an audience that was 47% female compared to the first film’s 51%. In terms of age, the sequel’s audience leaned slightly older than the first film with 67% of the opening weekend crowd aged 25 or older compared to 65% for the first film.
The film did receive a “B+” CinemaScore, which is the same as the original film, though IMDb user ratings tell a different story. Chapter Two is currently rated 7.2/10, a full point below the first film’s 8.2 rating as of the Sunday following release.
Internationally, the film opened in 75 markets and delivered $94 million, debuting with the largest horror openings ever in 16 markets including Russia, Netherlands, Norway, Finland and Argentina. The top market was Mexico with an estimated $10.2 million followed by the UK ($9.4m), Russia ($8.8m), Germany ($7.1m), Italy ($5.5m), Brazil ($4.6m), Australia ($4.4m), Spain ($3.2m), Korea ($3.2m), Indonesia ($2.7m) and Argentina ($1.4m). The film will open in France this Wednesday followed by a November 1 opening in Japan. Overall the film delivered a $185 million global opening.
In second, Lionsgate and Millennium‘s Angel Has Fallen delivered an estimated $6 million, pushing the film’s domestic cume over $53 million as it enters its third week in release.
Universal‘s Good Boys finished in third with an estimated $5.4 million, dipping -43% as the film’s domestic cume now stands at $66.8 million. Internationally, the R-rated comedy added $2.3 million from 28 markets for an overseas total that now stands at $15.6 million and a global cume topping $82 million.
Disney‘s The Lion King lands in the top five for the eighth straight weekend, bringing in an estimated $4.2 million for a $529.1 million domestic cume. The film also added $13.4 million internationally this weekend for an overseas cume totaling $1.07 billion and a global cume just shy of $1.6 billion as the film now ranks seventh all-time both globally and internationally.
Rounding out the top five is Sony and AFFIRM‘s Overcomer, which added theaters for the third straight week in a row and dipped just -34% for an estimated $3.75 million and a domestic cume that now stands at $24.7 million.
Elsewhere, the best hold in the top ten belongs to Roadside‘s The Peanut Butter Falcon, which added 61 locations and dipped just -24.6% for an estimated $2.27 million three-day, as it moves up from 12th last weekend to seventh position this weekend. The film’s domestic cume now stands at $12.2 million as it enters its fifth week in release
In limited release, Fox International‘s Chhichhore opened with an estimated $575,000 from 195 locations ($2,949 PTA); Greenwich Entertainment and 1091‘s documentary Linda Ronstadt: The Sound of My Voice opened in seven locations in New York, Los Angeles and San Francisco with an estimated $115,500 ($16,500 PTA); Oscilloscope‘s Ms. Purple brought in an estimated $18,650 from the Landmark NuArt in Los Angeles; and Music Box‘s Edie opened in seven theaters with an estimated $8,467 ($1,210 PTA)
Next weekend will see Warner Bros. release The Goldfinch into 2,500+ locations while STX will deliver Hustlers into 3,100 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
It Chapter Two | $91.0M | $91.0M | 1 |
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Angel Has Fallen | $6.0M | $53.5M | 3 |
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| |
Good Boys | $5.4M | $66.8M | 4 |
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| |
The Lion King | $4.2M | $529.1M | 8 |
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Overcomer | $3.8M | $24.7M | 3 |
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| |
Fast & Furious Presents: Hobbs & Shaw | $3.7M | $164.3M | 6 |
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| |
The Peanut Butter Falcon | $2.3M | $12.3M | 5 |
|
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Scary Stories to Tell in the Dark | $2.3M | $62.1M | 5 |
|
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Ready or Not | $2.2M | $25.6M | 3 |
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| |
Dora and the Lost City of Gold | $2.2M | $54.2M | 5 |
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‘Joker’ Tracking Record October Opening at the Domestic BO!!
Warner Bros. and DC Films’ Joker has proven to be a huge success at the Venice Film Festival, the Joaquin Phoenix-headlined comic book adaptation having received an eight-minute standing ovation at its premiere before being named the recipient of the festival’s top prize, the Golden Lion, by the jury yesterday.
Last month it was reported that the Todd Phillips-helmed film was heading for a domestic opening in the region of $60 million, but as the buzz continues to build for the movie, tracking site Box Office Pro is now suggesting that Joker is on course for a record breaking October bow.
According to the site, Joker is now looking at a potential domestic opening north of $100 million, which would shatter the $80.3 million record for October set by Venom last year, and give it one of the top five biggest ever openings of all time for an R-rated movie (the record is currently held by Deadpool on $132 million).
Given that Joker has been produced on a budget of just $55 million, it looks like Warner and DC have a solid financial hit on their hands – and given its Golden Lion success, the studios must be quietly confident that the Clown Prince of Crime has a good shot at making an impression during the awards season.
via Flickering Myth
‘Rambo: Last Blood’ to Top with Franchise Best Opening at the Domestic BO!!
Sylvester Stallone’s John J. Rambo makes his return to the big screen this month with Rambo: Last Blood, and according to tracking estimates the fifth installment in the iconic action franchise is set to top the U.S. box office this month with an opening weekend of between $21-24 million.
Not accounting for inflation, that would deliver a series best for the Rambo franchise – a record currently held by Rambo: First Blood Part II which opened with $20.1 million back in 1985 (or $48 million in today’s money). 1982’s First Blood launched the series with an opening weekend of $6.8 million, with Rambo III debuting with $14 million in 1988 and 2008’s Rambo pulling in $18.2 million.
Last Blood opens alongside the Brad Pitt sci-fi Ad Astra and the Downton Abbey movie, which are tracking first weekends of $17.5-$19 million and $15-16 million respectively.
Almost four decades after he drew first blood, Sylvester Stallone is back as one of the greatest action heroes of all time, John Rambo. Now, Rambo must confront his past and unearth his ruthless combat skills to exact revenge in a final mission. A deadly journey of vengeance, RAMBO: LAST BLOOD marks the last chapter of the legendary series.
Rambo: Last Blood is directed by Adrian Grunberg (Get the Gringo) and sees Sylvester Stallone joined in the cast by Paz Vega (The OA), Sergio Peris-Mencheta (Snowfall), Adriana Barraza (The Strain), Yvette Monreal (Faking It), Oscar Jaenada (The Shallows) and Joaquin Cosio (Narcos: Mexico). The film opens on September 20th.
via Flickering Myth
‘Maleficent: Mistress of Evil’: Disney Film Tracking Soft Opening at the BO!!
2019 has already been a record breaking year for The Walt Disney Company, with Marvel’s Avengers: Endgame dethroning Avatar to become the biggest movie of all time and one of five of the studio’s releases to pass the $1 billion mark – including two of its animated remakes in Aladdin and The Lion King.
Disney does have one other Fairy Tale incoming this year in the Angelina Jolie-headlined Maleficent: Mistress of Evil, but it seems the sequel to 2014’s live-action film might struggle to repeat that kind of success, with long-range tracking from Box Office Pro estimating an opening weekend of just $37 million.
The first Maleficent opened to $69 million domestically in 2014 and went on to earn $241 million in North America and $758 million worldwide. However, if the tracking proves accurate, Mistress of Evil could end up going the way of Disney’s last live-action Alice Through the Looking Glass and fall some way short of its predecessor in terms of financial success.
A fantasy adventure that picks up several years after “Maleficent,” in which audiences learned of the events that hardened the heart of Disney’s most notorious villain and drove her to curse a baby Princess Aurora, “Maleficent: Mistress of Evil” continues to explore the complex relationship between the horned fairy and the soon to be Queen, as they form new alliances and face new adversaries in their struggle to protect the moors and the magical creatures that reside within.
Maleficent: Mistress of Evil is set for release on October 18th and sees the return of Angelina Jolie as the dark fairy Maleficent, Elle Fanning as Princess Aurora, Sam Riley as Diaval, Imelda Staunton as the pixie Knotgrass, Juno Temple as the pixie Thistlewit, and Lesley Manville as the pixie Flittle. New additions include Michelle Pfeiffer (Murder on the Orient Express, Ant-Man and the Wasp) as Queen Ingrith, Harris Dickinson (The Darkest Minds, Trust) as Prince Phillip, Chiwetel Ejiofor (Doctor Strange, 12 Years a Slave) as Connal, Robert Lindsay (My Family, Wimbledon) as King John and Ed Skrein (Deadpool, Game of Thrones) in an as yet unrevealed role.
via Flickering Myth
Labor Day Weekend Has ‘Angel Has Fallen’ Continue #1 at the BO!!
This weekend sees the 2019 summer movie season come to a close with the second worst weekend of the year so far, in which the top twelve generated a combined $69.5 million. The summer performance currently ranks as the eighth largest summer of all-time, in which the domestic box office generated $4.22 billion, down ~4% compared to last year’s summer total which actually saw the box office rise considerably compared to the dismal 2017 summer season.
Leading this weekend’s charge for a second week in a row was Lionsgate and Millennium‘s Angel Has Fallen with an estimated $11.57 million. The film is expected to deliver $14.5 million for the four-day holiday, which would bring the domestic cume to $43.6 million by the end of day on Monday.
Universal‘s Good Boys landed in second, dipping -21% compared to last weekend, bringing in an estimated $9.19 million, pushing the film’s domestic cume over $56 million. The film is expected to add another $2.4 million tomorrow for a $11.6 million four-day performance and a $58.5 million domestic cume. The film also added another $2.7 million internationally this weekend for a global cume that now tops $70 million.
Disney‘s The Lion King brought in an estimated $6.7 million over the weekend and is expected to finish with over $9 million for the four-day holiday frame and a domestic cume topping $523 million. Internationally, the film added another $20.6 million this weekend, pushing the international cume to $1.041 billion for a global tally that now tops $1.56 billion as the film has not passed The Avengers to become the seventh highest grossing global release of all-time.
In fourth is Universal‘s Hobbs & Shaw dipping -22% and finishing the three-day with an estimated $6.28 million with expectations to deliver $8 million for the four-day holiday and a domestic cume nearing $159 million as it enters its fifth week in release. Internationally, the film added over $39 million this weekend, pushing the overseas cume over $525 million for a global total that now tops $684 million.
Sony‘s Overcomer rounds out the top five with a $5.7 million three-day, pushing toward a $7.8 million four-day performance and a domestic cume topping $19 million.
As for the weekend’s newcomers, OTL and Blumhouse‘s Don’t Let Go debuted with an estimated $2.4 million for the three-day from 922 theaters and is expected to top $3 million for the four-day holiday frame.
Forrest Films‘s Bennett’s War limped across the finish line with an estimated $445,151 and a $459 per theater average from 970 locations. The film is expected to finish the four-day frame with an estimated $580k. The performance ranks as one of the worst opening theater averages ever for a film debuting in over 600 locations.
In limited release, Pantelion‘s Tod@s Caen opened in 371 locations with an estimated $1.08 million for the three-day ($2,911 PTA) and is expected to deliver $1.35 million for the four-day. Additionally, Blue Fox‘s Killerman brought in an estimated $150,214 from 322 theaters ($467 PTA); Magnolia‘s Raise Hell: The Life & Times of Molly Ivins opened in 18 theaters in Texas with an estimated $93,120 ($5,173 PTA); IFC‘s Official Secrets opened in four theaters with an estimated $80,046 ($20,012 PTA); and 1091‘s Before You Know It opened in three locations with an estimated $27,000 ($9,000 PTA).
Next weekend the fall box office season gets underway with WB‘s release of It: Chapter Two debuting in over 4,400 locations and hoping to improve on the monster success of the first film, which launched with over $123 million back in September 2017.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Angel Has Fallen | $11.6M | $40.7M | 2 |
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Good Boys | $9.2M | $56.2M | 3 |
|
| |
The Lion King | $6.7M | $520.9M | 7 |
|
| |
Fast & Furious Presents: Hobbs & Shaw | $6.3M | $157.1M | 5 |
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| |
Overcomer | $5.7M | $17.2M | 2 |
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| |
Ready or Not | $5.6M | $20.1M | 2 |
|
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Scary Stories to Tell in the Dark | $5.0M | $57.6M | 4 |
|
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Spider-Man: Far from Home | $4.3M | $384.7M | 9 |
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| |
Dora and the Lost City of Gold | $4.1M | $49.6M | 4 |
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The Angry Birds Movie 2 | $4.1M | $33.9M | 3 |
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‘Angel Has Fallen’ Conquers Top Spot at the BO!!
Lionsgate and Millennium‘s Angel Has Fallen outperformed expectations with a strong #1 debut, nearly matching its predecessor and giving Lionsgate its second #1 film of the year after John Wick 3. Also over-performing was Sony and AFFIRM‘s Overcomer while Universal‘s Hobbs & Shaw debuted in China with the largest August opening ever in the market.
With an estimated $21.25 million, Lionsgate and Millennium‘s Angel Has Fallen topped the weekend box office, delivering a debut just shy of the $21.6 million opening for the previous installment in the Fallen franchise, London Has Fallen. To that point, while the film’s opening weekend is the smallest in the franchise, it is the first to debut at #1 after both of the previous installments landed in the runner-up position, opening against major animated titles over their respective weekends. Angel had no such competition, debuting in the latter portion of August where box office performances are typically lighter.
Looking ahead, the film joined its predecessors earning an “A-” CinemaScore from opening day audiences and that opinion was also reflected in its RottenTomatoes audience score, which came in at 94%. The opening weekend audience was 51% male with 58% of the audience coming in aged 30 years or older.
Universal‘s R-rated comedy Good Boys landed in second with an estimated $11.75 million, dipping just -45% in its second weekend as the film’s domestic cume now stands at $42 million. Internationally the film is playing in 22 markets where it brought in an estimated $3.5 million this weekend for an overseas cume just shy of $7 million and a global tally that stands at $49 million.
Sony and AFFIRM‘s Overcomer outperformed all expectations, opening with an impressive $8.2 million from just 1,723 locations. The performance is the third largest opening for a film from faith-based filmmakers the Kendrick brothers, whose last film, War Room grossed over $67 million following an $11.3 million debut in 2015. Like the Kendricks‘ previous films, it was well received by opening weekend audiences, which gave the film an “A+” CinemaScore and a 99% audience score on RottenTomatoes, suggesting another long run at the domestic box office for one of their films.
Disney‘s The Lion King dipped just -35% as it enters its sixth week in release with an estimated $8.2 million three-day. The monster hit has now delivered over $510 million domestically. Internationally, the film’s overseas cume is now just shy of reaching $1 billion after adding another $30 million this weekend from 56 markets. Overall the film’s overseas cume now stands at $997.9 million for a global performance that not tops $1.5 billion, maintaining its spot as the ninth largest global release ever.
Rounding out the top five is Universal‘s Hobbs & Shaw, which brought in an estimated $8.1 million for a domestic cume that now tops $147 million as it enters its fourth week in release. The big news for the film, however, comes from overseas where it debuted in China with an estimated $102 million, the largest August opening ever in the market and the second largest opening for the franchise in China behind The Fate of the Furious. Overall, the film’s international weekend topped $120 million for a $441.2 million overseas cume and a global tally that now stands at $588.9 million.
Just outside the top five in sixth position is Fox Searchlight‘s Ready or Not, which debuted on Wednesday and entered the weekend with just over $3 million after its first two days in release. Over the weekend the film played in 2,855 locations and brought in an estimated $7.55 million for a five day performance just shy of $11 million. While a bit light compared to industry expectations, the film has excellent reviews and received a “B+” CinemaScore from opening day audiences, which is a solid response for a film within the horror/thriller genre. Postrack reports the film’s audience was 53% female with 79% of the crowd coming in under the age of 35.
Elsewhere, finishing in twelfth position, is Roadside‘s The Peanut Butter Falcon, which expanded into 991 locations (+942) this weekend and brought in an estimated $3 million.
In limited release, Amazon Studios debuted Brittany Runs a Marathon in five locations with an estimated $175,696 ($35,194 PTA); Roadside‘s Fiddler: A Miracle of Miracles opened in seven locations with an estimated $35,601 ($5,085 PTA); Music Box‘s Give Me Liberty opened in three theaters with an estimated $33,391 ($11,130 PTA); Abramorama‘s Miles Davis: Birth of Cool brought in an estimated $17,580 from one location; and IFC‘s Vita & Virginia debuted in one theater with an estimated $4,047.
Next weekend sees the release of OTL‘s Don’t Let Go, which Blumhouse has yet to reveal just how wide they’ll be going with the horror title.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Angel Has Fallen | $21.3M | $21.3M | 1 |
|
| |
Good Boys | $11.8M | $42.1M | 2 |
|
| |
Overcomer | $8.2M | $8.2M | 1 |
|
| |
The Lion King | $8.2M | $510.6M | 6 |
|
| |
Fast & Furious Presents: Hobbs & Shaw | $8.1M | $147.7M | 4 |
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| |
Ready or Not | $7.6M | $10.6M | 1 |
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| |
The Angry Birds Movie 2 | $6.4M | $27.1M | 2 |
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| |
Scary Stories to Tell in the Dark | $6.0M | $50.5M | 3 |
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| |
Dora and the Lost City of Gold | $5.2M | $43.1M | 3 |
|
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Once Upon a Time… in Hollywood | $5.0M | $123.2M | 5 |
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‘Once Upon a Time in Hollywood’: Quentin Tarantino Film Nears $200M at the Global BO!!!
Quentin Tarantino‘s Once Upon a Time in Hollywood is headed for a fairy tale ending at the worldwide box office.
The movie — affirming the filmmaker’s enduring popularity, as well as the star power of Leonardo DiCaprio and Brad Pitt — will likely end up being the second-biggest movie of Tarantino‘s career behind Django Unchained at the worldwide box office, not adjusted for inflation. There’s also a chance it could overtake Django.
However, most box office analysts predict that Once Upon a Time will ultimately earn between $375 million and $400 million globally, surpassing Pulp Fiction ($212 million) and Inglourious Basterds ($316.9 million). Through Sunday, its worldwide cume stood at $180.2 million — and it’s only just begun its overseas rollout.
“The movie is arguably the most accessible and entertaining of all of Tarantino‘s films and given its collective star power, great marketing campaign and generally great reviews, it should be no surprise that the film has become a global breakout hit,” says Paul Dergarabedian of Comscore. “And Once Upon a Time in Hollywood certainly has the potential to become the highest-grossing Tarantino movie ever.”
Tarantino‘s Django Unchained, also starring DiCaprio and released over the Christmas holidays in 2012, grossed $162.8 million domestically and $262.6 million overseas for a career-best global haul of $425.4 million.
Once Upon a Time transformed into an instant success story in North America late last month upon launching to $41.1 million on its way to earning a stellar $114.3 million to date (it is the only original summer tentpole to cross the century mark domestically).
How Once Upon a Time would fare overseas wasn’t clear until this weekend, when it finally rolled out in earnest. The pic topped the international chart with $53.7 million from 46 markets for an early foreign total of $66.2 million (it launched in Russia and two small markets a week ago).
According to Sony, Once Upon a Time opened notably ahead of Django — by 30 percent — in those foreign markets where it has landed, a promising sign. It also debuted ahead of The Wolf of Wall Street and on par with The Revenant, both starring DiCaprio.
Once Upon a Time placed No. 1 in 28 markets. The U.K. turned in a five-day total of $8.9 million, while France launched with $6.9 million, followed by Germany ($5.6 million) and Australia ($4.4 million).
Tarantino‘s film continues to hold well in Russia, where it opened to a career-best $7.7 million last weekend. Total ticket sales there have grown to $13.3 million, while Hong Kong and Taiwan have turned in $1.2 million and $1.1 million, respectively.
Major market yet to open include Mexico (Friday), Japan (Aug. 30), Italy (Sept. 18) and South Korea (Sept. 26). There’s no word yet on a China release date. China’s Bona Film Group co-financed Once Upon a Time in Hollywood and is handling distribution duties in such Asian markets as Hong Kong.
via The Hollywood Reporter
‘Good Boys’ Scores with $21 Million as Other Newcomers Bomb at the BO!!
Universal scored a strong performance this weekend from their new R-rated comedy Good Boys, which out performed expectations and took the top spot at the weekend box office. The studio also scored a second place finish with Hobbs & Shaw over a weekend that saw yet another five new wide releases hit theaters. However, outside of Good Boys, the weekend’s four other newcomers mostly struggled over the weekend, which includes WB‘s Blinded by the Light narrowly finding its way into the top ten while UAR‘s Where’d You Go, Bernadette fell short.
With an estimated $21 million, Universal‘s Good Boys finished atop the weekend box office. Doing so with not only a strong critical reception heading into the weekend, but audiences liked what they saw, with the film receiving an 89% audience score at RottenTomatoes and a “B+” CinemaScore from opening day audiences. The film played to a crowd that was 52% male and 59% of the opening weekend audience was aged 25 or older. Looking ahead, the performance for the $20 million production is very close to the studio’s $20.5 million opening for Blockers last April, which went on to gross over $60 million domestically.
In a year filled with sequels, adaptations and remakes, Good Boys sits alongside The Curse of La Llorona and Us (another Universal release) as only the third original film in 2019 to top the weekend box office. To go along with that, the film’s performance helped Universal become only the second studio in 2019 to top $1 billion at the domestic box office so far.
Internationally, Good Boys opened in 13 overseas markets with an estimated $2.1 million, led by a $1 million opening in the UK. Next weekend the film will debut in France, Germany, Spain and Austria with openings in Italy and Australia in September and an early October launch in Mexico.
Finishing in second is Universal‘s Hobbs & Shaw, which held on pretty well as it entered its third weekend in release, dipping -44% and finishing with an estimated $14.1 million for the weekend as its domestic cume now climbs to $133.7 million. Internationally, the film added another $45.7 million, including a franchise record, $15 million debut in South Korea. Overall the film has now grossed over $303 million overseas for a worldwide cume totaling $437 million.
Disney‘s The Lion King landed in third place with an estimated $11.9 million as it is closing in on $500 million domestically after leap-frogging Finding Dory on the all-time domestic chart this weekend to become the 14th highest grossing domestic release of all-time with over $496 million so far.
Internationally, The Lion King added another $33.8 million this weekend for an overseas cume that now stands at $939.1 million and a $1.435 billion global tally. The result makes the film the #9 worldwide release of all-time, topping Avengers: Age of Ultron.
Sony Animation debuted The Angry Birds Movie 2 on Tuesday of this week and the animated sequel has struggled when compared to the original release, which delivered over $38 million in its first three days. By comparison, Angry Birds 2 could only muster an estimated $10.5 million this weekend for a $16.2 million six-day performance. The film received a “B+” CinemaScore while playing to an audience that was 51% female with 53% of the crowd coming in aged 25 or older.
Rounding out the top five is Lionsgate‘s Scary Stories to Tell in the Dark, which dipped -52% in its sophomore frame for an estimated $10 million and a domestic cume that now totals more than $40 million after just ten days in release. Internationally, the film added another $5.6 million for an international cume that now tops $14 million and a global cume just shy of $55 million.
Outside the top five, Entertainment Studios‘s 47 Meters Down: Uncaged fell well short of the studio’s $15-16 million expectations with an estimated $9 million performance over the three-day weekend. The performance is also well short of the $11.2 million opening for the first film, which went on to deliver a solid $44.3 million domestically. The sequel received a “C+” CinemaScore from opening day audiences.
Battling for a spot out at the bottom of the weekend top ten is WB‘s Blinded by the Light and UAR‘s Where’d You Go, Bernadette with only one of the two able to crack $4 million over their first three days in release. Blinded by the Light debuted with an estimated $4.45 million over its first three days despite the fact it entered the weekend with great reviews and audiences that turned out seemed to agree, giving the film an “A-” CinemaScore. Unfortunately, this is the second disappointment for WB in two weeks following the release of The Kitchen last weekend. Blinded played to an audience that was 51% female with 86% of the crowd coming in aged 25 or older.
Outside the top ten is where we find Where’d You Go, Bernadette, finishing with an estimated $3.45 million. The film played to a crowd that was 66% female and 84% of the opening weekend audience was aged 25 or older. Opening day audiences gave the film a “B” CinemaScore.
In limited release, Fox International‘s Mission Mangal opened on Thursday and brought in $1.46 million over its four day debut from 263 locations; Sony Classics launched Aquerela in five theaters on Friday with an estimated $23,474 (PTA $4,693); and Cinema Guild‘s End of the Century opened in one theater with an estimated $10,398.
Next weekend gets off to an early start with Fox Searchlight‘s Ready or Not debuting on Wednesday followed by Lionsgate‘s release of Angel has Fallen and Sony‘s Overcomer on Friday.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Good Boys | $21.0M | $21.0M | 1 |
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Fast & Furious Presents: Hobbs & Shaw | $14.1M | $133.7M | 3 |
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| |
The Lion King | $11.9M | $496.1M | 5 |
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| |
The Angry Birds Movie 2 | $10.5M | $16.2M | 1 |
|
| |
Scary Stories to Tell in the Dark | $10.1M | $40.2M | 2 |
|
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47 Meters Down: Uncaged | $9.0M | $9.0M | 1 |
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| |
Dora and the Lost City of Gold | $8.5M | $33.9M | 2 |
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Once Upon a Time in… Hollywood | $7.6M | $114.3M | 4 |
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Blinded by the Light | $4.5M | $4.5M | 1 |
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The Art of Racing in the Rain | $4.4M | $16.9M | 2 |
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‘Mission Mangal’ Garners Akshay Kumar’s Biggest Opening at the BO!!!
Akshay Kumar is indeed on fire. With every passing film of his, he is beating his own record. This can well be seen from the fact that when it comes to the best ever opening weekend (or first three days) for a film of his, his last three releases made it to the Top-3. This isn’t all as his latest release Mission Mangal is now at the top of the list and in the process has left the next in line, 2.0 [Hindi], behind by a huge margin.
Let’s take a look at the biggest first three day numbers of the Akshay Kumar starrers:
Mission Mangal – Rs. 70.02 crores
2.0 [Hindi] – Rs. 63.25 crores
Kesari – Rs. 56.56 crores
Singh Is Bliing – Rs. 54.44 crores
Housefull 3 – Rs. 53.31 crores
Toilet – Ek Prem Katha – Rs. 51.45 crores
Jolly LLB 2 – Rs. 50.46 crores
Rustom – 50.42 crores
These are the films which collected in excess of Rs. 50 crores in the first three days and as Akshay Kumar has now shown, he has graduated to being in the 60s now when it comes to the weekend numbers at the box office. His next release is Sajid Nadiadwala’s Housefull 4 and by the look of things, that would go past Mission Mangal by a margin, hence turning out to be Akshay Kumar’s biggest before the close of year.
via Bollywood Hungama
‘Spider-Man: Far from Home’ Surpasses ‘Skyfall’ as Sony’s Highest-Grossing Film Ever!!
It appears that Marvel-Sony deal really did work wonders for the Spider-Man franchise. While 2017’s Spider-Man: Homecoming was a box office success, out-grossing every previous Spider-Man movie except for Spider-Man 3, this summer’s sequel Spider-Man: Far from Home is a genuine box office smash to the tune of $1.109 billion worldwide.
In fact, that figure is enough to make Far from Home the highest grossing movie in Sony Pictures history, surpassing the $1.1 billion gross of previous record holder Skyfall. That’s an impressive feat, and one can’t help but point to Avengers: Endgame as a contributing factor to Far from Home’s success. Sure, Tom Holland is adorable and the John Hughes spin on the Peter Parker character makes these movies a delight, but there was added interest in Far from Home given that it was the first Marvel Cinematic Universe movie released after Marvel Studios’ Avengers: Endgame, which brought all the previous films to an emotional conclusion.
The question lingered: where does the MCU go from here? And Far from Home promised to offer a peek at what’s ahead, which no doubt contributed to its high box office numbers. After all, you have to imagine that a portion of the audience that saw Avengers: Endgame—the highest grossing movie of all time—was then spurred to see Far from Home in theaters. The Spider-Man sequel also used the whole “see it before the spoilers get out” marketing angle that surged the opening weekend receipts of Endgame.
To be clear, as far as we’re aware Marvel Studios receives no box office money from Spider-Man: Far from Home. The terms of the Marvel-Sony deal that led to Homecoming, Far from Home, and Holland’s roles in Captain America: Civil War and the last two Avengers movies saw each studio fully investing in and keeping the profits from its respective features, meaning that Marvel Studios makes zero dollars from Sony’s new standalone Spider-Man movies and Sony makes zero dollars from Civil War or Endgame. Instead, in exchange for taking the creative lead on producing the standalone Spider-Man movies, the annual fee that Marvel pays Sony to keep the toy and merchandising profits to the Spider-Man character at Marvel would be reduced from $35 million if Spider-Man: Homecoming grossed over $750 million—and it did.
It’s been a mutually beneficial relationship thus far, and there’s no reason to think it won’t continue to be fruitful in the next inevitable Spider-Man sequel. After that, the original deal is up for renegotiation so it’ll be interesting to see what happens at that point. For now, however, I think Sony can rest easy knowing it made the right call in bringing Marvel in to help reboot its prized superhero possession.
To recap, below is a list of the worldwide grosses of every Spider-Man movie released by Sony thus far:
1. Spider-Man: Far from Home – $1,102,883,167
2. Spider-Man 3 – $890,871,626
3. Spider-Man: Homecoming – $880,166,924
4. Spider-Man – $821,708,551
5. Spider-Man 2 – $783,766,341
6. The Amazing Spider-Man – $757,930,663
7. The Amazing Spider-Man 2 – $708,982,232
8. Spider-Man: Into the Spider-Verse – $375,469,903
via Collider
‘Toy Story 4’ Crosses the $1 Billion at the Worldwide BO!!!
Disney is a studio that knows how to minimize risk and maximize reward, and they’ve done it again with Toy Story 4. Although the film was critiqued for “only” bringing in $120 million on its opening weekend, that didn’t slow it down over the summer. The film has now earned $1,001.7M worldwide, making it the fifth Disney film this year to cross the $1 billion threshold behind Captain Marvel, Avengers: Endgame, Aladdin, and The Lion King. Additionally, at $421.8M domestically, Toy Story 4 now stands as the fifth-highest grossing animated movie of all time behind Incredibles 2, Finding Dory, The Lion King (2019), and Shrek 2.
Toy Story 4 still hasn’t opened yet in Germany and across Scandinavia, so there’s a possibility (albeit slight) that the series latest installment could edge out Toy Story 3, which grossed $1.066 billion when it was released in 2010.
It’s a nice end to the Toy Story franchise (or at least an ending as long as Disney is willing to let the property lay dormant; I wouldn’t be surprised if they continue the franchise with short films and there’s already a Forky TV series set to debut on Disney+), and it shows that there was some serious staying power to a series that began way back in 1995. While it won’t edge out Incredibles 2 or Finding Dory, that doesn’t make Toy Story 4 a disappointment by any stretch.
As for 2019, five of the six-highest grossing movies now belong to Disney with the only outlier being Spider-Man: Far From Home, which was distributed by Sony. Furthermore, Disney’s not done tearing up the box office just yet. They still have Star Wars: The Rise of Skywalker and Frozen II on the horizon.
via Collider
‘Joker’ Tracking Bigger Opening than ‘Aquaman’ and ‘Shazam!’ at the Domestic BO!!!
Although its still a few months out from release, Box Office Pro is reporting that Warner Bros. and DC Films’ Joker standalone movie is tracking a domestic opening weekend of around $77 million this October, with low estimates on the $60 million mark and a high of $90 million.
Should the $77 million estimate prove accurate, that would see the Todd Phillips-directed, Joaquin Phoenix-headlined crime thriller opening higher than the last two entries in the DC in Shazam! ($53.5 million) and Aquaman ($67.8 million), the latter of which went on to become the highest-grossing DC movie of all time with $1.148 billion.
The R-rated Joker has been produced on a budget of just $55 million (a far cry from the vast majority of superhero/comic book blockbusters) and is already generating some very strong buzz ahead of screenings at the Venice Film Festival and Toronto International Film Festival. So, at present, all signs seem to suggest that Warner Bros. could have a critical and commercial smash on its hands.
via Flickering Myth
‘Hobbs and Shaw’ Repeats #1 as ‘Scary Stories’ Leads Newcomers at the BO!!!
It wasn’t as close a race at the top of the weekend box office as we thought it might be heading into the weekend as Universal‘s Hobbs & Shaw held on much better than expected and easily retained the #1 spot for a second week in a row. As for the weekend’s crowd of six new wide releases, CBS Films, eOne and Lionsgate‘s Scary Stories to Tell in the Dark led the way with nearly $21 million, followed by a decent performance from Paramount‘s Dora and the Lost City of Gold while Fathom and Trafalgar‘s release of Bring the Soul: The Movie appears to have eked its way into the top ten.
Leading the weekend was Hobbs & Shaw for the second weekend in a row. The film held on quite well in its second weekend, dipping just -51% for an estimated $25.4 million sophomore frame and a domestic cume that now stands at $108.5 million.
Internationally, Hobbs & Shaw added another $60.8 million internationally, pushing its overseas cume to $224.1 million for a global tally that now tops $332 million as it enters its second week in release. This week saw the film open in five new markets including a $6.9 million launch in France, a $2.6 million debut in Italy and a $1.6 million opening in Belgium. The film has still yet to open in Korea, where it will debut on August 14, followed by an August 23 launch in China.
In the runner up position is where we find the first of the weekend’s five new wide releases in CBS Films, eOne and Lionsgate‘s Scary Stories to Tell in the Dark. The PG-13 thriller topped pre-weekend expectations and delivered an estimated $20.8 million this weekend. The $25 million production received a “C” CinemaScore from opening day audiences while playing to a weekend crowd that was 57% female and 54% of the overall audience was aged 25 or older.
Disney‘s The Lion King ended up in third place, delivering an estimated $20 million. The film’s domestic cume now stands at $473 million as it enters its fourth weekend in release.
Internationally, The Lion King launched in Japan this weekend with an estimated $9.3 million for a second place finish. The film’s international cume now totals $861.5 million for a global tally reaching $1.334 billion, topping Beauty and the Beast ($1.263b) to become the highest grossing film among Disney’s “live-action” reimaginings not to mention the 12th highest grossing worldwide release of all-time. Additionally, depending on how you look at it given media and industry confusion over whether the film is truly live-action or animated, The Lion King is now the highest grossing “animated” release of all-time worldwide, topping Frozen’s $1.276 billion.
Paramount‘s release of Dora and the Lost City of Gold saw the live-action adaptation of the animated Nickelodeon series debut with an estimated $17 million. The film received an “A” CinemaScore from opening day audiences while playing to a weekend crowd that was 57% female and 54% of the overall audience was aged 25 or older.
Internationally, Dora debuted in 11 overseas markets this weekend with an estimated $2.5 million. Leading the way was Russia with an estimated $878,000 opening. The film will continue to expand internationally over the next few months ending with a November 7 release in Brazil.
Rounding out the top five is Sony‘s Once Upon a Time in Hollywood, dipping -42% as it entered its third week in release with an estimated $11.6 million. The film’s domestic cume now stands at just over $100 million.
Internationally, Once Upon a Time debuted in Russia with an estimated $7.7 million. The release was the film’s first overseas major market debut with openings in France, UK, Australia, Brazil, Germany and Spain set for next weekend followed by Mexico (Aug 23), Japan (Aug 30), Italy (Sep 18) and South Korea (Sep 26).
Just outside the top five is where we find Fox’s release of The Art of Racing in the Rain. The drama debuted in 2,765 locations and finished on the lower end of expectations with an estimated $8.1 million. The film received an “A-” CinemaScore playing to an audience that was 62% female and 59% of the overall crowd was aged 25 or older.
Internationally, the film launched in just ~16% of the overseas marketplace with an estimated $1.1 million with debuts in Brazil and the United Kingdom accounting for roughly half that figure. The film will continue to launch internationally throughout the year culminating in an early December release in France.
Right behind it is Warner Bros. and New Line‘s The Kitchen, which fell well below even the lowest of expectations, bringing in an estimated $5.5 million from 2,745 theaters. The film entered the weekend as the worst reviewed feature among new releases and came away with a “B-” CinemaScore from an audience that was 51% female and 89% were over the age of 25.
And rounding out the top ten is Fathom and Trafalgar‘s release of Bring the Soul: The Movie, a new documentary feature centered on South Korean boy band BTS. The film began playing in theaters on August 7 and this weekend, playing in 873 locations, estimates have it edging out A24‘s The Farewell for a place in the top ten with an estimated $2.29 million and a domestic cume that now totals over $4.4 million after five days in release.
Just outside the top ten is Bleecker‘s release of Brian Banks, which finished pretty much right on expectations with an estimated $2.1 million from 1,240 locations.
In limited release, Roadside‘s The Peanut Butter Falcon opened in 17 locations with an estimated $205,236 ($12,108 PTA); Amazon‘s One Child Nation opened in two theaters with an estimated $22,244; and Sony Classics debuted After the Wedding in five theaters with an estimated $57,124 ($11,425 PTA).
Next weekend will be yet another busy week when it comes to new releases as four new films will make their theatrical debut over the weekend, but not before Sony‘s The Angry Birds Movie 2 begins playing in over 3,500 locations on Tuesday. After that, Friday will see the release of Entertainment Studios‘s 47 Meters Down: Uncaged, which will swim into over 3,600 locations. Universal will also debut the R-rated comedy Good Boys in ~3,000 theaters, UAR‘s Where’d You Go, Bernadette? will release in over 2,300 locations and Blinded by the Light will launch in over 2,000 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Fast & Furious Presents: Hobbs & Shaw | $25.4M | $108.5M | 2 |
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Scary Stories to Tell in the Dark | $20.8M | $20.8M | 1 |
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The Lion King | $20.0M | $473.1M | 4 |
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Dora and the Lost City of Gold | $17.0M | $17.0M | 1 |
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Once Upon a Time … in Hollywood | $11.6M | $100.3M | 3 |
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| |
The Art of Racing in the Rain | $8.1M | $8.1M | 1 |
|
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The Kitchen | $5.5M | $5.5M | 1 |
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Spider-Man: Far from Home | $5.3M | $371.0M | 6 |
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Toy Story 4 | $4.4M | $419.6M | 8 |
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Bring The Soul: The Movie | $2.3M | $4.4M | 1 |
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‘Hobbs and Shaw’ Stomps Off to $180 Million Global Launch at the BO!!
The Fast & Furious franchise has yet again delivered a #1 opener with the franchise spin-off Hobbs & Shaw taking the top spot at this weekend’s box office. Overall the weekend showed improvement over the same weekend last year for the third straight week in a row and on top of Hobbs & Shaw, continued strong performances from The Lion King, Once Upon a Time in Hollywood and the platform release of A24‘s The Farewell helped what has been a bit of a late summer surge at the domestic box office.
Universal‘s Hobbs & Shaw debuted in 4,253 theaters this weekend (the second widest release in the Fast & Furious franchise) with an estimated $60.8 million, which is right in line with the studio’s pre-weekend expectations. The $200 million production also received an “A-” CinemaScore from opening day audiences and currently holds a strong, 90% audience score on RottenTomatoes. Of that audience, 58% were male, which lines up with the audience make up for The Fate of the Furious.
Of course, Fate of the Furious opened with $98 million, nearly $40 million more than Hobbs & Shaw, completing its run with $226 million domestically. Should Hobbs & Shaw deliver a similar, 2.29x multiplier we’d be looking at a domestic run right around $140 million, which would make it only the seventh highest grossing in the now nine-film franchise. In fact, outside of the first film in the franchise, the average multiplier for a Fast film is 2.4x, which would mean a domestic run around $146+ million. It will be interesting to see how the film performs next weekend as the marketplace will see a massive five new wide releases hit theaters. While none of the new films particularly target Hobbs & Shaw‘s audience, that’s a lot of new content to go up against when audience interest in this spin-off clearly doesn’t match the enthusiasm for the Fast films featuring the original cast.
Hobbs & Shaw‘s worth, however, isn’t evaluated only on domestic returns as the film launched in 63 overseas markets this weekend with an estimated $120 million, securing a $180 million global debut. The performance is the fifth largest global opening ever for Universal, and tops the $177.8 million global debut for Godzilla: King of the Monsters earlier this year.
The film debuted at #1 in 52 of the markets it opened in, with Russia leading the way with an $8.1 million opening. Additional top debuts include the UK ($7.8m), Indonesia ($7.69m), India ($7.4m), Mexico ($6.96m), Japan ($6.58m), Taiwan ($6.2m), Germany ($5.45m), Australia ($4.89m), Malaysia ($4.67m) and Brazil ($3.9m). Hobbs & Shaw will open in Belgium, France and Italy later this week followed by launches in Korea on August 14 and finally, a debut in China on August 23.
Disney‘s The Lion King also delivered on expectations, dipping -50% with an estimated $38.2 million for a domestic cume that now tops $430 million. Internationally, the film added to its massive global cume with an additional $72 million, pushing its overseas total to $765 million for a global tally topping $1.195 billion. Next weekend the film will launch in Japan followed by an August 21 opening in Italy.
Quentin Tarantino‘s Once Upon a Time in Hollywood also lived up to expectations, dipping -51% for an estimated $20 million sophomore frame. The performance puts the film’s domestic gross at $78.8 million as it enters its second weekend in release.
Sony also landed in fourth position with Spider-Man: Far from Home, which added another $7.75 million for a domestic cume that now tops $360 million. Internationally, the film added another $9.5 million for a global cume that now stands at $1.08 billion.
Rounding out the top five is Disney and Pixar‘s Toy Story 4, which grossed an estimated $7.15 million as it entered its seventh week in release with a domestic cume that now totals $410 million. Internationally, the animated feature brought in another $10.2 million for an overseas cume that is now just shy of $550 million for a global tally topping $959 million.
Outside the top five, A24‘s The Farewell continues its strong platform run, grossing over $2.4 million from just 409 locations, bringing the film’s domestic cume to $6.8 million. The film will continue to expand throughout August and beyond with no specific word as to when it will finally reach nationwide status.
In limited release, IFC‘s The Nightingale debuted in two locations with an estimated $40,082; Neon‘s Luce debuted with $132,916 from five theaters ($26,583 PTA); Cohen Media debuted Tel Aviv on Fire in 11 theaters with an estimated $50,987 ($4,636 PTA) as well as the 4K restoration of Joan the Maid in one location with an estimated $1,343; Oscilloscope‘s Jay Myself brought in $19,088 from one location after opening on Wednesday, bringing the film’s cume to $27,750; 1091‘s Them That Follow opened in three locations with an estimated $15,000 ($5,000 PTA); and Music Box‘s Piranhas opened at New York’s Film at Lincoln Center with an estimated $3,049.
Next weekend will see a crowd of new wide releases hitting theaters with Paramount debuting Dora and the Lost City of Gold in 3,500 locations; Fox‘s The Art of Racing in the Rain drives into 2,800 theaters; Lionsgate will debut Scary Stories to Tell in the Dark in 3,000 locations; WB will debut The Kitchen in 2,700+ theaters; and Bleecker will introduce audiences in 1,500 theaters to Brian Banks.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Fast & Furious Presents: Hobbs & Shaw | $60.8M | $60.8M | 1 |
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The Lion King | $38.2M | $430.9M | 3 |
|
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Once Upon a Time … in Hollywood | $20.0M | $78.8M | 2 |
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Spider-Man: Far from Home | $7.8M | $360.3M | 5 |
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Toy Story 4 | $7.2M | $410.1M | 7 |
|
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Yesterday | $2.4M | $67.9M | 6 |
|
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The Farewell | $2.4M | $6.8M | 4 |
|
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Crawl | $2.2M | $36.1M | 4 |
|
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Aladdin | $2.0M | $350.4M | 11 |
|
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Annabelle Comes Home | $0.9M | $71.6M | 6 |
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‘The Lion King’: Disney Film Crosses $1 Billion at the Global BO!!
Director Jon Favreau’s The Lion King has become the fourth Disney-released movie to pass $1 billion at the global box office, reaching the milestone in less than three weeks.
By today (Wednesday) The Lion King has grossed $361 million domestically, with a further $639 million from international markets. It joins Captain Marvel ($1.128 billion), Avengers: Endgame ($2.793 billion) and Aladdin ($1.011 billion) as four of 2019’s five billion-dollar movies (while related to the Marvel Cinematic Universe, the fifth, Spider-Man: Far From Home, is released by Sony).
This past weekend, The Lion King helped Disney to set a new all-time yearly global box office record of $7.67 billion, beating its own previous record from 2016 with five months to spare (and Frozen 2 and Star Wars: The Rise of Skywalker still to come).
In terms of Disney’s live-action re-imaginings of its animated classics, The Lion King is now the fourth biggest behind Aladdin, Alice in Wonderland ($1.026 billion) and Beauty and the Beast ($1.264 billion), but one would have to imagine its only a short matter of time before it claims the top spot.
Lions rule the African savanna in The Lion King, which welcomes Donald Glover (Atlanta, Solo: A Star Wars Story) as future king Simba, Beyoncé Knowles-Carter (Dreamgirls, Lemonade visual album) as Simba’s friend-turned-love interest Nala, and James Earl Jones (Rogue One: A Star Wars Story, Field of Dreams) as Simba’s wise and loving father, Mufasa, reprising his iconic performance from Disney’s 1994 animated classic. Chiwetel Ejiofor (Twelve Years a Slave, Marvel Studios’ Doctor Strange) was called on to portray Simba’s villainous uncle Scar, and Alfre Woodard (Juanita, Marvel’s Luke Cage) portrays Simba’s no-nonsense mother, Sarabi. JD McCrary (OWN’s Tyler Perry’s The Paynes, Apple’s Vital Signs) fills the shoes of Young Simba, a confident cub who can’t wait to be king, and Shahadi Wright Joseph (NBC’s Hairspray Live, Broadway’s The Lion King) brings tough cub Young Nala to life.
Directed by Jon Favreau (The Jungle Book), The Lion King features a voice cast that includes Donald Glover (Solo: A Star Wars Story) as Simba, Beyonce (Dreamgirls) as Nala, Billy Eichner (Billy on the Street) as Timon, Seth Rogen (Sausage Party) as Pumbaa, John Oliver (Last Week Tonight) as Zazu, Chiwetel Ejiofor (Doctor Strange) as Scar, James Earl Jones (The Lion King) as Mufasa, Alfre Woodard (Luke Cage) as Sarabi, John Kani (Black Panther) as Rafiki, JD McCrary (Vital Signs) as Young Simba, Shahadi Wright Joseph (Hairspray Live) as Young Nala, Eric André (Man Seeking Woman) as Azizi, Florence Kasumba (Black Panther) as Shenzi, and Keegan-Michael Key (The Predator) as Kamari.
via Flickering Myth
‘Lion King’ Repeats #1 While ‘Once Upon a Time…’ Rings Up Tarantino’s Best at the BO!!!
While the weekend wasn’t quite as large as anticipated, it was still the second straight weekend to top the same weekend last year. Leading the way for a second weekend in a row was Disney‘s The Lion King as it will soon top $1 billion worldwide, followed by a $40 million debut for Quentin Tarantino‘s Once Upon a Time in Hollywood, serving as the director’s largest three-day debut to date. Additionally, A24‘s The Farewell found a spot in the top ten playing in just 135 locations while both Spider-Man: Far from Home and Aladdin topped $1 billion globally this weekend.
Disney‘s The Lion King found itself atop the weekend box office yet again, though it fell much harder than expected in its second weekend. With an estimated $75.5 million, the remake of the animated classic dipped -60.6% in its sophomore frame as the film’s domestic total now stands over $351 million. While the film did deliver the largest opening weekend when compared to the top Disney Reimaginings, it also resulted in the largest drop among those films, which can be a byproduct of such a large debut. The full story will be told over the coming weekends when it comes to the film’s theatrical longevity in the domestic marketplace.
Internationally, the film added another $142.8 million as its overseas total now stands at $611.9 million for a global cume reaching $962.7 million. As we’ll detail shortly, this was a weekend for films topping $1 billion globally and The Lion King will be joining that crowd soon enough with plenty more to come as the film has still yet to open in Japan (8/9) and Italy (8/21).
In the runner-up position is Sony’s debut of Quentin Tarantino‘s Once Upon a Time in Hollywood with an estimated $40.35 million, serving as the largest opening weekend for the director, topping the $38 million opening for Inglourious Basterds back in August 2009. Opening day audiences gave the film a “B” CinemaScore, which is almost a grade point below the “A-” for Django Unchained. The crowd was 54% male and 64% were aged 25 or older.
Sony also landed in third place with Spider-Man: Far from Home with an estimated $12.2 million as it enters its fourth week in release with a domestic cume that now stands just shy of $345 million. To go along with its domestic success, Far from Home topped $1 billion worldwide this weekend thanks to an additional $21 million overseas for an international cume that now stands at $692.4 million and a global tally topping $1.03 billion. The film now stands as the ninth title in the Marvel Cinematic Universe to top $1 billion globally and the fourth film this year. This is the first Spider-Man film to ever top $1 billion worldwide.
Disney and Pixar‘s Toy Story 4 dropped just -36.5% as it enters is sixth week in release with an estimated $9.87 million for a domestic cume that now totals $395.6 million. Internationally the animated feature added $19.4 million for an overseas cume totaling $522.3 million. The film’s global cume now stands at $917.9 million, ranking as the fourth largest Pixar release globally of all-time.
Rounding out the top five is a solid performance from Crawl. The thriller from Paramount and director Alexandre Aja dipped just -34% as it entered its third week in release with an estimated $4 million resulting in a domestic cume that now totals over $31 million. The $13.5 million production also added another $3.4 million internationally for an overseas total that now stands at $14.4 million and a global cume topping $45 million.
Elsewhere in the top ten, A24‘s release of The Farewell expanded into 135 locations (+100) this weekend and landed a spot in the top ten with an estimated $1.55 million ($11,150 PTA) as the film’s domestic cume now stands at $3.7 million as it enters its third week in limited release.
Additionally, along with Spider-Man, Disney‘s Aladdin also topped $1 billion globally this weekend, adding an additional $2.9 million domestically and another $7.2 million internationally for a global cume that now stands at $1.009 billion. This is the first film in Will Smith‘s lengthy career to top $1 billion globally and the third among Disney‘s Live Action Reimaginings so far with The Lion King set to join that crowd later this week.
In limited release, Neon‘s Honeyland debuted with an estimated $29,999 in two locations; Kino Lorber‘s The Mountain opened in two theaters with an estimated $16,013; PBS and Frontline‘s For Sama opened in three locations with an estimated $9,350 ($3,117 PTA); and Magnolia‘s Mike Wallace is Here debuted in three locations with an estimated $19,500 ($6,500 PTA).
Next weekend Universal continues the Fast & Furious franchise with the spin-off Hobbs & Shaw, which will launch in over 4,200 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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The Lion King | $75.5M | $350.8M | 2 |
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Once Upon a Time … in Hollywood | $40.4M | $40.4M | 1 |
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Spider-Man: Far from Home | $12.2M | $344.5M | 4 |
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Toy Story 4 | $9.9M | $395.6M | 6 |
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Crawl | $4.0M | $31.5M | 3 |
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Yesterday | $3.0M | $63.3M | 5 |
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Aladdin | $2.8M | $345.9M | 10 |
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Stuber | $1.7M | $20.1M | 3 |
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Annabelle Comes Home | $1.6M | $69.7M | 5 |
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The Farewell | $1.6M | $3.7M | 3 |
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‘Aladdin’ Crosses $1 Billion at the Global BO!!
It’s good to be Disney when it comes to the box office. The studio’s flops are quickly forgotten and its successes tend to cross $1 billion at the global box office. No one’s talking about Dumbo, but Disney just sent out a press release announcing that Aladdin has become the studio’s third film to hit $1 billion this year following Captain Marvel and Avengers: Endgame. It’s also the fifth Disney-branded movie to hit the milestone following Alice in Wonderland, Beauty and the Beast, Pirates of the Caribbean: Dead Man’s Chest, and Pirates of the Caribbean: On Stranger Tides.
Per Disney, “Earning an A CinemaScore and a 94% verified audience score on RottenTomatoes, Aladdin has seen robust week-to-week performance throughout its run. It debuted over the four-day Memorial Day weekend with $117M domestically and has remained in the top 7 over the course of its nine-week run, earning a total of $343M to date. Internationally, it has brought in $656M and continues to draw audiences throughout the world. The top international market is Japan, where the film is about to pass the $100M mark following on from very strong holds since its opening on June 7. It has also performed strongly in Korea, where it is the #4 Western film of all time with $81M, China with $53M, the UK with $45M, and in the Middle East, where it is the highest grossing release of all time in the region.”
That’s really be the secret of Aladdin’s success: longevity. It had a strong debut, but the film continued to stay alive at the box office, avoiding the drop-off of other blockbusters like Pokemon: Detective Pikachu and Godzilla: King of the Monsters. Aladdin probably won’t be the last 2019 Disney film to cross $1 billion. They’ve still got a little movie called Star Wars: The Rise of Skywalker on the way.
via Collider
‘Spider-Man: Far From Home’ Becomes Highest-Grossing ‘Spider-Man’ Movie!!!
Despite slipping from the top of the box office chart this past weekend due to the arrival of Disney’s The Lion King, Sony and Marvel’s Spider-Man: Far From Home added another $58 million to its global tally across the Friday to Sunday period, propelling it past 2007’s Spider-Man 3 to become the web-slinger’s highest grossing solo movie.
Far From Home has now amassed $970.8 million worldwide and will soon become the first Spider-Man movie to hit the $1 billion mark, as well as the third MCU movie to reach that milestone this year after Captain Marvel and the new all-time box office champion Avengers: Endgame.
As yet, there’s been no word on the future of Spider-Man in the MCU, with no mention of a third movie at any point during Marvel’s big panel at the San Diego Comic-Con this past weekend. However, with the success of this latest installment, it’s surely only a matter of time before Spider-Man 3 talk starts to surface.
Peter Parker returns in Spider-Man: Far From Home, the next chapter of the Spider-Man: Homecoming series! Our friendly neighborhood Super Hero decides to join his best friends Ned, MJ, and the rest of the gang on a European vacation. However, Peter’s plan to leave super heroics behind for a few weeks are quickly scrapped when he begrudgingly agrees to help Nick Fury uncover the mystery of several elemental creature attacks, creating havoc across the continent!
Spider-Man: Far From Home features the return of Tom Holland (Spider-Man), Marisa Tomei (Aunt May), Zendaya (Michelle), Jacob Batalon (Ned Leeds), Angourie Rice (Betty Brant), Tony Revolori (Flash Thompson), Martin Star (Mr. Harrington), Samuel L. Jackson (Nick Fury) and Cobie Smulders (Maria Hill), with Jake Gyllenhaal (Nightcrawler) as Mysterio.
via Flickering Myth
‘Pokemon: Detective Pikachu’ Fails to Top ‘Warcraft’ as the Highest-Grossing Video Game Movie!!!
Despite reports this week that Legendary Pictures’ Pokemon: Detective Pikachu has pushed its worldwide gross to $436 million to become the highest-grossing video game adaptation of all time, it seems there’s been some miscalculations on Yahoo! Movies‘ part and the first ever live-action Pokemon movie will instead have to settle for second place.
As reported by Box Office Mojo, Detective Pikachu currently sits on $429.5 million. That leaves it some $4.2 million shy of 2016’s Warcraft, a figure that it has absolutely no chance of accruing given that it made just under $24,000 this past weekend from its six remaining international markets.
Although Warcraft tanked in North America with just $47.4 million, the Duncan Jones-directed fantasy performed well internationally, particularly in China. Detective Pikachu does hold the crown domestically though with its $143.5 million total putting it above 2001’s Lara Croft: Tomb Raider ($131.2 million).
“The story begins when ace private eye Harry Goodman goes mysteriously missing, prompting his 21-year-old son Tim to find out what happened. Aiding in the investigation is Harry’s former Pokémon partner, Detective Pikachu: a hilariously wise-cracking, adorable super-sleuth who is a puzzlement even to himself. Finding that they are uniquely equipped to communicate with one another, Tim and Pikachu join forces on a thrilling adventure to unravel the tangled mystery. Chasing clues together through the neon-lit streets of Ryme City—a sprawling, modern metropolis where humans and Pokémon live side by side in a hyper-realistic live-action world—they encounter a diverse cast of Pokémon characters and uncover a shocking plot that could destroy this peaceful co-existence and threaten the whole Pokémon universe.”
The first-ever live-action Pokémon movie, “POKÉMON Detective Pikachu” stars Ryan Reynolds as the titular character in the first-ever live-action movie based on the iconic face of the global Pokémon brand—one of the world’s most popular, multi-generation entertainment properties and most successful media franchises of all time. “POKÉMON Detective Pikachu” also stars Justice Smith (“Jurassic World: Fallen Kingdom”) as Tim; Kathryn Newton (“Lady Bird,” TV’s “Big Little Lies”) as Lucy, a junior reporter following her first big story; and Oscar nominee Ken Watanabe (“Godzilla,” “The Last Samurai”) as Lt. Yoshida.
Pokemon: Detective Pikachu sees Ryan Reynolds (Deadpool 2) starring in the title role alongside Justice Smith (Jurassic World: Fallen Kingdom), Kathryn Newton (Big Little Lies), Suki Waterhouse (The Bad Batch), Ken Watanabe (Godzilla), Bill Nighy (The Limehouse Golem), Rita Ora (Fifty Shades Freed) and Chris Geere (Modern Family).
via Flickering Myth
‘The Lion King’ Opens with Record $185M at the BO!!
Yet again, it took another Disney film to energize the weekend box office as this was the first weekend in the last six to top the same weekend last year and it’s all thanks to Disney‘s The Lion King, which topped the weekend box office with a record $185 million, surpassing the total gross for the same weekend last year all on its own. Disney‘s success this weekend didn’t end there, either, as Avengers: Endgame surpassed Avatar to become the highest grossing worldwide release of all-time.
With an estimated $185 million, Disney‘s The Lion King topped the weekend box office with a record opening weekend for the month of July, topping the previous record held by Harry Potter and the Deathly Hallows – Part 2 ($169.1m). The debut is the second largest opening of the year so far and seventh largest of all-time. The film’s debut in 4,725 locations was also a record and the debut was also the largest ever for a PG-rated film.
Digging further, the back-and-forth over just how to classify the film — Is it animated or is it live-action? — makes for something of a conundrum on Mojo‘s charts. Should you determine the CGI-animated feature is an animated film, then it is technically the largest opening ever for an animated feature, topping Incredibles 2 ($182.6m). Additionally, Mojo lists the film as one of Disney‘s Live Action Reimaginings, begging the question over whether it is live-action or not and how much does intent matter? The film is intended to appear as if it is live-action, which is to say we may be closer than ever to defining a whole new medium in filmmaking.
Looking ahead, while critics were lukewarm on the film, opening day audiences gave it an “A” CinemaScore. Opening weekend crowds were 53% female with 50% of the audience coming in aged 25 or older. Ignoring genre classifications for the moment, looking at Disney Live Action Reimaginings going back to 2014’s Maleficent we see these films averaging a 3.18x multiplier, which would suggest The Lion King is looking at a domestic run around $590 million and that is considering Aladdin’s current 3.7x multiplier and that film is still ranking in the weekend top ten with room to run. Should Lion King match Aladdin‘s current multiplier we’re talking about a domestic run over $687 million. However, should it play closer to 2017’s Beauty and the Beast that run is more likely to finish closer to $535 million.
Internationally, The Lion King added another $269 million this weekend for an international cume that now stands at $346 million and a global cume totaling $531 million. Technically, this was the film’s second weekend internationally after it opened in China last weekend where the picture has already grossed $97.5 million. Beyond that, other top grossing markets include the UK ($19.9m), France ($19.6m), Mexico ($18.7m), Brazil ($17.9m), Korea ($17.7m), Australia ($17.1m), Russia ($16.7m), Germany ($12.3m), India ($9.0m), Spain ($8.4m) and Netherlands ($6m). The film will open in Hong Kong next weekend followed by openings in Japan (Aug 9) and Italy (Aug 21).
Sony‘s Spider-Man: Far from Home finished in second place after two weekends atop the box office with an estimated $21 million. The film’s domestic cume now stands just shy of $320 million as it enters its third week in release. An international update for Spider-Man was not available as of press time.
Disney and Pixar‘s Toy Story 4 held on very well in the face of The Lion King, delivering an estimated $14.6 million for a third place finish and a domestic cume that now tops $375 million as the animated feature begins its fifth week in release. Internationally, Toy Story 4 added another $25.8 million, pushing the film’s overseas cume to $483.9 million and a global cume just shy of $860 million, making it the fifth highest worldwide release for Pixar all-time.
Paramount‘s Crawl dipped -50% for an estimated $6 million three-day and a domestic cume that now stands just shy of $24 million after ten days in release. Internationally, the film has still only reached ~26% of the marketplace and brought in $2.7 million from 21 markets for an overseas cume that currently stands just shy of $10 million.
Rounding out the top five is Universal‘s Yesterday, which dipped just -24% for a three-day totaling just over $5 million, raising the film’s domestic cume to $57.5 million as it enters its fourth week in release. The film also added another $4.3 million internationally this weekend for a $40.6 million overseas cume, bringing the global cume for the $26 million production just shy of $100 million.
Just outside the top twelve, Bleecker‘s The Art of Self-Defense expanded into 550 locations (+543) and brought in an estimated $1.05 million, bringing the film’s domestic cume to $1.2 million.
In limited release, Sony Classics debuted David Crosby: Remember My Name into four locations with an estimated $41,050 ($10,263 PTA); Blue Fox‘s Rosie brought in an estimated $2,970 from two theaters in New York and Los Angeles; Big World‘s I Do Not Care If We Go Down in History as Barbarians opened in one theater with an estimated $2,176; and Cinema Libre‘s At War opened with $1,550, also in only one theater.
Finally, this weekend saw a new king of the global box office in the form of Disney and Marvel‘s Avengers: Endgame. The massive conclusion to Marvel‘s Infinity Saga topped Avatar, which has held the worldwide record gross for ten years, as Endgame’s global tally now stands at $2.79 billion. Added to that, if you missed the announcement, Marvel titled several of its upcoming 2020 and 2021 releases as the next phase in the Marvel Cinematic Universe is set to begin.
Next weekend sees the release of Quentin Tarantino‘s latest film, Once Upon a Time in Hollywood, which will be opening in over 3,500 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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The Lion King | $185.0M | $185.0M | 1 |
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Spider-Man: Far from Home | $21.0M | $319.7M | 3 |
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Toy Story 4 | $14.6M | $375.5M | 5 |
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Crawl | $6.0M | $23.8M | 2 |
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Yesterday | $5.1M | $57.6M | 4 |
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Stuber | $4.0M | $16.1M | 2 |
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Aladdin | $3.8M | $340.0M | 9 |
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Annabelle Comes Home | $2.7M | $66.6M | 4 |
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Midsommar | $1.6M | $22.5M | 3 |
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The Secret Life of Pets 2 | $1.5M | $151.6M | 7 |
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‘Avengers: Endgame’ Set to close Weekend as the #1 Movie of all time at the Global BO!!!
In its 13th weekend of release, Marvel Studios’ Avengers: Endgame will overtake the global box office record that has been held by Avatar for the past 10 years. Avengers: Endgame shattered records when it opened day-and-date April 26th with $1,223.6 million globally, including $357.1 million and $866.5 million internationally. It crossed the $1 billion mark in just 5 days and the $2 billion mark in only 11.
To date it is the #2 domestic and international release of all time, with $853.4 million and $1,935.8 million respectively. It’s the #1 release of all time in 25 territories, and the #3 highest grossing film of all time in China with $629 million.
As of yesterday, Avengers: Endgame’s global gross is $2,789.2 million. This is just $500,000 behind Avatar’s lifetime global cume of $2,789.7 million, and Endgame will close this gap by tomorrow. (Please note, Avatar’s cume has been adjusted upward to reflect additional reissue grosses in various territories over the past several years.)
Avengers: Endgame’s estimated cume includes reported daily and weekly grosses to date, as well as a near-final reconciliation of territory grosses as the film approaches the end of its run.
Commenting on the achievement, Alan Horn, Co-Chairman and Chief Creative Officer of The Walt Disney Studios, said:
“A huge congratulations to the Marvel Studios and Walt Disney Studios teams, and thank you to the fans around the world who lifted Avengers: Endgame to these historic heights. Of course, even with the passage of a decade, the impact of James Cameron’s Avatar remains as powerful as ever, and the astonishing achievements of both of these films are ongoing proof of the power of movies to move people and bring them together in a shared experience. The talented filmmakers behind these worlds have much more in store, and we look forward to the future of both the Marvel Cinematic Universe and Pandora.”
So who’s up for seeing the film in theaters one last time?
via Collider
‘Avengers: Endgame’ is just $7 Million short of ‘Avatar’ Record at the BO!!
While it may have seemed like a foregone conclusion when the film smashed all records with unprecedented $1.2 billion global opening weekend, Avengers: Endgame hasn’t quite managed to topple James Cameron’s Avatar as the highest-grossing movie of all time – although it now finds itself in touching distance of the 2009 blockbuster.
By close of play yesterday, Endgame’s twelfth weekend of release, the superhero epic has pushed its global total to $2.781 billion, leaving the Marvel Studios release just $7 million shy of Avatar’s $2.788 haul.
Endgame added $2.79 million this weekend worldwide, and so the big question now is whether Endgame has enough left in the tank to make up the difference and claim the crown. It’s certainly going to come down to the wire, but it may just fall short of the target – unless Marvel manages to conjure up another excuse for a re-release, of course.
Avengers: Endgame stars Robert Downey Jr. (Iron Man), Chris Evans (Captain America), Mark Ruffalo (Hulk), Chris Hemsworth (Thor), Scarlett Johansson (Black Widow), Jeremy Renner (Hawkeye), Josh Brolin (Thanos), Brie Larson (Captain Marvel), Paul Rudd (Scott Lang), Don Cheadle (War Machine), Karen Gillan (Nebula), Chadwick Boseman (Black Panther), Tom Holland (Spider-Man), Sebastian Stan (Winter Soldier), Anthony Mackie (Falcon), Elizabeth Olsen (Scarlet Witch), Benedict Cumberbatch (Doctor Strange), Danai Gurira (Okoye), Benedict Wong (Wong), Chris Pratt (Star-Lord), Zoe Saldana (Gamora), Dave Bautista (Drax), Bradley Cooper (Rocket), Vin Diesel (Groot), Karen Gillan (Nebula), Pom Klementieff (Mantis), Tom Hiddleston (Loki), Gwyneth Paltrow (Pepper Potts), Evangeline Lilly (The Wasp), Letitia Wright (Shuri) and Tessa Thompson (Valkyrie).
via Flickering Myth
‘Spider-Man: Far from Home’ Stands Off ‘Stuber’ and ‘Crawl’ at the BO!!!
It was a repeat weekend for last week’s top two films as Sony‘s Spider-Man: Far from Home topped the weekend while nearing $850 million globally and Disney and Pixar‘s Toy Story 4 found itself in the runner-up position while becoming the fifth largest Pixar release domestically ever. As for the weekend’s new wide releases, both played mostly to expectations with Paramount‘s Crawl finishing in third and Disney‘s release of Fox‘s Stuber landing in fourth.
Sony‘s Spider-Man: Far from Home delivered a repeat performance atop the weekend box office, bringing in an estimated $45.3 million, signaling a -51% drop as its domestic cume now stands just shy of $275 million. Meanwhile, the film added $100 million overseas this weekend, pushing the global cume just shy of $850 million after 17 days of release. Far from Home‘s $572.5 million international haul now makes it the highest grossing Spider-Man movie internationally, topping Spider-Man 3‘s $555 million overseas total. China remains the film’s top international market where it’s estimated cume currently stands at $191.8 million along with South Korea ($49.7m), UK ($28.6m), Mexico ($24.1m), Brazil ($18m), Australia ($20.1m), France ($14.8m), Indonesia ($15.9m), Russia ($17m) and Germany ($11.1m).
In the runner-up position for the second weekend in a row is Disney and Pixar‘s Toy Story 4, dipping -39% for an estimated $20.66 million. The film’s domestic cume stands at $346 million as it enters its fourth weekend in release, now ranking as the fifth largest Pixar release domestically of all-time.
Internationally, Toy Story 4 added $48.1 million for an overseas cume that now totals nearly $425 million and a global tally topping $771 million. Among the weekend’s new markets, the film debuted in Japan with an estimated $15.3 million, setting the highest Disney Animation/Pixar opening of all-time in the market. The film also opened in Hong Kong with an estimated $4.6 million, which also served as a record for a Disney Animation/Pixar title. The final key market where the film has yet to release is Germany where it will open on August 15.
In third we come to the first of the weekend’s two new wide releases in Paramount‘s R-rated alligator thriller Crawl, which debuted just shy of Mojo‘s pre-weekend forecast with an estimated $12 million. The performance tops our pre-weekend comp 47 Meters Down, which opened with $11.2 million back in June 2017 before finishing with over $44 million domestically and has a sequel set to hit theaters next month.
Crawl received a “B” CinemaScore from opening day audiences and played to a crowd that was 51% male. Additionally, 64% of the opening weekend audience was aged 25 or older.
Internationally, Crawl debuted in 20 markets and brought in an estimated $4.8 million with Malaysia’s $1 million opening leading the way. Upcoming key releases include a July 24 release in France followed by Mexico (Aug 9), Russia (Aug 22), Germany (Aug 22), the UK (Aug 23), Spain (Aug 23) and Brazil (Sep 26).
Disney‘s release of Fox‘s R-rated comedy Stuber stumbled into fourth with an estimated $8 million. The film received a “B” CinemaScore from opening day audiences while playing to a crowd that was 56% male and 61% of the overall audience was aged 25 or older.
Internationally, Stuber opened in nine markets with an estimated $3 million. The film’s top market is Russia where it opened with $500k with key upcoming openings including Mexico (Jul 26), Germany (Aug 22), Italy (Aug 29), Spain (Sep 13), France (Oct 30) and Brazil (Nov 7).
Rounding out the top five is Universal‘s Yesterday with an estimated $6.75 million, dropping just -33% as it enters its third week in release. The film’s domestic cume now stands at $48.3 million. The film also added another $7.8 million internationally from 42 markets currently in play, pushing the overseas cume over $32 million for a global tally that now stands at $80.5 million.
In limited release, A24‘s The Farewell debuted in four locations with an estimated $351,330, for the best opening weekend theater average of the year so far, coming in at $87,833 per theater. The film will expand into top markets next weekend, ahead of a nationwide expansion on August 2.
Additionally, Reliance‘s Bollywood release Super 30 brought in an estimated $923,912 from 317 theaters ($2,915 PTA) while Bleecker‘s The Art of Self-Defense brought in an estimated $121,000 from seven locations for a $17,297 per theater average. The Art of Self-Defense will be expanding into over 500 locations next weekend. Urban Movie Channel debuted I Got the Hook Up 2 in 37 theaters with an estimated $143,000 ($3,873 PTA); Entertainment Studios‘s documentary Bethany Hamilton: Unstoppable brought in an estimated $250,000 from 205 locations ($1,220 PTA); and IFC‘s Sword of Trust brought in an estimated $22,512 from two theaters.
Next weekend will belong to Disney‘s The Lion King, which will open in over 4,500 locations with high expectations for its opening weekend. On that note, The Lion King already began its international roll-out this weekend, opening in China with an estimated $54.7 million and will open in all other international markets next weekend with the U.S. with the exception of Hong Kong, Japan and Italy.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Spider-Man: Far from Home | $45.3M | $274.5M | 2 |
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Toy Story 4 | $20.7M | $346.4M | 4 |
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Crawl | $12.0M | $12.0M | 1 |
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Stuber | $8.0M | $8.0M | 1 |
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Yesterday | $6.8M | $48.3M | 3 |
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Aladdin | $5.9M | $331.5M | 8 |
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Annabelle Comes Home | $5.6M | $60.8M | 3 |
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Midsommar | $3.6M | $18.4M | 2 |
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The Secret Life of Pets 2 | $3.1M | $147.1M | 6 |
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Men in Black: International | $2.2M | $76.5M | 5 |
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‘X-Men: Dark Phoenix’ to be a Bigger Bomb than ‘Fantastic Four’ at the BO!!!
After a troubled production, extensive re-shoots and several release date delays, 20th Century Fox unleashed the final installment of its X-Men series last month, and while many fans predicted that the movie would fail to deliver, as it turns out X-Men: Dark Phoenix is now shaping up to be one of the biggest box office bombs of all time.
Dark Phoenix has grossed just $249.4 million worldwide, with a North American haul of $64.8 million – a figure that eight of the previous X-Men movies topped in their opening weekend alone. It remains some $46 million short of the $296.3 million global haul of the original X-Men movie (previously the lowest grossing chapter in the series), and is the only entry not to reach $150 million domestically.
Taking things from bad to worse, Forbes is reporting that Dark Phoenix is on course to become an even bigger bust that the disastrous 2015 reboot Fantastic Four. The Josh Trank-directed flop grossed $167.9 million off a $120 million budget, giving it a return of 1.39x its production cost, while Dark Phoenix is only looking at a return of around 1.25x.
Of course, those numbers don’t take into account marketing costs or the exhibitors’ cut of ticket sales, and all in all it’s expected that Dark Phoenix will lose somewhere between $100 and $150 million during its theatrical run, making it one of the biggest box office bombs of all time.
This is the story of one of the X-Men’s most beloved characters, Jean Grey, as she evolves into the iconic DARK PHOENIX. During a life-threatening rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet. The film is the most intense and emotional X-Men movie ever made. It is the culmination of 20 years of X-Men movies, as the family of mutants that we’ve come to know and love must face their most devastating enemy yet — one of their own.
X-Men: Dark Phoenix sees Simon Kinberg directing a cast that includes franchise veterans Michael Fassbender (Magneto), James McAvoy (Professor X), Jennifer Lawrence (Mystique), Nicholas Hoult (Beast), Alexandra Shipp (Storm), Sophie Turner (Jean Grey), Tye Sheridan (Cyclops), Kodi Smit-McPhee (Nightcrawler) and Evan Peters (Quicksilver) alongside new additions Kota Eberhardt (The Persian Connection) as Selene, Andrew Stehlin (Hacksaw Ridge) as Red Lotus, and Jessica Chastain (Molly’s Game) and Lamar Johnson (Kings).
via Flickering Myth
‘Spider-Man: Far from Home’ Delivers Record $185 Million Opening at the BO!!!
It has been a while since we saw a sequel deliver on expectations, but, this weekend, Sony‘s Spider-Man: Far from Home delivered the largest six-day opening ever for a Tuesday release, leading the weekend box office and helping the top 12 outperform the same weekend last year for the first time in four weeks. Meanwhile, A24‘s Midsommar delivered the largest indie opening of the year while landing just outside the weekend top five.
Sony‘s Spider-Man: Far from Home delivered a #1 finish at the weekend box office as Marvel still proves mighty. The pic debuted on Tuesday last week, entering the weekend with over $91 million already in its coffers, and over the three-day it topped that figure, bringing in an estimated $93.6 million for a six-day start totaling over $185 million. The performance is the largest six-day opening for a Tuesday opener and 22nd largest six-day performance of all-time. This is on top of the film already delivering the largest Tuesday opening day ever, not to mention the second widest opening ever as it debuted in a massive 4,634 locations.
It’s difficult to compare the film’s debut to 2017’s Spider-Man: Homecoming given the Tuesday debut, but after six days Far from Home is already out-pacing its predecessor by over $30 million. The film is also a hit with audiences, just as it was with critics, earning an “A” CinemaScore from opening day crowds and currently sitting with an 8.1/10 rating from IMDb users. Opening weekend crowds were 60% male with 42% of the overall audience coming in aged 25 or older.
Internationally, Far from Home debuted in three markets last weekend and this weekend expanded that reach to all but Italy, where the film will launch this coming Wednesday. After a strong start last weekend the webslinger delivered $244 million from 66 markets this weekend for an overseas cume that now totals $395 million and a global tally reaching $580 million. Top market debuts include Tuesday’s launch in South Korea where the film has brought in $33.8 million. Additionally, the UK’s six-day launch totals $17.8 million and Mexico delivered $13.9 million in four days. The film began playing on Monday in Australia where it has now delivered nearly $12 million and Russia added another $9.6 million. The film’s top overseas market is China, where it opened last weekend, and this weekend the film’s cume now climbs to over $167 million.
Disney and Pixar‘s Toy Story 4 moves to second place in its third weekend, bringing in an estimated $34.4 million, pushing the film’s domestic cume over $300 million to $306.6 million. Internationally, the animated feature delivered over $43 million this weekend for an overseas cume that now stands at $343.4 million and a global cume that now totals $650 million.
Universal‘s Yesterday dipped just -37% in its second weekend, bringing in an estimated $10.75 million and pushing its domestic cume to $36.8 million after ten days in release. Yesterday also added seven new locations internationally this weekend including France ($1.3m) and Spain ($1m), and brought in nearly $8 million from 35 markets now in play. Overall the film’s overseas cume now totals over $20 million for a $57 million global tally.
WB‘s Annabelle Comes Home landed in fourth with an estimated $9.75 million, dipping -52% in its second weekend as the film’s domestic cume now tops $50 million after 12 days in release. Internationally, the film added over $20 million from 9 markets this weekend for an overseas cume just shy of $85 million and a worldwide total creeping up on $135 million.
Rounding out the top five is Disney‘s Aladdin, which added another $7.6 million this weekend as the film’s domestic cume now totals over $320 million. Internationally, the film brought in another $16.2 million this weekend as the overseas cume climbs over $600 million for a worldwide total that now totals over $921 million.
Finishing just outside the top five is A24‘s Midsommar, which opened on Wednesday last week and delivered an estimated $6.56 million for the three-day weekend while finishing with nearly $11 million for the five-day frame. The film received a “C+” CinemaScore from opening day audiences, which is actually an improvement over writer/director Ari Aster‘s Hereditary, which enjoyed a 3.2x multiplier last June.
In limited release, Roadside‘s Marianne & Leonard brought in an estimated $44,311 from four locations ($11,078 PTA) and Balcony‘s release of The Cat Rescuers delivered $7,002 from three theaters ($2,334 PTA).
Next weekend sees the release of Paramount‘s crocodile thriller Crawl and R-rated Fox comedy Stuber.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Spider-Man: Far from Home | $93.6M | $185.1M | 1 |
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Toy Story 4 | $34.3M | $306.6M | 3 |
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Yesterday | $10.8M | $36.9M | 2 |
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Annabelle Comes Home | $9.8M | $50.2M | 2 |
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Aladdin | $7.6M | $320.8M | 7 |
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Midsommar | $6.6M | $10.9M | 1 |
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The Secret Life of Pets 2 | $4.8M | $140.7M | 5 |
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Men in Black: International | $3.6M | $72.0M | 4 |
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Avengers: Endgame | $3.1M | $847.9M | 11 |
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Rocketman | $2.8M | $89.2M | 6 |
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‘Toy Story 4’ Reigns Over ‘Annabelle 3’ as ‘Avengers: Endgame’ Re-Expands at the BO!!!
As expected, “Toy Story 4” once again dominated the domestic box office this weekend, as the Pixar animated film secured another #1 spot in its second weekend. However, there are still some interesting stories to be found in what could be seen as a ho-hum weekend at the multiplex.
After being deemed a “disappointment” with only $120 million in its first weekend (explaining why this is hogwash requires an entirely different discussion), “Toy Story 4” saw a great second weekend, experiencing only a -52% drop and earning $58 million in its latest frame. So far, the domestic total for Pixar’s latest sits at $237 million, and is likely going to sit amongst the top 10 films for weeks to come. Needless to say, Disney and Pixar are not disappointed with this result, whatsoever.
“Toy Story 4” might have won the weekend, but the film is not even remotely the most interesting part of the box office results. Coming in at #2 and #3 respectively are the two newcomers, “Annabelle Comes Home” and “Yesterday.” You couldn’t get anything closer to counterprogramming with these films, as one is a sequel to a spin-off to a horror franchise that is seemingly never going to end. The other is a Beatles-inspired musical feel-good film from Danny Boyle.
‘Annabelle’ beat “Yesterday” with an opening weekend total of $20 million. Considering the film opened Wednesday and has earned a respectable $31 million in only 5 days, Warner Bros. is surely happy with the result. You can’t ask for much more when you consider “Annabelle Comes Home” is the third film in the ‘Annabelle’ series and the seventh overall film in the ‘Conjuring’ cinematic universe. Add to that, the film’s budget is roughly $30 million. So, definitely not terrible numbers, all things considered.
The same for “Yesterday.” Much like ‘Annabelle,’ the Danny Boyle-directed musical sports a modest budget, and when you consider it earned a respectable $17 million in its opening weekend, everyone is likely very pleased. Even with middling reviews (59% on Rotten Tomatoes), “Yesterday” looks to be a hit with audiences, earning a great ‘A-’ CinemaScore. With increased competition for screens coming next weekend (the Fourth of July holiday is always crowded), “Yesterday” is hoping to capitalize on the word-of-mouth to keep it going.
Adding another layer of intrigue to this weekend was the much-hyped “re-release” of “Avengers: Endgame.” Though it never left theaters, Disney and Marvel Studios decided to hype up a re-expansion of the film, adding post-credits scenes and a Stan Lee tribute. While many saw this as a chance to defeat “Avatar’s” box office record, it was clearly just a way to make a few extra million while also priming the pump for “Spider-Man: Far From Home,” which arrives in theaters next weekend.
Either way, ‘Endgame’ earned a decent $5.5 million this weekend, a huge increase over recent weekends, though not enough to really compete with “Avatar.” Face it, Marvel fans, ‘Endgame’ likely doesn’t have enough in the tank to topple James Cameron’s epic. And honestly, it doesn’t matter, as Disney controls both franchises and none of us are getting any sort of paychecks if the Marvel Studios film secures the record.
No matter who wins, the only real winners are the folks at Disney, and the “bragging rights” that Marvel fans would have over “Avatar” fans are meaningless. Especially when you consider there are discussions about “adjusted for inflation” stats and which film made more before their respective re-releases. Though those “adjusted” stats are not true apples-to-apples comparisons, with “Gone with the Wind” playing for months in theaters that didn’t have to compete with cable TV, let alone streaming. And “Avatar” had the added hype of the 3D fad and, again, no streaming. But I digress.
All things considered, “Avatar” will have the official title of “biggest film of all time” but ‘Endgame’ will have some records that are likely never going to be beaten (Biggest Opening Weekend, domestic and worldwide, as well as fastest to $1 billion and $2 billion). So, again, none of this matters and both films have made ridiculous amounts of cash.
Speaking of Marvel Studios films, “Spider-Man: Far From Home” debuted in China, Japan, and Hong Kong over the weekend and saw a massive start to its box office run. Earning $111 million, the new Spidey sequel is proving that the Marvel train is going to keep chugging along after ‘Endgame.’ The film earned an absolutely massive $98 million in China alone, becoming the fourth-largest superhero opening in the Middle Kingdom (behind “Avengers: Endgame,” “Avengers: Infinity War,” and “Venom”). Compared to openings in the exact same territories, ‘Far From Home’ is pacing 45% ahead of ‘Homecoming’ and 21% ahead of “Captain Marvel.” It appears that ‘Endgame’ didn’t end people’s excitement for the MCU, instead reviving it yet again.
This weekend saw another strong weekend for Disney’s “Aladdin.” Earning another $9.3 million domestically (still in the top 5 after six weeks, mind you), the live-action remake of the animated classic now has a domestic total of $306 million and a worldwide gross of $874 million. The really interesting fun fact to take from these numbers is that “Aladdin” now holds the title of the biggest film starring Will Smith ever. That’s right, “Aladdin” has beaten “Independence Day” and its $817 million total. Though, domestically, the biggest Will Smith film is “Suicide Squad,” which earned $325 million.
On the limited release front, there wasn’t much to report, other than the fact that “The Last Black Man in San Francisco” continued to do well in its first big expansion. Now in 155 theaters, the drama earned approximately $488,000 and enough to put it at over $2 million domestically. The film is set to expand even more nationwide as the weeks play out.
Next week is nothing short of huge for the film industry, as “Spider-Man: Far From Home” hits the rest of the world on July 2, with “Midsommar” in its footsteps on July 3. Both films are expected to do well, with ‘Spider-Man’ looking to earn about $500 million worldwide after its weekend run.
via The Playlist
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Toy Story 4 | $57.9M | $236.9M | 2 |
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Annabelle Comes Home | $20.4M | $31.2M | 1 |
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Yesterday | $17.0M | $17.0M | 1 |
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Aladdin | $9.3M | $305.9M | 6 |
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The Secret Life of Pets 2 | $7.1M | $131.2M | 4 |
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Men in Black: International | $6.6M | $65.0M | 3 |
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Avengers: Endgame | $5.5M | $841.3M | 10 |
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Child’s Play | $4.3M | $23.4M | 2 |
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Rocketman | $3.9M | $84.2M | 5 |
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John Wick: Chapter 3 – Parabellum | $3.2M | $161.3M | 7 |
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‘Kabir Singh’ Set to Become Shahid Kapoor’s First Solo Rs. 100 Cr Grosser at the BO!!!
The Shahid Kapoor starrer Kabir Singh released on Friday across 3123 screens in the domestic market. Directed by Sandeep Vanga, the film which is a remake of Arjun Reddy has been doing brisk business since it’s release. In fact, with positive reviews, strong word of mouth and a wide release, Kabir Singh surpassed box office expectations on Day 1.
Following the Rs. 20.21 cr collection on its opening day, the business of Kabir Singh saw another Rs. 22.71 cr coming in on its second day. Going by the current trend, expectations are that Kabir Singh is all set to reach the Rs. 100 cr mark by the end of its first week. Looking back at Shahid Kapoor’s career graph from a box office perspective, though the actor made his debut in 2003, he is yet to achieve a solo Rs. 100 cr grosser. Currently looking at the stellar collections of Kabir Singh, the film looks set to become Shahid Kapoor’s first solo Rs. 100 cr grosser.
If that wasn’t enough, with little to no competition from other releases, Kabir Singh that has garnered appreciation not only from critics but the audiences as well is expected to continue its winning streak at the box office.
Shahid Kapoor’s Box Office Collections at a glance
Movie Name – Box Office Collections
Kabir Singh – Rs. 100 cr (estimated by end of week 1)
R…Rajkumar – Rs. 66.1 cr
Udta Punjab – Rs. 60.33 cr
Haider – Rs. 56.09 cr
Shaandaar – Rs. 43.13 cr
Batti Gul Meyer Chalu – Rs. 37.73 cr
via Bollywood Hungama
‘Toy Story 4’ Opens With Franchise Best $118 Million as ‘Child’s Play’ Trails Behind at the BO!!!
Disney and Pixar‘s Toy Story 4 topped the weekend box office and did so with the franchise’s largest opening weekend yet, but even it seems to have been bitten by the summer’s sequel slump as it too delivered well below studio and industry expectations. On top of that, UA Releasing‘s Child’s Play finished in second place while also missing forecasted pre-weekend expectations while Lionsgate and Summit‘s Anna fell just shy of a spot in the top ten.
With an estimated $118 million, Disney and Pixar‘s Toy Story 4 topped the weekend box office, though fell well short of the studio’s $140+ million expectations, not to mention Mojo‘s lofty weekend forecast. The performance is, however, the best of the franchise, topping Toy Story 3‘s $110.3 million opening back in 2010 and fourth largest animated opening ever, which are hardly milestones you can ignore. It’s also worth mentioning this is the third largest opening weekend of the year, giving Disney the top four openings of 2019.
Also in Toy Story 4‘s favor is some of the best reviews of the franchise to go along with an “A” CinemaScore from opening day audiences. On top of that, the film has a long runaway ahead of it as the next major family film isn’t until July 19 and it is yet another Disney picture in The Lion King. It also isn’t until the mid-August release of Sony‘s The Angry Birds Movie 2 that another animated feature hits theaters, giving Toy Story 4 plenty of room to breathe.
To go along with strong reviews and an “A” CinemaScore, the film played to an opening weekend audience that was 52% female and 45% of the crowd was aged 25 or older. Looking at Pixar’s last ten releases, the average multiplier is 3.44x, which would suggest a domestic run for Toy Story 4 over $400 million and looking at the animated studio’s past June releases, that multiplier goes up to 3.56x, suggesting a possible domestic run over $420 million.
Internationally, Toy Story 4 brought in $120 million form 37 markets, representing ~64% of the overall marketplace and a $238 million global launch. The top market was Mexico, where the film opened with an estimated $23.4 million, representing the third highest opening of all-time in the market behind just Avengers: Endgame and Avengers: Infinity War. From there, the UK was the second largest opening with $15 million followed by China ($13.4m), Brazil ($9.6m), Korea ($8.5m), Argentina ($6.9m) and Australia ($6.1m). The film will open in France and Italy next weekend followed by openings in Japan (Jul 12) and Germany (Aug 15).
UA Releasing‘s Child’s Play delivered a second place finish with an estimated $14 million. Heading into the weekend the film was tracking similarly to Universal and Blumhouse‘s Ma, which debuted with over $18 million just a few weeks ago, and even the film’s Thursday night previews ($1.65 million) suggested it was well on its way to a similar opening. However, it was unable to sustain its momentum and came up shy of the $16-18 million pre-weekend expectations. The film carries a reported budget around $10 million and received a “C+” CinemaScore from opening day crowds.
Exits show Child’s Play played to an audience that was 52% male and 61% were over the age of 25. These demos are important when you consider Ma played to an audience that was 53% female and only 53% were aged 25 or older as we look ahead to next week, which sees Annabelle Comes Home arriving on Wednesday. That film should play to a crowd similar to Ma, leaning a bit younger and playing to a larger female audience, perhaps allowing both to pleasantly coexist for a couple of weekends.
Landing in third position is Disney‘s Aladdin with an estimated $12.2 million, dipping just -29.5% as it enters its fifth week in release with a domestic cume just shy of $288 million. Internationally, the film added nearly $33 million this weekend for an overseas cume that now totals $522.6 million and a global tally topping $810 million.
Sony‘s Men in Black International is already cratering after a disappointing debut last weekend, dropping -64% in its sophomore frame with an estimated $10.75 million and a domestic cume that now totals just over $52 million after ten days in release. Internationally, the film added just over $30 million for an international cume topping $129 million and a worldwide total just over $182 million.
Rounding out the top five is Universal and Illumination‘s The Secret Life of Pets 2, which dipped -58% in the face of Toy Story 4‘s debut, with an estimated $10.3 million for the weekend. The film’s domestic cume now stands at $117.5 million as it enters its third week in release. The film also added another $10.8 million internationally this weekend for an overseas cume that now totals over $77 million and a global tally just shy of $195 million.
Outside not only the top five, but just missing the top ten, is Lionsgate‘s release of Summit‘s Anna. The action thriller from Luc Besson debuted with an estimated $3.5 million. The film received a “B+” CinemaScore from opening day audiences, and of the overall audience, 61% were male and 88% were over the age of 25.
In limited release, Neon‘s Wild Rose opened in four theaters with an estimated $56,183 ($14,046 PTA); Magnolia‘s Toni Morrison: The Pieces I Am opened in four theaters with an estimated $44,000 ($11,000 PTA); Metrograph re-released A Bigger Splash in one New York location with an estimated $18,000; and IFC‘s The Quiet One opened in six locations with $10,561 ($1,760 PTA).
Next weekend gets started on Wednesday with the release of the aforementioned Annabelle Comes Home, debuting in over 3,500 locations and then on Friday Universal will release Danny Boyle‘s Yesterday into ~2,600 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Toy Story 4 | $118.0M | $118.0M | 1 |
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Child’s Play | $14.1M | $14.1M | 1 |
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Aladdin | $12.2M | $287.5M | 5 |
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Men in Black: International | $10.8M | $52.7M | 2 |
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The Secret Life of Pets 2 | $10.3M | $117.6M | 3 |
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Rocketman | $5.7M | $77.3M | 4 |
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John Wick: Chapter 3 – Parabellum | $4.1M | $156.1M | 6 |
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Godzilla: King of the Monsters | $3.7M | $102.3M | 4 |
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Dark Phoenix | $3.6M | $60.2M | 3 |
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Shaft | $3.6M | $15.9M | 2 |
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‘Men in Black’ and ‘Shaft’ Sequels Disappoint at the BO!!
It was another disappointing weekend for a pair of new sequels as both Sony‘s Men in Black International and WB‘s Shaft were both unable to reach even the slimmest of studio expectations heading into the weekend. The weekend is down significantly compared to last year when Incredibles 2 bowed with a record-shattering $182.6 million opening and next weekend will turn to Pixar once again, looking to Toy Story 4 to turn the tide.
Sony‘s release of Men in Black International debuted with a disappointing $28.5 million from 4,224 locations. By comparison, this is the lowest opening in the franchise by over $20 million as all three of the previous installments opened with over $51 million. The $110 million production joins a slew of recently released sequels to not only under-perform based on pre-weekend expectations, but severely under-performing based on previous films in the franchise. Entering the weekend the film received mostly negative reviews and opening day audiences gave the film a “B” CinemaScore, which is hardly a ringing endorsement. The film played to an opening weekend crowd that was 56% male with 53% of the overall audience coming in aged 25 or older.
Internationally, Men in Black brought in $73.7 million from 36 markets, giving the film a global debut over $102 million. The studio notes the film is tracking on par with Teenage Mutant Ninja Turtles and 19% behind MIB 3 at current exchange rates for the same group of markets. China led all markets with $26.3 million and a #1 opening followed by Russia ($5.1m), South Korea ($4.9m), Mexico ($3.9m), Japan ($3.5m), UK ($3.4m), Australia ($2.6m) and France ($2.5m). The film opened in approximately 92% of the marketplace with debuts in Belgium (Jun 19), Netherlands (Jun 20) and Italy (Jul 25) remaining.
Finishing in second is Universal and Illumination‘s The Secret Life of Pets 2, which dipped -49% to begin its second weekend with an estimated $23.8 million three-day and a domestic gross that now totals just over $92 million after ten days in release. Internationally, the film added another $8.5 million this weekend for a global cume that now totals nearly $155 million.
Disney‘s Aladdin held on well as it enters its fourth weekend in release. The latest Disney live-action reimagining dipped just -32% for an estimated $16.7 million three-day, pushing its domestic cume just shy of $264 million. Internationally the film added another $47.5 million this weekend for an overseas cume that now totals over $461 million and a global tally just shy of $725 million.
Disney‘s release of Fox‘s Dark Phoenix cratered in its second weekend, dropping a massive -72.6% for an estimated $9 million three-day and a domestic gross that now tops $51 million. This is the second largest second weekend drop for a film playing in over 3,500 theaters in its second weekend behind only 2015’s Fifty Shades of Grey (-73.9%). Additionally, Dark Phoenix earned an estimated $24.2 million in its second weekend of release internationally, raising the overall overseas cume to $152.5 million for a global haul that now tops $204 million.
Rounding out the top five is Paramount‘s Rocketman, which dipped -36% as it entered its third week in release with an estimated $8.8 million for a domestic cume that now totals over $66 million. The film also added another $8.5 million internationally for a global cume that now tops $133 million.
Finishing outside the top five we find WB‘s release of Shaft, which the studio was expecting to debut somewhere around $15 million, but it could only muster an estimated $8.3 million from 2,952 locations. That said, while critical response was mixed-to-negative, opening day audiences gave the film an “A” CinemaScore, though with an opening this low the film’s fate is most likely sealed. Additionally, the film played to a crowd that was 54% female and 84% of the overall audience came in aged 25 years or older.
Further down the list, in ninth place, is Amazon Studios‘s Late Night, which expanded into 2,220 locations (+2,216) and delivered an estimated $5.1 million. Amazon acquired the film, which stars Emma Thompson and Mindy Kailing, whom also wrote the screenplay, at this year’s Sundance Film Festival for a record $13 million and while this is hardly a great opening, it should have a long life on Amazon‘s Prime Video platform. Friday’s audience gave the film a “B+” CinemaScore.
Outside the top ten we find Focus‘s release of Jim Jarmusch‘s star-studded zombie comedy The Dead Don’t Die, which opened in 613 locations with an estimated $2.5 million. Exit polls show 58% of the opening weekend crowd was male and 64% were aged 35 or older.
In limited release, Roadside‘s American Woman opened in 117 locations with an estimated $102,825 ($878 PTA); the documentary 5B opened with an estimated $40,000 from 127 theaters ($315 PTA); IFC‘s Hampstead brought in $24,144 from 12 locations ($2,012 PTA); The Film Arcade‘s Being Frank brought in $15,409 from three theaters ($5,136 PTA); Janus‘s re-release of Paris is Burning delivered an estimated $11,000 from one location; and Monument‘s Our Time opened in one theater with an estimated $3,000.
Next weekend should see the conclusion of the sequel slump as Disney and Pixar‘s Toy Story 4 makes way for 4,400+ locations alongside UA Releasing‘s Child’s Play remake, Lionsgate‘s Anna and Neon‘s debut of Wild Rose.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Men in Black: International | $28.5M | $28.5M | 1 |
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The Secret Life of Pets 2 | $23.8M | $92.0M | 2 |
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Aladdin | $16.7M | $263.4M | 4 |
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Dark Phoenix | $9.0M | $51.8M | 2 |
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Rocketman | $8.8M | $66.1M | 3 |
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Shaft | $8.3M | $8.3M | 1 |
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Godzilla: King of the Monsters | $8.1M | $93.7M | 3 |
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John Wick: Chapter 3 – Parabellum | $6.1M | $148.6M | 5 |
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Late Night | $5.1M | $5.4M | 2 |
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Ma | $3.6M | $40.3M | 3 |
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‘X-Men: Dark Phoenix’ To Lose Over $100 Million at the BO!!
After extensive re-shoots and multiple release date delays, the final entry in 20th Century Fox’s long-running X-Men franchise arrived in cinemas this past weekend, although given the reception to X-Men: Dark Phoenix from critics and audiences, Disney is probably wondering why it didn’t just shelve the film following the Fox takeover.
Dark Phoenix opened to the worst reviews of the entire franchise, not to mention a series low for the X-Men movies at the domestic box office, and now Deadline is reporting that the superhero blockbuster will likely lose at least $100 million from its theatrical run.
According to the site, Dark Phoenix’s combined production, re-shoots and marketing budget exceeds $350 million, while the film is projected to finish up its run with around $300 million, meaning it will end up as one of the biggest box office bombs of all time.
The film’s failure will also surely raise question more marks about The New Mutants, which was recently pushed back YET AGAIN to April 2020 and is still yet to undergo re-shoots despite principal photography wrapping almost two years ago. Don’t be surprised if New Mutants ends up going straight to a streaming service, if it ever sees the light of day at all…
X-Men: Dark Phoenix sees Simon Kinberg directing a cast that includes franchise veterans Michael Fassbender (Magneto), James McAvoy (Professor X), Jennifer Lawrence (Mystique), Nicholas Hoult (Beast), Alexandra Shipp (Storm), Sophie Turner (Jean Grey), Tye Sheridan (Cyclops), Kodi Smit-McPhee (Nightcrawler) and Evan Peters (Quicksilver) alongside new additions Kota Eberhardt (The Persian Connection) as Selene, Andrew Stehlin (Hacksaw Ridge) as Red Lotus, and Jessica Chastain (Molly’s Game) and Lamar Johnson (Kings).
via Flickering Myth
‘Pets 2’ and ‘Dark Phoenix’ Underperform at the BO!!!
The weekend’s top twelve combined to outperform the same weekend last year by more than 43%, which means the year-to-year gap continues to close, but the weekend’s new releases both struggled mightily. Universal and Illumination‘s The Secret Life of Pets 2 was unable to even deliver half of the opening the first film delivered just a few years ago, while Fox‘s Dark Phoenix entered the weekend as the worst reviewed film in the X-Men franchise ever and, predictably, delivered the lowest opening weekend of the franchise.
At the top of the box office is Universal and Illumination‘s The Secret Life of Pets 2 with an estimated $47.1 million from 4,561 locations (the second widest opening ever only to Avengers: Endgame). The performance is less than half of the original, 2016 film’s $104.3 million, which remains a record opening for an original, animated feature. Heading into the weekend expectations weren’t exactly meteoric, with the studio hoping for an opening over $50 million, but even that proved an impossible task.
Looking ahead, Pets 2 received an “A-” CinemaScore from opening day audiences, while playing to a crowd that was 57% female with 62% of the film’s opening crowd being family moviegoers. As for the film’s future, it compares to the $48.4 million opening for Hotel Transylvania 2 and the $47.6 million debut for Kung Fu Panda 2, both of which went on to gross over $165 million, albeit neither played in the middle of the summer movie season, which will make the future of this film interesting to watch.
Internationally, Pets 2 began playing overseas two weeks ago and this weekend added 21 markets including the Netherlands ($1.7m), Vietnam ($1.3m), Italy ($1.1m) and Taiwan ($800k). Overall, the film brought in $16 million this weekend from a total of 30 markets for an international cume that currently stands at $49 million. The film’s top market is Russia with just shy of $17 million with openings yet to come in Australia (Jun 20), Germany (Jun 27), Brazil (Jun 27), China (Jul 5), Japan (Jul 26), Korea (Jul 31), France (Jul 31), Spain (Aug 9) and Mexico (Aug 9).
In second place things don’t get any better as Disney‘s release of Fox‘s Dark Phoenix could only manage an estimated $33 million debut, making it the first film in the X-Men franchise to fail to deliver a $50+ million opening. In fact, like Pets 2 the film’s opening is well off even the studio’s modest, $40-50 million expectations and over $30 million shy of the disappointing, $65.7 million opening for X-Men: Apocalypse three years ago.
The average multiplier for films in the X-Men franchise is 2.5x, which would suggest we’re looking at an $82.5 million domestic run for Dark Phoenix, which would make it the first film in the franchise to finish below $100 million domestically. The film received a “B-” CinemaScore from opening day audiences, which is a grade below the “A-” score for X-Men: Apocalypse, as audiences seemed to agree with the negative critical reception. The audience was 57% male with 61% of the opening weekend crowd coming in aged 25 years or older.
Internationally, Dark Phoenix debuted in all but Japan this weekend, bringing in an estimated $107 million, led by a $45.6 million opening in China. Additional openings include South Korea ($5.7m), Mexico ($5.0m), UK ($4.9m), France ($3.8m), Russia ($3.4m), Brazil ($2.9m), Philippines ($2.4m), Taiwan ($2.3m) and India ($2.3m). The film will open in Japan on June 21.
Disney‘s Aladdin took third with an estimated $24.5 million, signaling a solid, -43% drop as it enters its third week in release. The film’s domestic cume is now over $232 million. Internationally, the film added another $67.6 million this weekend for an overseas cume totaling $372.5 million, pushing Aladdin’s global tally just shy of $605 million
In fourth, Warner‘s Godzilla: King of the Monsters dropped hard, falling -67.5% for an estimated $15.5 million second weekend. The drop isn’t exactly a surprise, though it is a fraction steeper than the large, -67% drop the 2014 original felt, which continues to put a question mark on the film’s overall domestic run and whether or not it will be able to go much higher than $100 million. The film’s domestic gross currently stands at $78.6 million.
Internationally, Godzilla added $47.1 million this weekend for an overseas cume that stands at $213.7 million and a global tally topping $292 million. Spain remains the final key market for the film, where it will release on June 21.
Rounding out the top five is Paramount‘s Rocketman, which dropped -46% in its second weekend for an estimated $14 million. The film’s domestic cume now stands at just over $50 million after ten days in release. Internationally, the film added $13 million from 50 markets for an overseas cume that now totals just over $51 million and a worldwide gross over $101 million.
In limited release, Amazon Studios began the platform release of their record, $13 million Sundance acquisition, Late Night, debuting the film in four locations this weekend with an estimated $249,654 and a chart-topping $62,414 per theater average. The film will go nationwide in over 1,500 locations next weekend.
Additionally, A24‘s The Last Black Man In San Francisco opened in seven theaters in NY, LA and San Francisco and delivered an estimated $230,744 for a per screen average of $32,963. The film will expand into top markets next weekend.
Other limited releases include CBS Films‘s Pavarotti, which opened in 19 locations with an estimated $142,500 ($7,500 PTA); Super‘s This One’s for the Ladies opened in one theater with an estimated $16,000; and IFC‘s Framing John DeLorean brought in an estimated $9,106 from one theater.
Next weekend will see Sony‘s release of Men in Black International debut in over 3,800 location; WB will release Shaft in over 2,900 theaters; Focus will debut Jim Jarmusch‘s The Dead Don’t Die in approximately 550 theaters; and the aforementioned Amazon release Late Night will go into wide release.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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The Secret Life of Pets 2 | $47.1M | $48.0M | 1 |
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Dark Phoenix | $33.0M | $33.0M | 1 |
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Aladdin | $24.5M | $232.4M | 3 |
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Godzilla: King of the Monsters | $15.5M | $78.6M | 2 |
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Rocketman | $14.0M | $50.5M | 2 |
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Ma | $7.8M | $32.8M | 2 |
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John Wick: Chapter 3 – Parabellum | $7.4M | $138.7M | 4 |
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Avengers: Endgame | $4.8M | $824.4M | 7 |
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Pokémon Detective Pikachu | $3.0M | $137.4M | 5 |
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Booksmart | $1.6M | $17.8M | 3 |
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‘Aladdin’: The Disney Film Passes $500 Million at the Worldwide BO!!!
Disney’s Dumbo may not have set the box office alight, but the House of Mouse is enjoying more success with its second live-action remake of the year, with the Guy Ritchie-directed Aladdin taking its box office haul beyond the $500 million mark this week.
The film – which stars Mena Massoud, Naomi Scott and Will Smith as Aladdin, Jasmine and the Genie – had grossed $203.1 million in North America by close of play on Wednesday, making it the third biggest release of the year so far after Marvel’s Avengers: Endgame and Captain Marvel.
Aladdin is the sixth of Disney’s animated remakes to pass the half billion dollar mark, and should go on to overtake 2015’s Cinderella ($543.5 million) to claim fifth place. That position will be short-lived however, with next month’s The Lion King on course for a whopping $230 million opening weekend in North America alone.
Aladdin is directed by Guy Ritchie (King Arthur: Legend of the Sword) and features a cast that includes Mena Massoud (Aladdin), Naomi Scott (Princess Jasmine), Will Smith (Genie), Marwan Kenzari (Jafar), Navid Negahban (The Sultan), Nasim Pedrad (Dalia), Billy Magnussen (Prince Anders), Numan Acar (Hakim), Alan Tudyk (Iago) and Frank Welker (Abu).
via Flickering Myth
‘Kaabil’: Hrithik Roshan Starrer Is a Flop in China!!
Things are not looking up for Hrithik Roshan. Even as the trailer of his release Super 30 has been greeted by tons of trolls and mounds of memes, news comes that Kaabil, Roshan’s home-production directed by Sanjay Gupta, has opened to abysmal footfalls in China, a market newly opened to Indian films.
While other recent Bollywood films particularly Dangal and Andhadhun have done exceedingly well in China, many other Bollywood films hoping to cash in the new market have crashed in the quest for renewed success. Kaabil is one of them.
The complete rejection of the film is surprising considering the film’s leading man Hrithik Roshan flew into China along with his leading lady Yami Gautam.to promote the film there.
A source reveals that marketing research failed Kaabil badly. “Hrithik was told Kaabil has potential in China whereas the truth is, such suspense-action films are a common sight in China and Korea. I have been on many occasions to China. They want to see films that are Indian and yet convey values common to India and China,” says a source familiar with the territory.
via Bollywood Hungama
‘Godzilla’ Sequel is a King as ‘Rocketman’ and ‘Ma’ Top Expectations at the BO!!!
WB‘s Godzilla: King of the Monsters is the king of the weekend box office, though doing so at the lower end of studio expectations. Meanwhile, both Paramount‘s Rocketman and Universal and Blumhouse‘s Ma topped studio expectations, the latter of which doing so on a small, $5 million budget. Overall, the weekend saw the top twelve deliver nearly $170 million, helping push the summer box office over $1.137 billion (+9% compared to 2018) and the yearly box office is now just -8.5% behind last year as that gap continues to close.
With an estimated $49 million, WB‘s Godzilla: King of the Monsters fell short of the studio’s $50-55 million expectations as it showed day-to-day declines after delivering a $19.6 million opening day (including $6.3 million from Thursday night previews). The film’s opening is well short of the $93.2 million opening for the 2014 reboot as well as the $61 million opening for Kong: Skull Island back in March 2017. Comparatively, Skull Island had a much smaller preview gross ($3.7 million) and still managed a larger opening day ($20.1 million) while holding on much better throughout the weekend. Godzilla received a “B+” CinemaScore from opening day audiences while playing to a crowd that was 67% male and 59% were aged 25 or older.
Now we’ll look to see how well King of the Monsters can hold on from week-to-week. After all, Godzilla could only muster a 2.15x multiplier while Skull Island finished with a 2.75x. Using those two performances we’d be talking about a total domestic gross performance anywhere from $105-135 million for the reportedly $170 million production, which means the studio will be putting a much larger emphasis on the film’s international performance.
That said, internationally, Godzilla debuted in 75 markets with an estimated $130 million for a worldwide opening totaling $179 million. Leading the way was a $70 million opening in China, which is relatively on par with the debut for Kong: Skull Island while playing well ahead of the likes of Rampage (+39%), The Meg (+40%) and 2014’s Godzilla (+116%). Other openings include Japan ($8.4m), Mexico ($4.6m), UK’s Wednesday opening with ($4.4m), Taiwan ($4.1m), Indonesia ($3.5m), France ($2.6m), Russia ($2.5m), India ($2.5m), Thailand ($2.3m), South Korea ($2.2m) and Malaysia ($2.2m). A few smaller markets remain with Spain serving as the last key market to release on June 21.
Disney‘s Aladdin had a solid hold in its sophomore frame, dipping -53% after its holiday weekend debut for an estimated $42.3 million three-day performance, pushing the film’s domestic gross to $185 million after ten days in release. Internationally, Aladdin addled another $78.3 million this weekend for an international cume totaling $261 million for a global cume just shy of $446 million.
Paramount‘s Rocketman debuted in third place with an estimated $25 million. The performance is well ahead of the $18-20 million the studio was anticipating, though well short of Mojo‘s pre-weekend forecast, anticipating a debut over $30 million. The film was a hit with audiences, however, just as it was with critics, receiving an “A-” CinemaScore, playing to a crowd that was 51% female with 55% of the overall crowd coming in aged 30 years or older. Overall, the performance is the fourth largest opening for a music biopic, just behind the $26.4 million debut for All Eyez on Me, though Paramount will be hoping for a much better run than that movie had as it only managed $44.9 million domestically.
Internationally, Rocketman is in its second weekend after debuting in the UK last week. The film added 39 new openings this weekend and grossed $19.2 million for an international cume that now stands at $31.2 million. Leading the way is the UK with a total of $15.3 million so far followed by Australia ($3.9m), France ($1.8m), Germany ($1.5m) and Brazil ($1.1m). Upcoming releases include Korea and Russia next weekend followed by Japan in late August.
In fourth is Universal and Blumhouse‘s Ma, which launched with an estimated $18.2 million domestically on a $5 million budget. The film received a “B-” CinemaScore from opening day audiences while playing to a crowd that was 53% female and 53% were aged 25 or older with strong support from African Americans, which made up a majority of the audience at 36%.
Ma also added $2.8 million internationally from 31 markets for a $21.1 million global bow. Leading the way was a $585k debut in the UK followed by Germany ($512k) and Mexico ($501k). Looking ahead, the film will open in France and Spain next week followed by openings in Russia (Jun 13), Korea (Aug 1), Italy (Aug 22), Australia (Aug 22) and Japan (Nov 8).
Rounding out the top five is Lionsgate‘s John Wick: Chapter 3, which took in an estimated $11.1 million domestically for a cume that now tops $125 million. Additionally, the film grossed an estimated $12.7 million internationally from 77 markets, pushing the international cume to $95.9 million for a global tally topping $221 million.
Next weekend sees the release of Fox‘s Dark Phoenix in 3,500 locations along with Universal‘s The Secret Life of Pets 2 in over 4,400 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Godzilla: King of the Monsters | $49.0M | $49.0M | 1 |
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Aladdin | $42.3M | $185.0M | 2 |
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Rocketman | $25.0M | $25.0M | 1 |
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Ma | $18.3M | $18.3M | 1 |
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John Wick: Chapter 3 – Parabellum | $11.1M | $125.8M | 3 |
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Avengers: Endgame | $7.8M | $815.5M | 6 |
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Pokémon Detective Pikachu | $6.7M | $130.6M | 4 |
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Booksmart | $3.3M | $14.4M | 2 |
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Brightburn | $2.3M | $14.2M | 2 |
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The Hustle | $1.3M | $33.2M | 4 |
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‘Toy Story 4’ Tracking Points Towards Biggest Animated Opening Ever at the BO!!
Disney has already smashed a host of box office records this year thanks to Marvel’s Avengers: Endgame, and it looks like they’ll be setting another this month thanks to the Disney-Pixar sequel Toy Story 4.
According to tracking estimates (via Dark Horizons), Woody, Buzz and the gang are on course to topple the $182 million debut of last year’s Incredibles 2, with Toy Story 4 looking at a domestic three-day opening weekend of $200 million.
Not only would that be a high for the Toy Story franchise (currently held by Toy Story 3 on $110.3 million), but it would also set a new opening record for an animated movie.
Three weeks out from its release, and Toy Story 4 has already set a pre-sales record, with Atom Tickets revealing that its first 24 hours of sales were 50% up on the previous top three animated pre-sellers combined.
Toy Story 4 is set for release on June 21st and features a voice cast that includes Tom Hanks, Tim Allen, Annie Potts, Joan Cusack, Blake Clark, Wallace Shawn, John Ratzenberger, Estelle Harris, Jodi Benson, Michael Keaton, Jeff Pidgeon, Kristen Schaal, Bonnie Hunt, Timothy Dalton, Jeff Garlin, Lori Alan, Tony Hale, Keegan-Michael Key, Jordan Peele, Don Rickles, and Keanu Reeves.
via Flickering Myth
‘The Lion King’: Early Tracking Suggests a Huge $230 million Opening at the Domestic BO!!
After scoring several big successes in the past few years, The Walt Disney Company has went all in on its animated remakes in 2019, delivering not one but three new versions of beloved classics.
Tim Burton’s Dumbo failed to soar back in March with an underwhelming box office run that totalled out at just $348.1 million, while Aladdin fared better this weekend but doesn’t look like it’s going to reach the highs of the likes of The Jungle Book and Beauty and the Beast.
Next up from the Mouse House is Jungle Book director Jon Favreau’s remake of The Lion King, and it looks like it’s going to be a case of third time’s a charm with early box office tracking suggesting that Simba and company are going to enjoy a huge domestic opening of between $180 million and $230 million.
This probably isn’t too surprising, considering that The Lion King is one of Disney’s most loved movies, while its trailer back in November generated an enormous 225 million views in its first 24 hours – the most for any Disney film.
Directed by Jon Favreau (The Jungle Book), The Lion King features a voice cast that includes Donald Glover (Solo: A Star Wars Story) as Simba, Beyonce (Dreamgirls) as Nala, Billy Eichner (Billy on the Street) as Timon, Seth Rogen (Sausage Party) as Pumbaa, John Oliver (Last Week Tonight) as Zazu, Chiwetel Ejiofor (Doctor Strange) as Scar, James Earl Jones (The Lion King) as Mufasa, Alfre Woodard (Luke Cage) as Sarabi, John Kani (Black Panther) as Rafiki, JD McCrary (Vital Signs) as Young Simba, Shahadi Wright Joseph (Hairspray Live) as Young Nala, Eric André (Man Seeking Woman) as Azizi, Florence Kasumba (Black Panther) as Shenzi, Keegan-Michael Key (The Predator) as Kamari and Amy Sedaris (BoJack Horseman) as a new character. It is set for release on July 19th.
via Flickering Myth
‘Men in Black: International’ Tracking Franchise Low Opening at the BO!!
Sony Pictures looks to breathe new life into the Men in Black franchise next month with the release of the spinoff/soft reboot Men in Black: International starring Chris Hemsworth and Tessa Thompson as our new MiB Agents H and M.
According to Variety, the F. Gary Gray-directed film is tracking a domestic opening weekend of $40 million, which would be the lowest debut of the series to date (Men in Black opened to $51.1 million in 1997, followed by $52.1 million for Men in Black II in 2002 and $54.6 million for 2012’s Men in Black 3).
‘John Wick 3’ Becomes Franchise’s All-Time Earner at the BO!!
After just 10 days of release, John Wick: Chapter 3 – Parabellum has become the highest grossing film in the action series.
Parabellum has grossed $181 million at the global box office to date, surpassing John Wick: Chapter 2‘s $171.5 million. The original John Wick ended its 2014 run with $88.7 million worldwide.
In its second weekend of release, Parabellum earned $24.35 million at the domestic box office, with a domestic cume of $107.1 million. The movie is looking to add $6 million over Memorial Day, with estimated four-day holiday weekend projection of $30.5 million.
Keanu Reeves returns in Parabellum as the formerly retired hitman who finds himself stripped of the protection from a shadowy international assassins guild. Now stuck with a $14 million bounty on his head, Wick must fight his way through the streets of New York as he becomes the target of the world’s most ruthless killers. Franchise newcomers Halle Berry and Anjelica Huston join in on the fight.
The well-reviewed action-thriller was once again helmed by stuntman-turned-director Chad Stahelski. The movie currently sits at an 89 percent fresh rating on Rotten Tomatoes, with a Metacritic score of 73 and an A- CinemaScore.
via The Hollywood Reporter
‘Aladdin’ Flies to $86 Million, While ‘Brightburn’ and ‘Booksmart’ Struggle at the BO!!!
Disney‘s Aladdin topped the weekend with an impressive debut, delivering over $85 million for the three-day and is expected to top $100 million for the four-day, Memorial Day holiday weekend. Meanwhile, fellow newcomers Brightburn and Booksmart finished more in line with studio expectations than Mojo‘s aggressive pre-weekend forecast and Avengers: Endgame will become only the second film ever to top $800 million at the domestic box office by the end of the long holiday weekend.
With an estimated $86.1 million, Disney‘s Aladdin topped the Memorial Day three-day weekend box office, besting the three-day opening for the studio’s Solo: A Star Wars Story last year. For Disney this is something of a big win considering the studio’s live action properties, outside of the Marvel Universe, have struggled for some time now. Disney anticipates the reportedly $180+ million production will top $105 million for the four-day weekend, though others expect that total to go even higher, targeting a four-day debut over $110 million, which would be enough to make it one of the top five Memorial Day opening of all-time. Aladdin received an “A” CinemaScore from opening day audiences while playing to a crowd that was 54% female with 54% of the audience coming in aged 25 or older.
Internationally, Aladdin debuted in every major market except for Japan, where the film will open on June 7, and delivered an estimated $121 million for a global debut topping $207 million for the three-day weekend. The film’s top market this weekend was China where it opened with $18.7 million followed by Mexico ($9.2m), UK ($8.4m), Italy ($6.6m), Korea ($6.5m), Russia ($6.4m), Australia ($5.4m), Indonesia ($4.9m), Spain ($4.8m), Brazil ($4.6m), France ($3.8m), Germany ($3.6m) and Philippines ($3.4m).
In second place is Lionsgate‘s release of John Wick: Chapter 3 – Parabellum with an estimated $24.35 million for the three-day, pushing the film over $100 million after ten days in release. Wick 3 is expected to add another $6+ million on Monday, which would push the film’s four-day weekend over $30 million for a domestic cume topping $107 million. With this weekend’s performance, Wick 3 is already the highest grossing film in the franchise, which makes it no wonder Lionsgate has already dated John Wick: Chapter 4 for May 2021. In fact, if you check out our latest showdown, the third Wick film is keeping pace with the likes of Mission: Impossible – Rogue Nation and Jason Bourne at the same point in each respective film’s release, further exemplifying the character’s box office might.
Internationally, Wick added an estimated $24.8 million from 74 markets this weekend, pushing the international cume to $74.4 million for a worldwide cume topping $175 million. This weekend’s new releases included Germany ($3.5m) and France ($2.2m) with Spain and Norway set to open next weekend as the final major markets where the film has yet to debut.
Disney‘s success this weekend continues in third place where we find Avengers: Endgame, which added another $16.8 million over the three-day and is expected to deliver $22 million for the four-day holiday weekend. The performance will be enough to give the film over $800 million domestically, joining Star Wars: The Force Awakens as the only two domestic releases to ever top $800 million at the domestic box office.
Internationally, Endgame added $15.3 million this weekend from 54 markets for an international total that now stands at $1.879 billion for a global cume totaling $2.677 billion. For those keeping watch, this puts Endgame approximately $111 million behind Avatar on the all-time worldwide grosses chart.
Warner Bros. landed in fourth position for the weekend with Detective Pikachu bringing in an estimated $13.3 million for the three-day weekend, pushing the film’s domestic gross over $116 million as it enters its third week in release. Expectation is for the picture to deliver around $17.5 million for the four-day weekend for a domestic gross topping $120 million. Internationally, the film added an estimated $24.3 million this weekend in 72 markets for an overseas cume totaling over $236 million for a worldwide gross just shy of $353 million.
Rounding out the top five is the second of the weekend’s three new wide releases in Sony‘s release of Screen Gems‘s Brightburn. The R-rated superhero feature delivered an estimated $7.5 million for the three-day weekend, which is just a touch below the studio’s $8 million expectation. The pic, which was made on a reported $6 million budget, is expected to deliver $9 million for the four-day weekend. The film received a “C+” CinemaScore from opening weekend audiences while playing to a weekend crowd that was 58% male and 64% of the overall audience was aged 25 or older.
Internationally, Brightburn brought in $4.5 million from 50 markets this weekend for an international cume totaling $7.8 million. Russia led all markets with $775k, followed by South Korea ($550k) and Spain ($505k). Upcoming major market releases include the UK (Jun 19), Germany (Jun 20) and France (Jun 26).
Just outside the top five is UA Releasing‘s Booksmart, which delivered an estimated $6.5 million over the three-day, which is in line with the studio’s expectations. Booksmart entered the weekend as the best reviewed film of the three new wide releases and received a “B+” CinemaScore from opening day audiences. As for that audience, 61% of the opening weekend crowd was female while 79% were under the age of 35.
In limited release, Greenwich‘s Echo in the Canyon debuted in two theaters with $103,716 for a chart-topping $51,858 per theater average; Fox International‘s India’s Most Wanted delivered $100,000 from 110 locations ($909 PTA); Bleecker‘s The Tomorrow Man debuted with $19,327 from four theaters ($4,832 PTA); Oscilloscope‘s The Proposal delivered $12,100 from one location; Ciesla‘s The Spy Behind Home Plate opened in one theater with $10,250; and PBS‘s Woodstock: Three Days that Defined a Generation opened in two locations with $8,150.
Next weekend will see Warner Bros. going big with Godzilla: King of the Monsters debuting in over 4,100 locations, Universal will fight for a similar audience with Ma opening in 2,750 locations while Paramount delivers some counter-programming in the form of Rocketman, which will launch in 3,500 theaters after debuting in the UK this past week with $6.4 million.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Aladdin | $86.1M | $86.1M | 1 |
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John Wick: Chapter 3 – Parabellum | $24.4M | $101.0M | 2 |
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Avengers: Endgame | $16.8M | $798.2M | 5 |
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Pokémon Detective Pikachu | $13.3M | $116.1M | 3 |
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Brightburn | $7.5M | $7.5M | 1 |
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Booksmart | $6.5M | $6.5M | 1 |
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A Dog’s Journey | $4.1M | $14.9M | 2 |
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The Hustle | $3.8M | $29.8M | 3 |
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The Intruder | $2.3M | $31.9M | 4 |
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Long Shot | $1.6M | $28.7M | 4 |
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‘John Wick 3’ Takes Down ‘Avengers: Endgame’ With $57 Million Opening at the BO!!
This weekend was a big one at the box office for Lionsgate, as “John Wick: Chapter 3 – Parabellum” earned $57 million from 3,850 screens — nearly doubling the $30 million opening of “John Wick: Chapter 2” in 2017, and giving the studio its biggest opening weekend since the “Hunger Games” series ended in November 2015.
At a time when many studios are acquiring recognizable franchises for four-quadrant appeal, “John Wick” was developed entirely in-house at Lionsgate with writer/creator Derek Kolstad and director Chad Stahelski growing from a cult favorite in 2014 to a potent R-rated summer action title.
Critics and audiences have praised the film’s signature fight sequences, giving “Chapter 3” an 88% score on Rotten Tomatoes and an A- on CinemaScore. Audience demographics were 63% male, with 45% over the age of 25.
As for “Avengers: Endgame,” falling to No. 2 on the box office charts this weekend didn’t bring an end to its record-smashing ways. In its fourth weekend, the film earned $29 million domestically to pass “Avatar” for the No. 2 spot on the all-time domestic box office charts. The James Cameron sci-fi film earned $760 million during its winter 2010 theatrical run, and “Endgame” has now passed that with $771 million. The one film standing in way of “Endgame” taking the all-time domestic record is “Star Wars: The Force Awakens” with $936 million.
Globally, “Endgame” now has a box office total of $2.61 billion, with China contributing $624 million, while Korea and the U.K. have both passed the $100 million mark. The film is now approximately $170 million away from passing “Avatar” for the all-time global box office record.
Warner Bros./Legendary’s “Detective Pikachu” had a decent hold in its second weekend, earning $24 million for a 56% drop from its $54 million opening. It now has a 10-day total of $93 million.
In fourth is Universal/Amblin’s “A Dog’s Journey,” which is falling below expectations with an $8 million opening from 3,267 screens. That’s less than half the $18 million opening made by the family film’s 2017 predecessor, “A Dog’s Purpose.” Audiences who did see “Journey” were pleased, giving it an A on CinemaScore. Critics were more tepid with a 49% Rotten Tomatoes score.
Completing the top five is MGM’s “The Hustle,” which fell 53% from its $13 million opening to earn $6 million in its second weekend and a 10-day total of $23.1 million. Outside the top five is Warner Bros.’ “The Sun Is Also a Star,” which opened to a disappointing $2.5 million from 2,073 screens. The romance film earned a B- on CinemaScore and 50% on Rotten Tomatoes.
via The Wrap
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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John Wick: Chapter 3 – Parabellum | $57.0M | $57.0M | 1 |
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Avengers: Endgame | $29.4M | $770.8M | 4 |
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Pokémon Detective Pikachu | $24.8M | $94.0M | 2 |
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A Dog’s Journey | $8.0M | $8.0M | 1 |
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The Hustle | $6.1M | $23.1M | 2 |
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The Intruder | $4.0M | $28.1M | 3 |
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Long Shot | $3.4M | $25.7M | 3 |
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The Sun Is Also a Star | $2.6M | $2.6M | 1 |
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Poms | $2.1M | $10.0M | 2 |
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UglyDolls | $1.6M | $17.2M | 3 |
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‘Detective Pikachu’ Delivers Record Opening as ‘Endgame’ Tops $700M at the BO!!
Disney‘s Avengers: Endgame dipped a little more than expected for the three-day, but it was still able to capture the weekend’s top spot, holding off a record start for a video game adaptation from WB‘s Pokemon: Detective Pikachu. Meanwhile, UA Releasing‘s The Hustle lived up to expectations, but STX and eOne‘s Poms and Disney‘s release of the Fox Searchlight drama Tolkien both struggled in their debuts over this Mother’s Day weekend.
With an estimated $63 million, Avengers: Endgame topped the weekend box office for the third straight weekend in a row for a domestic cume that now stands at $723.5 million. Endgame is only the third film ever to top $700 million domestically as it topped Black Panther to become the third highest grossing domestic release of all-time.
Internationally, Endgame added another $102.3 million for an international cume that now stands at $1.76 billion and a global tally reaching $2.485 billion. The film remains the second highest grossing international and worldwide release ever, trailing Avatar both categories, though by just $302 million worldwide and $265 million internationally in what could end up a very tight race.
Finishing in second is WB‘s Detective Pikachu with an estimated $58 million. The adaptation of the 2016 video game of the same name, which itself was based on the popular Pokemon franchise, delivered what is now the largest opening weekend for a video game adaptation ever, topping 2001’s Lara Croft Tomb Raider ($47.7m). Not only that, opening weekend audiences liked the film to the tune of an “A-” CinemaScore, which is only the sixth time a video game adaptation has scored anything higher than a “B”. In fact, three of the previous “A-” CinemaScores went to WB‘s three previous Pokemon films and the other two “A-” scores went to Mortal Kombat and Rampage.
Looking ahead, should Detective Pikachu follow in the footsteps of previous video game adaptations, we’re probably looking at a domestic run anywhere from $145-165 million. Outside that range on the high end, films such as Hitman, Lara Croft Tomb Raider: The Cradle of Life and Prince of Persia delivered 3x multiples, which would mean a domestic run closer to $175 million, but a performance closer to the likes of Rampage and The Angry Birds Movie seems a little more reasonable at this point, which would suggest a domestic run topping $160 million. However you look at it, we’re talking about a film that will soon become the highest grossing video game adaptation of all-time domestically as it has already entered the top ten after just three days in release.
Internationally, Detective Pikachu delivered an estimated $103 million this weekend for a running overseas cume that now totals $112.4 million after opening in Japan last weekend where it has brought in nearly $13 million so far. The film’s international performance is led by this weekend’s opening in China where it has already brought in nearly $41 million. Additional openings include UK ($6.6m), Germany ($5.0m), Mexico ($4.97m), France ($4.8m), Australia ($3.5m), Korea ($3.2m), Italy ($2.8m), Spain ($2.2m), Indonesia ($2.14m) and Taiwan ($2.06m). The next major market release is Russia where the film will open on May 16.
UA Releasing‘s The Hustle finished in third with an estimated $13.5 million, which is just ahead of expectations for the comedy remake starring Anne Hathaway and Rebel Wilson. Opening day audiences gave the film a “B” CinemaScore while 72% of the crowd was female and 66% were under 35 years old.
Internationally, the film debuted in 36 locations with an estimated $13.7 million led by a $2.4 million opening in Russia. Additional openings include Germany ($1.8m), Australia ($1.8m) and the UK ($1.5m). Looking ahead, the film will open in Mexico on June 28 followed by July openings in France and Brazil.
Sony‘s The Intruder held on better than expected for a fourth place finish after dipping just -39% in its second weekend for a $6.6 million three-day. The film’s domestic total now tops $21 million after ten days in release.
Rounding out the top five is Lionsgate‘s Long Shot, which also held on better than expected with an estimated $6.1 million three-day, dropping -37% in its second weekend. The romantic comedy has now grossed just shy of $20 million domestically.
Falling outside the top five is eOne and STXfilms‘s Poms, which debuted in 2,750 locations and could only manage an estimated $5.1 million. This is the second disappointment in as many weeks for STX, which saw their animated feature UglyDolls disappoint last weekend. Poms received a “B+” CinemaScore from opening day audiences and saw females make up 75% of the opening weekend crowd while 85% of the weekend audience was aged 25 or older.
Landing just inside the top ten is Disney‘s release of Tolkien, which was previously scheduled for a limited release this weekend rather than a wide, and, unfortunately it was unable to live up to its theater count. The film debuted in 1,495 locations and could only manage an estimated $2.15 million. This includes both $240k from Thursday’s previews as well as grosses from Tuesday’s Fathom event. Overall the film’s per theater average is a disappointing $1,419.
In limited release, Fox International‘s Student of the Year 2 brought in an estimated $438,000 from 190 locations ($2,305 PTA); Neon‘s Biggest Little Farm debuted with $101,012 from five theaters for a chart-topping $20,202 per theater average; Sony Classics opened All is True in four theaters with an estimated $46,809 ($11,702 PTA); IFC‘s Charlie Says brought in an estimated $39,114 from 39 locations ($1,003 PTA); and Cohen Media‘s My Son opened with $4,484 from three theaters ($1,495 PTA).
Next weekend sees the release of the hotly anticipated John Wick: Chapter 3 – Parabellum in 3,600+ locations along with Universal‘s A Dog’s Journey in 3,200 theaters and WB‘s The Sun is Also a Star in over 2,100 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Avengers: Endgame | $63.1M | $723.5M | 3 |
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Pokémon Detective Pikachu | $58.0M | $58.0M | 1 |
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The Hustle | $13.5M | $13.5M | 1 |
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The Intruder | $6.6M | $21.0M | 2 |
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Long Shot | $6.1M | $19.7M | 2 |
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Poms | $5.1M | $5.1M | 1 |
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UglyDolls | $3.9M | $14.3M | 2 |
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Breakthrough | $2.5M | $37.1M | 4 |
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Tolkien | $2.2M | $2.2M | 1 |
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Captain Marvel | $1.8M | $423.8M | 10 |
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‘Toy Story 4’: Early Tracking Points to a Franchise-High Opening at the BO!!
While Toy Story 3 is seen by many fans as the perfect conclusion to the story of Woody, Buzz and the gang, it seems there’s still plenty of excitement for the fourth installment in the beloved Disney-Pixar series, as Box Office Pro is reporting that Toy Story 4 is tracking a rather healthy domestic opening weekend of between $105 million and $130 million.
Should it reach the top end of that range, Toy Story 4 would surpass its 2010 predecessor’s franchise record opening weekend of $110 million, although it would fall short of Finding Dory’s $135 million and Pixar’s record opener Incredibles 2, which debuted to $182.7 million last year.
It’s worth noting that these are just early tracking estimates, and will likely change as the marketing campaign continues and early reactions and reviews hit ahead of the film’s June 21st release.
Woody (voice of Tom Hanks) has always been confident about his place in the world, and that his priority is taking care of his kid, whether that’s Andy or Bonnie. So when Bonnie’s beloved new craft-project-turned-toy, Forky (voice of Tony Hale), declares himself as “trash” and not a toy, Woody takes it upon himself to show Forky why he should embrace being a toy. But when Bonnie takes the whole gang on her family’s road trip excursion, Woody ends up on an unexpected detour that includes a reunion with his long-lost friend Bo Peep (voice of Annie Potts). After years of being on her own, Bo’s adventurous spirit and life on the road belie her delicate porcelain exterior. As Woody and Bo realize they’re worlds apart when it comes to life as a toy, they soon come to find that’s the least of their worries.
Toy Story 4 is set for release on June 21st and features a voice cast that includes Tom Hanks, Tim Allen, Annie Potts, Joan Cusack, Blake Clark, Wallace Shawn, John Ratzenberger, Estelle Harris, Jodi Benson, Michael Keaton, Jeff Pidgeon, Kristen Schaal, Bonnie Hunt, Timothy Dalton, Jeff Garlin, Lori Alan, Tony Hale, Keegan-Michael Key, Jordan Peele, Don Rickles, and Keanu Reeves.
via Flickering Myth
‘Avengers: Endgame’ Tops $2 Billion Globally, While New Releases Open Low at the BO!!
In just twelve days of global release Avengers: Endgame is already the second largest worldwide release of all-time, topping $2 billion globally and delivering over $619 million at the domestic box office. Lost in its wake, the weekend’s three new wide releases were led by the Screen Gems thriller The Intruder while Lionsgate‘s Long Shot and STX‘s animated feature UglyDolls finished the weekend on the lower end of expectations.
With an estimated $145.8 million, Avengers: Endgame came up just a bit shy of the record $149.2 million second weekend for Star Wars: The Force Awakens, but this may be an example of Disney being just a bit cautious. Tomorrow may reveal the film was able to top the record mark set by Force Awakens once weekend actuals are released, but even without that record Endgame has now grossed nearly $620 million at the domestic box office, already ranking as the ninth largest domestic release of all-time after just ten days in theaters. Just how high it will climb remains difficult to nail down, but a domestic gross topping $900 million seems like an extreme possibility.
Internationally, Endgame added over $282 million for an overseas cume that now stands at $1.569 billion and a global total reaching $2.188 billion, making it the second largest global release of all-time, trailing Avatar by $600 million. As for that total, Endgame topped $2 billion worldwide in its eleventh day of release, a total Avatar reached after 47 days.
Endgame‘s top international market remains China where the film has now grossed over $575 million followed by the UK ($89.9m), Korea ($82.1m), Mexico ($61.6m), Brazil ($56.3m), India ($51.8m), Germany ($47.4m), Australia ($46.2m), France ($43.1m), Japan ($34.4m), Indonesia ($30.9m), Italy ($29.0m), Philippines ($28.7m), Spain ($24.9m), Hong Kong ($23.1m), Taiwan ($22.5m) and Thailand ($22.5m). Not included in those numbers is the film’s $32.6 million seven day opening in Russia where it began playing on Monday and has already become the sixth largest release in the market of all-time.
In the runner-up position we find Sony‘s release of the Screen Gems thriller The Intruder, which delivered an estimated $11 million from 2,222 locations. The film received a “B-” CinemaScore from opening day audiences while playing to a weekend crowd that was 53% female and 68% of the overall audience was aged 25 or older. The film outperformed the studio’s $9 million expectations and came in a bit higher than Mojo‘s pre-release forecast.
Lionsgate‘s release of Long Shot came in on the lower end of expectations, delivering an estimated $10 million debut and a third place finish. The film was the best reviewed title among new releases, but audiences wither weren’t all that interested, or Endgame was too much of a juggernaut or perhaps there was just too much of a crossover among the weekend’s new offerings, all of which skewed female with Long Shot playing to a crowd that was 56% female while 68% of the opening weekend audience was aged 35 or older. The film received a so-so “B” CinemaScore and will hope to receive some solid word of mouth as it heads into its second weekend, though the competition looking ahead doesn’t get much easier.
Internationally, Long Shot opened in 22 markets with an estimated $3.3 million with the UK leading the way with an estimated $1 million, ranking #2 in the market. Looking ahead, the film will open in France, Belgium and Spain in two weeks followed by releases in Finland (Jun 7), Netherlands (Jun 13), Brazil (Jun 20), Germany (Jun 20), Russia (Jun 27) and South Korea (Jul 17).
Struggling in its debut, STX‘s UglyDolls took in an estimated $8.5 million from 3,652 theaters for a soft, $2,330 per theater average. The animated feature received a “B+” CinemaScore from the opening day crowd while the full weekend played to an audience that was 64% female. The film’s performance is just behind the $8.9 million debut for My Little Pony back in October 2017 and that film went on to gross $21.8 million domestically and just over $60 million globally. The difference between the two films, however, is UglyDolls carries a production budget of a reported $45 million (though Deadline.com is reporting a budget closer to $53 million), which, while small, is considerable when compared to the just $6.5 million for My Little Pony.
Heading into release, UglyDolls had over 100 promotional partners, including McDonald’s, Walmart, Hasbro, Carl’s Jr./Hardee’s and Outright Games and STX has already struck a deal with Hulu to follow up the film’s release with 26-episode franchise series launches on the streaming service next year. Perhaps that will be a better outlet for the brand rather than theaters.
Rounding out the top five is Disney and Marvel‘s Captain Marvel with an estimated $4.2 million as the film has now pushed over $420 million domestically. The film also added another $1.2 million internationally as its global cume climbs to $1.12 billion.
Just outside the top ten is Briarcliff‘s release of El Chicano, which debuted in 605 theaters with an estimated $700,432 and a sluggish, $1,158 per theater average.
In limited release Well Go‘s Shadow opened in four theaters with an estimated $30,100 ($7,525 PTA); IFC‘s Non-Fiction debuted in two theaters with an estimated $29,056; and Sumbadhat‘s Mother of a Day opened in one theater with an estimated $2,672.
Next weekend will see Endgame face its first test at the top of the box office as Warner Bros. releases Detective Pikachu into over 4,100 locations and it could wrestle away the weekend’s top spot from the Marvel release. Also hitting theaters next week will be UAR‘s The Hustle into 2,750 locations; STX will launch Poms into over 2,700 theaters; and Disney will debut Fox Searchlight‘s Tolkien into 1,300 theaters on Friday, but prior to that Searchlight has partnered with Fathom for a special, one-night event on Tuesday, May 7.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Avengers: Endgame | $145.8M | $619.7M | 2 |
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The Intruder | $11.0M | $11.0M | 1 |
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Long Shot | $10.0M | $10.0M | 1 |
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UglyDolls | $8.5M | $8.5M | 1 |
|
| |
Captain Marvel | $4.3M | $420.8M | 9 |
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Breakthrough | $3.9M | $33.2M | 3 |
|
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The Curse of La Llorona | $3.5M | $48.1M | 3 |
|
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Shazam! | $2.5M | $135.2M | 5 |
|
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Little | $1.5M | $38.6M | 4 |
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Dumbo | $1.4M | $109.7M | 6 |
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‘Aladdin’: Disney Film is Tracking a $100 Million Domestic Opening at the BO!!
Update: Official tracking numbers are now in, with Aladdin expected to gross around $100 million across the four-day Memorial Day holiday weekend, and $80 million from the Friday-Sunday period. Original story follows:
Tim Burton’s Dumbo didn’t quite manage to soar at the box office, with the filmmaker’s live-action adaptation of the 1941 animated Disney classic opening well below expectations last weekend with $45 million domestic and $116 million worldwide.
However, it seems that Disney’s next live-action remake could find itself performing much better, with long-range tracking for Guy Ritchie’s Aladdin pointing to a three-day domestic debut of in the region of $70 – $95 million, and a four-day take of $85 – $115 million across the full Memorial Day holiday weekend.
The early marketing for Aladdin didn’t go too well, with the movie coming in for criticism over Will Smith’s human form Genie, followed by more criticism – and some laughter – once Smith’s blue form Genie was unveiled.
Nevertheless, the above forecast suggests that audiences aren’t ready to write the film off just yet, and with the best part of two months to go until it’s release there’s still plenty of time for Disney’s marketing machine to work its magic.
A thrilling and vibrant live-action adaptation of Disney’s animated classic, “Aladdin” is the exciting tale of the charming street rat Aladdin, the courageous and self-determined Princess Jasmine and the Genie who may be the key to their future.
Aladdin is being directed by Guy Ritchie (King Arthur: Legend of the Sword) and features a cast that includes Mena Massoud (Aladdin), Naomi Scott (Princess Jasmine), Will Smith (Genie), Marwan Kenzari (Jafar), Navid Negahban (The Sultan), Nasim Pedrad (Dalia); Billy Magnussen (Prince Anders), Numan Acar (Hakim), Alan Tudyk (Iago) and Frank Welker (Abu). It is set for release on May 24th 2019.
via Flickering Myth
‘Avengers: Endgame’ Moves into the Top 5 of All-Time Worldwide BO!!
The Avengers: Endgame spoiler-ban is officially over, but the box office numbers show few signs of slowing down. The movie, which is the culmination of the MCU’s story so far, has already made a habit of destroying existing box office records; many more are likely to fall. Take, for example, the current list of top-earners from the all-time worldwide box office, which now has a new member.
As THR reports, Avengers: Endgame has already made $1.785 billion in its first week of release, easily giving it the fifth spot on this historic list. That pushes the 2015 film Jurassic World and its $1.764.3 billion down to sixth. The new total comes after a Thursday earning of $121.4 million globally, a total that most movies would kill for on an opening weekend let alone a Thursday night. The latest MCU movie is in for another big weekend with little competition in sight from newcomers like El Chicano, The Intruder, Long Shot, and UglyDolls.
But Avengers: Endgame still needs quite the push to move up the all-time worldwide box office list. It currently sits behind its own sister film, Avengers: Infinity War with only a paltry $264 million separating them; this one’s within striking distance. Beyond that, in third place, is yet another Disney product: Star Wars: The Force Awakens, with roughly $20 million more than Infinity War. This one could and should fall to Endgame just as easily. The main competition here is in the two top spots, movies which have reigned for 10 and 20+ years, respectively. In first place is Avatar with $2.788 billion, followed by Titanic in second with $2,187.5 billion.
That’s a lotta bucks. Despite Titanic‘s silver medal, won from more than 20 years worth of re-releases and box office boosting, it’s only about $400 million ahead of Endgame. The first of James Cameron‘s two epic box office busters may soon slip to third. But Endgame is going to need more than another billion dollars if it wants to sneak past Avatar and its own decade of re-releases. But as far as Disney’s concerned, it’s just bragging rights since they own/have acquired the properties that reside in the top spots, with the exception of Titanic. Yay for mergers, I guess.
via Collider
‘Avengers: Endgame’ Completely Obliterates ‘Hellboy’ at the BO!!!
As expected, Marvel Studios completely dominated the box office this past weekend with the release of the hugely-anticipated superhero epic Avengers: Endgame, the film pulling in an incredible $357 million domestically and $1.2 billion worldwide to absolutely smash any and all records.
Naturally this didn’t spell good news for the other poor unfortunate titles going up against the Marvel juggernaut – save for Captain Marvel, which actually climbed back up to second place with an $8.3 million weekend taking its domestic total to $8.3 million.
Wisely, studios opted against throwing any other big new releases up against Endgame, but the Infinity War follow-up sucked the life from rival DC superhero movie Shazam!, the DCEU release dropping 66.1% and three places in the U.S. chart.
The biggest casualty however was perhaps Lionsgate’s Hellboy; the poorly-received big screen reboot of the Dark Horse Comics character plunged 91% in its third weekend, grossing just $354,575 to take its domestic haul to a very disappointing $21.5 million.
Lionsgate has been keeping Hellboy’s international grosses under its chest, but at this point it looks very likely that the $50 million-budgeted comic book movie is going to be a bust for the studio unless it manages a solid run with its release in China.
Hellboy sees Neil Marshall (Game of Thrones) directing Stranger Things star David Harbour in the lead role alongside Ian McShane (American Gods) as Professor Bruttenholm, Sasha Lane (American Honey) as Alice Monaghan, Milla Jovovich (Resident Evil) as the Queen of Blood, Daniel Dae Kim (Hawaii Five-O) as Major Ben Daimio and Penelope Mitchell (The Vampire Diaries) as Ganeida.
via Flickering Myth
‘Avengers: Endgame’ Breaks Records with $1.2 Billion Global Opening at the BO!!!
Heading into the weekend it was a foregone conclusion that Avengers: Endgame would deliver the largest opening weekend of all-time, both domestically and globally, but to deliver a three-day domestic gross totaling an estimated $350 million and a global weekend over $1 billion was almost inconceivable. Today that figure has become a reality as Endgame not only delivered an estimated $350 million over the course of its first three days in domestic release, but a massive $1.2 billion at the global box office in just its first five days in release.
Endgame‘s estimated $350 million debut will almost surely improve once actuals are revealed on Monday afternoon, but for now the film’s opening is nearly $93 million larger than the previous record set by Avengers: Infinity War ($257.69 million) just last year and a whopping 90% of the overall weekend market share. After critics were overwhelmingly in support of the film heading into the weekend, the film’s opening weekend crowd gave it an “A+” CinemaScore, the third such grade in the Marvel Cinematic Universe alongside The Avengers and Black Panther. The audience was 57% male and 61% was 25 years of age or older.
Looking ahead, forecasting just where exactly Endgame will end up is near impossible, but if we were to compare to Infinity War‘s domestic debut, that film went on to gross nearly $680 million at the domestic box office. Should Endgame deliver a similar multiplier we’re talking about a domestic performance topping $920 million, which would put it just shy of the current record domestic gross of $936.6 million set by Star Wars: The Force Awakens back in 2015. Whether Endgame is able to reach that mark will be a story for another day, but it seems safe to assume it will, at the very least, become the second largest domestic release of all-time considering the lowest multiplier for a film in the MCU is Captain America: Civil War‘s 2.27x, which would give Endgame a nearly $800 million domestic run.
Getting back to the film’s weekend performance, a look at the the records Avengers: Endgame broke this weekend at the domestic box office include:
- Largest Thursday Previews: $60 million
Previous Record: $57 million (Star Wars: The Force Awakens) - Widest Opening: 4,662 theaters
Previous Record: 4,529 theaters (Despicable Me 3) - Largest Friday, Opening Day and Single Day: $156.7 million
Previous Record: $119.1 million (Star Wars: The Force Awakens) - Largest Saturday: $109 million
Previous Record: $82.1 million (Avengers: Infinity War) - Largest Sunday: $84.3 million
Previous Record: $69.2 million (Avengers: Infinity War) - Domestic Opening Weekend: $350 million
Previous Record: $257.69 million (Avengers: Infinity War) - #1 Movie Market Share: 90%
Previous Record: 84.5% (Avengers: Age of Ultron) - Highest Per Theater Average (Wide Opening): $75,075 / 4,662 theaters
Previous Record: $59,982 / 4,134 theaters () - Largest April Opening, Spring Opening, PG-13 Opening and 3-Day Gross: $350 million
Previous Record: $257.69 million (Avengers: Infinity War) - Biggest Weekend Overall (Top 12 Gross): $389 million
Previous Record: $305.55 million (Dec. 18–20, 2015) - Fastest to $100 Million: 1 Day
Previous Record: 1 Day (Star Wars: The Force Awakens) - Fastest to $150 Million: 1 Day
Previous Record: 2 Days (Avengers: Infinity War) - Fastest to $200 Million: 2 Days
Previous Record: 3 Days (Avengers: Infinity War) - Fastest to $250 Million: 3 Days
Previous Record: 3 Days (Avengers: Infinity War) - Fastest to $300 Million: 3 Days
Previous Record: 5 Days (Star Wars: The Force Awakens) - Fastest to $350 Million: 3 Days
Previous Record: 6 Days (Star Wars: The Force Awakens) - International Opening Weekend: $859 million
Previous Record: $443.15 million (The Fate of the Furious) - Worldwide Opening Weekend: $1.2 billion
Previous Record: $640.5 million (Avengers: Infinity War) - Global 3D Opening Record: ~$540 million
Previous Record: ~$366 million (Avengers: Infinity War) - Global IMAX Opening Record: $91.5 million
Previous Record: $47.6 million (Star War: The Force Awakens)
As already mentioned, it wasn’t only domestic records that fell this weekend. Endgame‘s $859 million international opening is over $400 million more than the previous record set by The Fate of the Furious and the $1.2 billion in global ticket sales is nearly double the previous record of $640.5 million set by Avengers: Infinity War just last year. The film is the fastest film to ever top $1 billion globally, doing so after just five days, and it already ranks as the 18th largest worldwide release ever and the sixth largest worldwide release in the Marvel Cinematic Universe.
Speaking of the Marvel Cinematic Universe, the franchise’s 22 films have now grossed over $19.8 billion worldwide, of which nine have topped $1 billion at the global box office.
Within that record setting global debut, Endgame delivered the #1 opening day ($107.8m) in China as well as the largest five-day opening weekend in the market ($330.5m) and already ranks as the #4 non-local film ever in the market. In addition to that, the film delivered the largest industry openings in 44 markets, including Australia ($30.8m), Korea ($47.4m), Brazil ($26m), Mexico ($33.1m), France ($24.2m, non-local), Italy ($19m, non-local), Spain ($13.3m) and the UK ($53.8m).
Here’s a look at the film’s top 16 markets internationally:
- China ($330.5m)
- UK ($53.8m)
- Korea ($47.4m)
- Mexico ($33.1m)
- Australia ($30.8m)
- Germany ($26.9m)
- India ($26.7m)
- Brazil ($26.0m)
- France ($24.2m)
- Italy ($19.0m)
- Philippines ($17.9m)
- Thailand ($14.3m)
- Indonesia ($14.1m)
- Spain ($13.3m)
- Japan ($13.0m)
- Hong Kong ($12.5m)
- Taiwan ($12.3m)
The film will release in Russia on Monday, April 29, serving as the final international market where the film has yet to be released.
Amazingly enough, Disney and Marvel didn’t stop with Endgame this weekend as Captain Marvel entered its eighth week in release and dipped just -10% for an estimated $8 million three-day and a runner-up finish at the weekend box office. The film has now grossed over $413 million at the domestic box office, topping Wonder Woman to become the ninth largest superhero release all-time domestically. Internationally, Captain Marvel added over $2 million for a global weekend topping $10 million and a global cume that now stands at $1.11 billion, making it the #24 overall global release of all-time.
Warner Bros. and New Line‘s The Curse of La Llorona dipped -72% in its sophomore session for an estimated $7.5 million three-day and a domestic cume that now stands at $41.28 million after ten days in release. Internationally, the film brought in nearly $8 million this weekend for an overseas cume that now stands at $45.7 million for a global cume totaling $87 million.
Disney‘s release of Fox‘s Breakthrough landed in third place, dipping -44% in its second weekend in release. The film delivered an estimated $6.3 million over the three-day for a domestic cume that now totals $26.1 million.
Rounding out the top five is WB‘s Shazam! with an estimated $5.5 million (-66%) and a domestic cume that now totals over $131 million as it enters its fourth week in release. Internationally, the film added an estimated $5.4 million from 80 markets in release for an overseas total that now tops $215 million and a global tally that stands at $346.4 million.
Next weekend will see four films go into wide release, hoping to find some room to exist alongside Endgame‘s sophomore frame. STX will debut their first original animated feature in Uglydolls, debuting in over 3,600 theaters; Lionsgate and Summit will release the comedy Long Shot into ~3,100 locations; Screen Gems will open the thriller The Intruder; and Briarcliff will go wide with El Chicano.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Avengers: Endgame | $350.0M | $350.0M | 1 |
|
| |
Captain Marvel | $8.1M | $413.6M | 8 |
|
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The Curse of La Llorona | $7.5M | $41.3M | 2 |
|
| |
Breakthrough | $6.3M | $26.1M | 2 |
|
| |
Shazam! | $5.5M | $131.1M | 4 |
|
| |
Little | $3.4M | $35.8M | 3 |
|
| |
Dumbo | $3.2M | $107.0M | 5 |
|
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Pet Sematary | $1.3M | $52.6M | 4 |
|
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Us | $1.1M | $172.8M | 6 |
|
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Penguins | $1.1M | $5.7M | 2 |
|
‘Avengers: Endgame’ Scores Biggest Single Day in History at the BO!!!
Having kicked off its international run on Wednesday by smashing the record for the biggest opening day in China, Avengers: Endgame made its domestic bow on Friday, with the Marvel sequel smashing the record for the biggest ever single day in any one territory.
After pulling in a record $60 million in Thursday previews, Avengers: Endgame grossed $157 million at the domestic box office on Friday, some $37.9 million more than the biggest ever single day set by Star Wars: The Force Awakens with its opening day in December 2015.
Domestic tracking estimates for Endgame suggest that it will end up the weekend on around $349 million – almost $100 million higher than Avengers: Infinity War’s weekend record of $257 million. Internationally, Endgame had already amassed $305 million by close of play on Thursday, and so the film will easily smash Infinity War’s global weekend record of $640.5 million.
At this point, a billion dollar five-day opening weekend remains firmly on the table – a milestone that took Infinity War some 11 days to reach.
via Flickering Myth
‘Avengers: Endgame’ To Shatters Records in China As Tracking Up to $1 Billion Opening at the BO!!!
As I’m sure you’re aware, this week sees the global roll out of Marvel’s hugely-anticipated superhero epic Avengers: Endgame, with the film tracking an unprecedented box office opening of anywhere between $850 million and $1 billion (!) in A SINGLE WEEKEND.
We won’t know for sure just how big Endgame’s weekend is going to be until the dust settles on Sunday, but it’s certainly got off to an impressive start in China with a “midnight” (actually, 12am, 3am and 6am screenings combined) opening of $26.8 million. That’s close to three times the previous record of $9.1 million set by The Fate of the Furious, and the $8.9 million of Marvel’s Avengers: Infinity War.
Estimated pre-sales for China clock in at $115 million, compared to $65 million for Infinity War, and tracking is pointing to a five-day opening in China the region of $250 million to $300 million. Throw in the same again from the U.S., and a further $400 million internationally, and a billion dollar weekend may well be within the realm of possibility.
If so, then it begs the question – is Endgame going to be the film to dethrone Avatar as the biggest of all time?
via Flickering Myth
‘The Curse of La Llorona’ Tops Easter Weekend By Opening at #1 at the BO!!!
Leading the Easter weekend charge was Warner Bros. and New Line‘s The Curse of La Llorona, which topped expectations as audiences continue to crave new horror, giving WB and New Line their third straight weekend at #1. Disney and Fox‘s Breakthrough delivered a top three performance following its Wednesday debut and Disney also saw Captain Marvel enjoy a nice bump over the weekend, topping $400 million domestically, as audiences prep for the release of Avengers: Endgame next weekend.
Warner Bros. and New Line took the weekend’s top spot for the third weekend in a row, this time with debut of the R-rated horror The Curse of La Llorona, which delivered an estimated $26.5 million, well ahead of expectations. While pretty much dismissed by critics (32% on RottenTomatoes and 41 on Metacritic), the film received a “B-” CinemaScore from opening weekend audiences which were 51% male with 60% of the crowd coming in aged 25 or older.
Internationally, Curse of La Llorona launched in 71 markets, bringing in an estimated $30 million for a $56.5 million global launch. The debut was led by a $5.3 million opening in Mexico, followed by Colombia ($2.4m), France ($2.1m), Spain ($1.7m), Indonesia ($1.6m), Korea ($1.3m), India ($1.1m) and Russia ($1.1m). The film still has a few markets where it has yet to open, including the UK on May 3 and Japan a week later on May 10.
Along with a #1 finish, WB and New Line also secured the runner up position with Shazam!, which topped the past two weekends and held on very well in its junior frame, dipping -29% for an estimated $17.3 million as the film’s domestic cume now tops $121 million. Internationally, the film added another $22 million this weekend, pushing its overseas cume to $201.5 for a worldwide gross that now tops $322 million.
Debuting in third place is Disney‘s first official Fox release since acquiring the studio in the faith-based feature Breakthrough, which opened on Wednesday and delivered an estimated $11.1 million for the three-day and $14.6 million over the five-day. The film received an “A” CinemaScore from opening day audiences and played to a crowd that was 65% female and 70% were aged 25 or older.
Internationally, Breakthrough is now in its second weekend and playing in 20 key markets where it added another $2.8 million this weekend for an overseas total that now stands at a $5.9 million. The film’s top market is Brazil where it has already grossed $3.8 million after two weekends in release.
Disney also landed in fourth position with an excellent performance from Captain Marvel, which saw a +6% increase over last weekend despite losing 322 locations. The film played in 2,653 theaters this weekend and delivered an estimated $9.1 million for a domestic cume that now tops $400 million. The film is now the 34th film to ever top that figure domestically and the seventh film to reach that mark in the Marvel Cinematic Universe. The film also added another $6.5 million this weekend overseas for an international cume that now stands at $689.5 million and a global tally that is now $1.089 billion.
Rounding out the top five is Universal‘s Little, which dipped -45% in its second weekend with an estimated $8.45 million for a domestic cume just shy of $30 million. The film also added another $1.4 million internationally for an overseas cume that now stands at $4.8 million and a worldwide tally topping $34 million.
Finishing outside the top ten is Disneynature‘s Penguins, which brought in an estimated $2.3 million over the three-day after opening on Wednesday. The performance comes in below expectations and is the worst debut for a Disneynature film yet, even if you take into account the overall $3.3 million it took in over its first five days of release. Penguins received an “A” CinemaScore from opening day audiences and played to a crowd that was 56% female and 48% were aged 25 or older.
Also outside the top ten, Fox International‘s Kalank opened in 320 locations on Wednesday and delivered an estimated $1.3 million over the three day for a $1.8 million five-day debut. The film also debuted in two Fox markets this weekend led by a $9.5 million opening in India.
Additionally, Bleecker Street expanded the release of Teen Spirit into 696 theaters (+692) and brought in $250,536 for a disappointing $360 per theater average. While not the worst ever, the performance does rank inside the top 25 worst all-time.
In limited release, A24‘s Under the Silver Lake delivered an estimated $40,157 from two locations for a chart-topping $20,079 per theater average. The film from David Robert Mitchell will expand into top markets next weekend while simultaneously launching on home entertainment platforms on April 23. Additionally, Neon‘s release of Little Woods opened with $66,415 from 33 theaters ($2,013 PTA); IFC‘s Red Joan debuted in four theaters with an estimated $40,631 ($10,158 PTA); Lionsgate‘s Fast Color opened with an estimated $37,500 from 25 theaters ($1,500 PTA); Magnolia‘s Hail Satan? opened in three locations with an estimated $25,700 ($8,567 PTA); Film Arcade‘s Family debuted with $20,400 in three theaters ($6,800 PTA); and Zeitgeist debuted the documentary Be Natural: The Untold Story of Alice Guy-Blaché in one location with an estimated $3,801.
Next weekend sees the release of Avengers: Endgame, which will debut in over 4,400 locations and has already seen estimates as high as the never-before-reached $300 million for the film’s opening weekend.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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The Curse of La Llorona | $26.5M | $26.5M | 1 |
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Shazam! | $17.3M | $121.3M | 3 |
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Breakthrough | $11.1M | $14.6M | 1 |
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Captain Marvel | $9.1M | $400.0M | 7 |
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Little | $8.5M | $29.4M | 2 |
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Dumbo | $6.8M | $101.3M | 4 |
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Pet Sematary | $4.9M | $49.6M | 3 |
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Missing Link | $4.4M | $13.0M | 2 |
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Us | $4.3M | $170.4M | 5 |
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Hellboy | $3.9M | $19.7M | 2 |
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‘X-Men: Dark Phoenix’: Early Tracking Points to a Record Low Opening for the Franchise!!
20th Century Fox pulls the curtain down on its near-20 year long X-Men franchise this June with the release of X-Men: Dark Phoenix, but if early tracking is any indication, it doesn’t seem like the mutant superhero series is going to go out with a bang.
According to estimates from Box Office Pro, the Simon Kinberg-helmed Dark Phoenix is heading for a domestic opening weekend in the region of between $40 million and $50 million. That would set a new low for the franchise – a position currently held by 2013’s The Wolverine on $53.1 million – although it’s entirely possible that The New Mutants could end up taking that spot, assuming the spinoff does actually receive a theatrical release.
Dark Phoenix has had a difficult production, with extensive re-shoots reportedly pushing the budget beyond the $200 million mark. And, with the final trailer released this week, there doesn’t seem to be much more opportunity to build hype for the movie ahead of its June release. That being said, positive reviews and word of mouth – and a good run in the international markets – could well prevent the film from being a costly flop.
X-Men: Dark Phoenix sees Simon Kinberg directing a cast that includes franchise veterans Michael Fassbender (Magneto), James McAvoy (Professor X), Jennifer Lawrence (Mystique), Nicholas Hoult (Beast), Alexandra Shipp (Storm), Sophie Turner (Jean Grey), Tye Sheridan (Cyclops), Kodi Smit-McPhee (Nightcrawler) and Evan Peters (Quicksilver) alongside new additions Kota Eberhardt (The Persian Connection) as Selene, Andrew Stehlin (Hacksaw Ridge) as Red Lotus, and Jessica Chastain (Molly’s Game) and Lamar Johnson (Kings). It is set for release on June 6th 2019.
via Flickering Myth
‘Shazam!’ Leads Second Weekend as ‘Hellboy’ Crashes at the BO!!!
After four straight weekends featuring a new #1 film at the weekend box office, Warner Bros.‘s Shazam! took the crown for a second weekend in a row, topping a flurry of newcomers that delivered varying returns. Universal‘s Little secured the runner-up position, out-performing Lionsgate and Summit‘s Hellboy, which struggled amidst a flurry of negative reviews ahead of release not to mention reports of tension during production. Additionally, United Artists‘s release of Laika‘s Missing Link missed expectations and Aviron‘s After out-performed pre-weekend expectations.
At the top of the box office is Shazam!, which delivered an estimated $25.1 million in its second weekend, a drop of -53%, for a domestic cume just shy of $95 million. The film also topped the global box office for a second weekend in a row as it added $35.9 million internationally for an overseas cume that now stands at $163.9 million and a global tally reaching $258.8 million.
Universal‘s Little led all newcomers, delivering an estimated $15.5 million in its debut, for a second place finish. The $20 million production received a “B+” CinemaScore from opening day audiences and, over the weekend, played to a crowd that was 65% female and 56% were aged 25 or older. Additionally, the film played to a crowd that was 43% African American.
Internationally, Little debuted in 11 markets with an estimated $1.9 million led by a $751k debut in the UK. Upcoming key market releases include a June 14 debut in Spain followed by France (Jun 19), Italy (Jul 4) and Russia (Aug 8).
Lionsgate‘s release of Summit‘s Hellboy struggled in its debut, delivering a mere $12 million, well below the studio’s anticipated $17-20 million opening. The film faced plenty of negativity heading into its weekend from mostly negative reviews to reports of tension during production. Opening weekend audiences were 56% male and 64% aged 25 or older and of that crowd, opening day moviegoers gave the pic a disappointing “C” CinemaScore.
In fourth is Paramount‘s Pet Sematary, which dipped -59% in its sophomore frame, which was to be expected, finishing with an estimated $10 million three-day, pushing the film’s domestic gross over $41 million after ten days in release. Internationally, the film added $12.6 million this weekend, pushing its overseas cume to $35.7 million for global tally that now stands at $76.8 million.
Rounding out the top five is Disney‘s Dumbo, which dipped -49.6% as it entered its third week in release, finishing with an estimated $9.18 million and a domestic cume just shy of $90 million. The film also added another $22 million internationally this weekend for an overseas cume that now totals $177 million and a global tally that stands at $267 million.
Elsewhere, Aviron‘s After topped pre-weekend expectations, delivering an estimated $6 million from 2,138 locations. The film received a “B” CinemaScore from opening day audiences while playing to a crowd that was 76% female and 73% of the overall opening weekend crowd was under the age of 25 as young females powered the film’s debut.
Finishing in ninth is United Artists‘s release of Laika‘s Missing Link, which was expected to deliver anywhere from $9-12 million this weekend, but could only muster $5.8 million from 3,413 locations, and a disappointing $1,712 per theater average. As noted in our pre-weekend forecast, the pic was pacing behind recent Laika releases as well as last March’s Sherlock Gnomes, suggesting awareness and interest in the film was light heading into the weekend. In the end, Laika‘s brand wasn’t enough to propel the film’s opening alone, resulting in the worst wide opening for the animation house to date.
In limited release, Ledafilms‘s Mia and the White Lion opened with a disappointing $238,903 from 312 locations ($766 PTA); IFC‘s Mary Magdalene opened in 62 theaters with an estimated $62,436 ($1,007 PTA); Bleecker‘s Teen Spirit brought in $44,361 from four theaters ($11,090 PTA); Gunpowder & Sky‘s Her Smell delivered an estimated $39,058 from three theaters for a chart-topping $13,019 per theater average; Greenwich‘s Wild Nights with Emily brought in an estimated $33,000 from three locations ($11,000 PTA); and Kino Lorber‘s release of Bi Gan‘s 3-D feature Long Day’s Journey Into Night brought in $27,896 from three locations ($9,298 PTA).
Next week sees a pair of films opening on Wednesday, including Fox‘s Breakthrough and Disney‘s latest Disney nature documentary, Penguins. Then, on Friday, Warner Bros. will release The Curse of La Llorona in over 3,400 locations as we inch closer to the release of Avengers: Endgame at the end of the month.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Shazam! | $25.1M | $94.9M | 2 |
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Little | $15.5M | $15.5M | 1 |
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Hellboy | $12.0M | $12.0M | 1 |
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Pet Sematary | $10.0M | $41.1M | 2 |
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Dumbo | $9.2M | $89.9M | 3 |
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Captain Marvel | $8.6M | $386.5M | 6 |
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Us | $6.9M | $163.5M | 4 |
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After | $6.2M | $6.2M | 1 |
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Missing Link | $5.8M | $5.8M | 1 |
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The Best of Enemies | $2.0M | $8.1M | 2 |
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‘Andhadhun’ Collections Cross Rs. 70 Cr. at the China BO!!!
The Ayushmann Khurrana – Tabu starrer Andhadhun directed by Sriram Raghavan released a few days ago in China. After opening on a good note the business of the film at the China box office has been seeing exponential growth. After crossing the Rs. 40 Cr mark by the end of its third day, the business of Andhadhun witnessed another jump.
In fact, on Day 4 at the China box office Andhadhun drew in a further USD 4.03 million [Rs.27.90 Cr]. This coupled with the previous three days collections has propelled the business of the film well past the Rs. 70 Cr mark at the China box office. Currently the total earning of Andhadhun within the Chinese market stands at USD 10.51 million [Rs. 72.76 cr].
Interestingly, since Andhadhun hit screens in China on Wednesday the business is expected to continue to see an increase in collections. In fact, given the current trending Andhadhun might just manage to cross the Rs. 100 Cr mark as well with its Sunday collections at the China box office.
via Bollywood Hungama
‘Shazam!’ Leads Weekend with $53M While ‘Pet Sematary’ Follows With $25M Opening at the BO!!
The weekend played out mostly as expected with the release of Shazam! from Warner Bros. and New Line securing the top spot in both the domestic and worldwide marketplace while Paramount‘s release of Pet Sematary scored the second largest opening for a Stephen King adaptation. STX‘s The Best of Enemies, however, fell a bit below expectations as April is off to a solid start, but it won’t be until the release of Avengers: Endgame at the end of the month that we’ll be able to see whether this April will be able to challenge last year’s record monthly grosses.
At the top of the box office, Warner Bros.‘s release of New Line‘s Shazam! delivered just above expectations with an estimated $53.4 million for a cumulative total that stands at $56.7 million once you add in grosses from the late March, Fandango special event. The film was well received by critics and opening weekend audiences alike, the latter of which giving the film an “A” CinemaScore with males making up 57% of the crowd and 55% of the opening weekend audience coming in aged 25 years or older.
Looking ahead, Shazam!’s debut isn’t too far behind Marvel‘s Ant-Man ($57.2m opening). Ant-Man went on to deliver a 3.1x multiplier in 2015, which is just ahead of the average multiplier for a film in the DC Extended Universe. This would suggest Shazam! could be looking at a $160+ million domestic run should word of mouth give it an assist over the coming weeks ahead of the April 26 opening of Avengers: Endgame.
Internationally, Shazam! generated an estimated $102 million from 79 international markets as the film opened day-and-date in virtually all overseas territories outside of Japan, where it will open on April 19. Leading the way was a $30.9 million opening in China followed by Mexico ($6.2m), UK ($5.3m), Russia ($5.2m), Brazil ($5.1m), Indonesia ($4.1m), Korea ($3.9m), Australia ($3.4m), France ($2.8m), Taiwan ($2.7m), Thailand ($2.2m), Malaysia ($2m), Italy ($2m), Spain ($1.7m) and Germany ($1.4m). The film’s overall worldwide debut comes in a $158.8 million.
In the runner-up position, Paramount‘s release of Pet Sematary delivered an estimated $25 million, which is in line with studio expectations for the $21 million production. The performance ranks as the second largest opening for a Stephen King adaptation, behind only 2017’s monster hit It. The film received a “C+” CinemaScore with 52% of the opening weekend crowd coming in female while 58% of the audience was aged 25 years or older.
Looking ahead, the film’s performance is similar to the $25.7 million debut for Evil Dead remake, which opened over the same weekend in 2013 and went on to gross just over $54 million. Similarly, 2007’s Halloween remake debuted with $26.3 million and went on to gross $54.2 million while the 2005 remake of The Amityville Horror opened with $23.5 million and went on to gross over $65 million.
Internationally, Pet Sematary opened in the first 46 international markets, representing 73% of the marketplace, and grossed $17.3 million. The performance was led by a $3.1 million opening in Russia followed by the UK ($2m), Mexico ($2m) and Germany ($1.5m). The film will open in France and Korea next weekend followed by a May 9 release in Brazil.
Taking the bronze medal, Disney‘s Dumbo took a hard fall, dropping -60% in its second weekend for an estimated $18.2 million, bringing the film’s domestic me to over $76 million. The reported $170 million production is struggling to match expectations for a Disney title of this sort, suffering a sophomore weekend drop similar to 2016’s Alice Through the Looking Glass, which only managed a 2.86x multiplier. Internationally, the pic brought in an estimated $39.6 million from 55 markets for an overseas cume that now totals $137.5 million and a global tally that is now just shy of $214 million.
Universal‘s Us took a -58% dip in its second weekend as it would appear Pet Sematary did take a chunk out of its box office this weekend as the film has now delivered over $152 million as it enters its third week in release and now ranks among the top five R-rated horror films ever. The film also added another $10.3 million internationally this weekend as its global cume now totals over $216 million.
Rounding out the top five is Disney‘s Captain Marvel with an estimated $12.68 million as the superhero film has now topped $374 million at the domestic box office. The film also added another $14.1 million internationally for a global cume that now stands at $1.037 billion, which moves it into the top 30 all-time.
Outside the top five, STXFilms‘s The Best of Enemies came in below expectations with an estimated $4.5 million on 1,705 screens. The film received an “A” CinemaScore from opening day crowds while playing to a weekend audience that was 63% female and 79% was 25 and older.
In limited release, Greenwich‘s The Public brought in an estimated $279,294 from 265 locations ($1,054 PTA); A24‘s High Life topped the charts based on per theater average with an estimated $100,028 from four theaters ($25,007 PTA); Good Deed‘s Storm Boy brought in an estimated $46,744 from 56 locations ($835 PTA); and Amazon‘s Peterloo opened with an estimated $30,426 from three locations ($10,142 PTA).
Next weekend will be busy with four new wide releases beginning with United Artists Releasing‘s debut of Laika‘s new title, Missing Link, opening in ~3,500 theaters; Lionsgate will open Hellboy in ~3,200 locations; Universal‘s comedy Little is set for over 2,600 theaters; and Aviron will debut After in approximately 2,000 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
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Shazam! | $53.5M | $56.8M | 1 |
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Pet Sematary | $25.0M | $25.0M | 1 |
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Dumbo | $18.2M | $76.3M | 2 |
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Us | $13.8M | $152.4M | 3 |
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Captain Marvel | $12.7M | $374.1M | 5 |
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The Best of Enemies | $4.5M | $4.5M | 1 |
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Five Feet Apart | $3.7M | $41.6M | 4 |
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Unplanned | $3.2M | $12.5M | 2 |
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Wonder Park | $2.0M | $42.0M | 4 |
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How to Train Your Dragon: The Hidden World | $2.0M | $156.7M | 7 |
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‘Avengers: Endgame’ Tracking To Debut With $900 Million at the BO!!!
We’re just a few weeks out from the release of what is likely to be not only the biggest film of 2019, but one of the biggest of all time, as Marvel Studios follows up last year’s superhero epic Avengers: Infinity War with Avengers: Endgame.
Last week, the film hit tracking with analysts predicting a global opening of $840 million (which would smash the previous record of $640.4 million set by Infinity War), and now Forbes is reporting that the figure is on the low-end, and that Endgame will debut to at least $850 million, possibly rising as high as $900 million.
Endgame is set to open globally across the same weekend, unlike Infinity War which didn’t make its way to China until two weeks after its domestic launch. Infinity War’s opening weekend in China was $199.3 million, so had it released day and date, it would have reached $840 million itself.
With that in mind, and given that Endgame has already shattered its predecessor’s first-day pre-sales record in just six hours, it seems highly likely that the film could indeed pass the $840 million mark. However, one thing working against it is that screenings will be somewhat limited by the lengthy running time, with Joe Russo confirming to Comic Book that Endgame will run for 3 hours and 58 seconds.
The grave course of events set in motion by Thanos that wiped out half the universe and fractured the Avengers ranks compels the remaining Avengers to take one final stand in Marvel Studios’ grand conclusion to twenty-two films, “Avengers: Endgame.”
Avengers: Endgame stars Robert Downey Jr. (Iron Man), Chris Evans (Captain America), Mark Ruffalo (Hulk), Chris Hemsworth (Thor), Scarlett Johansson (Black Widow), Jeremy Renner (Hawkeye), Josh Brolin (Thanos), Brie Larson (Captain Marvel), Paul Rudd (Scott Lang), Don Cheadle (War Machine), Karen Gillan (Nebula), Chadwick Boseman (Black Panther), Tom Holland (Spider-Man), Sebastian Stan (Winter Soldier), Anthony Mackie (Falcon), Paul Bettany (Vision), Elizabeth Olsen (Scarlet Witch), Benedict Cumberbatch (Doctor Strange), Benedict Wong (Wong), Chris Pratt (Star-Lord), Zoe Saldana (Gamora), Dave Bautista (Drax), Bradley Cooper (Rocket), Vin Diesel (Groot), Karen Gillan (Nebula), Pom Klementieff (Mantis), Tom Hiddleston (Loki), Gwyneth Paltrow (Pepper Potts), Evangeline Lilly (The Wasp), Letitia Wright (Shuri), Tessa Thompson (Valkyrie), Jon Favreau (Happy Hogan), Tilda Swinton (The Ancient One) and Frank Grillo (Crossbones), as well as Hiroyuki Sanada (The Wolverine) and Katherine Langford (13 Reasons Why).
via Flickering Myth
‘Captain Marvel’ Powers Past $1 Billion at Global Box Office!!!
Today, Captain Marvel has become the seventh MCU film to cross the $1 billion mark worldwide. Carol Danvers joins the likes of Steve Rogers, T’Challa, and Tony Stark as Marvel superheroes whose individual films have reached that milestone (those being Captain America: Civil War, Black Panther, and Iron Man 3 respectively), alongside all three Avengers films (Endgame will likely be next). It’s also the 18th Disney movie to hit pass $1 billion globally. As reported by Variety, “In total, the 21 films in the Marvel Cinematic Universe have collectively grossed $18.5 billion to date.”
Directed by Anna Boden and Ryan Fleck and starring Brie Larson, Jude Law, Samuel L. Jackson, Ben Mendelsohn, and Annette Bening, Captain Marvel is the MCU’s first foray into a female-led superhero film, following the success of DC’s Wonder Woman (directed by Patty Jenkins) in 2017 (Wonder Woman did fall short of the $1 billion milestone though, capping out at $841 million thus far). So, cheers to Captain Marvel! May she pave the way for others.
Of course, Carol Danvers will be returning quickly to the big screen to play a pivotal role in Endgame, which premieres in theaters Friday, April 26th.
via Collider
Disney’s ‘Dumbo’ Opens to a Disappointing $45 million at the BO!!!
Disney‘s Dumbo was unable to reach studio or industry expectations, but still managed a #1 finish, making for the third different #1 film at the domestic weekend box office in as many weeks. Meanwhile holdovers such as Us and Captain Marvel continued their strong performances and Pure Flix‘s release of the anti-abortion drama Unplanned managed to out-perform expectations and find itself a spot in the top five.
With an estimated $45 million, Disney‘s Dumbo topped the weekend box office though fell short of the studio’s $50+ million expectations and well short of what some thought would be a $60+ million debut. While the performance is well ahead of select, recent Disney releases such as Christopher Robin ($24.6m opening), Alice Through the Looking Glass ($26.9m opening) and Pete’s Dragon ($21.5m opening), it’s well short of films such as Cinderella ($67.9 million opening), which online ticket retailer Fandango.com reported Dumbo was outpacing in advance ticket sales.
Looking ahead, Dumbo did receive an “A-” CinemaScore from opening day audiences, which were 53% female and 54% were 25 years of age or older. That said, looking at Disney‘s other live action reimaginings, the average multiplier is 3.2x, which would suggest Dumbo is on its way to a domestic performance around $145 million. Given the reported $170 million budget, that puts a lot of heavy lifting on the international market.
Internationally, Dumbo debuted day-and-date in all markets globally with an estimated $71 million, which includes #1 openings in not only the US, but also in France, Italy, Spain, Russia, UK, Argentina, Brazil and Mexico along with being the #1 western release in China and Japan. Leading the way was a $10.7 million opening in China followed by the UK ($7.4m), Mexico ($7.2m), Russia ($4.4m), Italy ($3.8m), France ($3.6m), Spain ($3.6m), Brazil ($2.5m), Japan ($2.4m) and Australia ($2.1m).
Universal‘s Us dipped -53% in its second weekend, which is below Mojo‘s aggressive forecast, but pretty much right on par with what should be expected for a genre film of this sort. The film’s $33.6 million three-day pushed the domestic gross over $128 million in just ten days. While the film continues to pace well ahead of select, comp titles, next weekend should prove interesting as it will face some serious genre competition with the release of Paramount‘s Pet Sematary.
Internationally, Us added 14 additional markets and brought in an estimated $22.6 million from 60 total markets for an overseas cume that now totals $46.3 million for a worldwide tally just shy of $175 million. Among new territories, Korea led the way with a $6.9 million opening followed by Australia ($2.7m) and Russia ($1.4m). Next weekend Us will open in Italy followed by debuts in Mexico (May 3) and Japan (Aug 23).
Disney‘s Captain Marvel lands in third, dipping -40% as it begins its fourth weekend in release with an estimated $20.5 million three-day. This pushes the film’s domestic gross over $353 million as it currently ranks as the eighth largest domestic release in the Marvel Cinematic Universe.
Internationally, Captain Marvel added another $26.4 million from 54 markets, pushing the overseas total to $636.8 million and the global tally over $990 million. The film will soon top $1 billion at the global box office, becoming the seventh film in the MCU to reach that mark and the 38th film all-time.
Pulling into fourth is Lionsgate‘s release of the CBS drama Five Feet Apart, which delivered an estimated $6.25 million, dipping just -27% as it kicks off its third week in release with a domestic gross that now tops $35 million. Internationally, the film added another $6.2 million from 39 markets for an international cume that now totals $14.8 million and a global cume topping $50 million.
Rounding out the top five is Pure Flix‘s Unplanned. The anti-abortion drama debuted in 1,059 theaters and managed a $6.1 million ($5,745 PTA) opening weekend performance, aided by pre-release theater buyouts and previews totaling $1.5 million. The film received an “A+” CinemaScore from opening day audiences, which were 58% female and 70% aged 25 years or older. The performance marks the second largest debut for Pure Flix behind the $7.6 million debut for God’s Not Dead 2 and they did so tapping into online advertising as the likes of Lifetime, Hallmark, HGTV and others refused to show the ads for the film.
Outside the top five, Bleecker‘s Hotel Mumbai had a solid expansion into 924 theaters (+920) bringing in an estimated $3.16 million for a $3,423 per theater average.
Neon‘s The Beach Bum from director Harmony Korine rounded out the top ten as it was unable to deliver on even the lower end of expectations, bringing in just $1.8 million from 1,100 theaters.
In limited release, IFC‘s Diane opened in three theaters with an estimated $27,043 ($9,014 PTA); Comedy Dynamics opened Slut in a Good Way in seven locations with an estimated $22,000 ($3,143 PTA); Magnolia‘s Steve Bannon documentary The Brink opened in four locations with an estimated $18,370 ($4,593 PTA); PBS‘s The Chaperone delivered $12,150 from two theaters ($6,075 PTA); and Greenwich‘s Screwball opened in 13 locations with an estimated $12,020 ($925 PTA).
Next weekend features a couple of higher profile releases including WB’s release of New Line‘s Shazam! in over 4,100 locations alongside the latest Stephen King adaptation, Paramount‘s release of Pet Sematary, which is expected to debut in over 3,400 theaters. Additionally, STX will open The Best of Enemies with Sam Rockwell and Taraji P. Henson in over 1,600 theaters.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Dumbo | $45.0M | $45.0M | 1 |
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Us | $33.6M | $128.2M | 2 |
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| |
Captain Marvel | $20.5M | $353.8M | 4 |
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| |
Five Feet Apart | $6.3M | $35.9M | 3 |
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| |
Unplanned | $6.1M | $6.1M | 1 |
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| |
Wonder Park | $4.9M | $37.9M | 3 |
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| |
How to Train Your Dragon: The Hidden World | $4.2M | $153.0M | 6 |
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Hotel Mumbai | $3.2M | $3.3M | 2 |
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A Madea Family Funeral | $2.7M | $70.0M | 5 |
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The Beach Bum | $1.8M | $1.8M | 1 |
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Jordan Peele’s ‘Us’ Opens at a Brilliant $70 Million Debut at the BO!!!
Universal‘s release of Jordan Peele‘s Us dominated the domestic box office, not only out-performing the opening weekends for several recent horror hits, but delivering the second largest opening ever for a live-action, original picture, topping the weekend box office with over $70 million. As a result, the 2019 box office continues to improve over the month of March after struggling to begin the year. Overall, this weekend was the third straight to outperform the same weekend last year.
At #1, with an estimated $70.25 million (~49.6% of all tickets sold among the top 12 films), Us topped the weekend box office with the third largest opening of all-time for an R-rated horror film, blowing away 2018’s The Nun ($53.8m opening) and placing behind Universal‘s own Halloween, which opened with $76.2 million last October. The film also decimated the opening for Peele‘s previous film Get Out, which was a massive hit back in 2017 following a $33.3 million debut. Get Out would go on to gross over $176 million domestically, ranking as the third largest horror film of all-time domestically.
One mind-blowing stat is to note that while animated features such as Inside Out ($90.4m), Zootopia ($75m), The Incredibles ($70.46m) and Finding Nemo ($70.25m) opened higher, the $70.25 million debut for Us is the largest opening for a live-action, original film since Avatar’s $77 million debut back in 2009. On a list dominated by sequels it’s not often original content is seen to climb quite so high.
Additionally, Us delivered the largest opening for an original, R-rated film, topping Universal‘s Ted ($54.4m) not to mention the largest opening for an original horror film, topping A Quiet Place ($50.2m). The performance comes with a “B” CinemaScore, which is a notch below the “A-” for Get Out, but is still a solid audience grade for a horror film. The overall opening weekend audience was split 50/50 among males and females and 53% of the overall audience was aged 25 or older.
Looking ahead at its domestic prospects, it’s not easy to determine just how high Us will climb. While Get Out pushed over $176 million, Halloween finished its run with $159.3 million, though the latter was certainly a product of nostalgia and seasonal relevance. That said, one would expect Us to play closer to Get Out and push over $200 million, but how far over? On average, films that open anywhere from $65-75 million deliver a 3.36x multiplier, which would suggest a domestic performance around $236+ million, which seems like as good a bet as any right now.
Internationally, Us debuted in 47 markets and brought in an estimated $16.7 million led by a $3.67 million opening in the UK to go along with a $1.98 million France debut, $1.36 million in Germany and $1.17 million launch in Spain. Next weekend’s key markets include openings in Korea, Russia and Australia followed by openings in Italy (Apr 4), Mexico (May 3) and finally Japan on August 23.
Disney‘s release of Marvel‘s Captain Marvel fell to second place as it begins its third weekend in release, dipping -48.5% and delivering an estimated $35 million for a domestic cume that now tops $321 million. The performance makes it the tenth largest domestic release in the Marvel Cinematic Universe and places it just outside the top twenty among all superhero films.
Internationally, Captain Marvel delivered an estimated $52.1 million from 54 markets, pushing the film’s international cume to $588.8 million for a global tally topping $910 million. The film now ranks as the seventh largest global release in the MCU and will soon become the seventh film in the franchise to top $1 billion worldwide.
In third, is Paramount‘s Wonder Park, which dipped -43% in its sophomore frame, delivering an estimated $9 million for a domestic cume that is now just shy of $30 million. The film also added $5 million internationally this weekend for an overseas cume that now totals $10.2 million.
Lionsgate‘s release of CBS Films‘s Five Feet Apart dropped -34% in its second weekend, pulling in an estimated $8.75 million for a domestic cume that stands at $26.5 million. The film also expanded its international footprint this weekend, now playing in 37 markets from which it brought in an estimated $6.2 million for an overall international cume that stands at $6.3 million. This weekend saw the film deliver a #1 finish in Italy with an estimated $1.7 million along with a $1.4 million opening in Brazil and $1.1 million debut in Mexico. Next weekend the film will open in Australia followed by debuts in South Korea (Apr 11) and Russia (May 1).
Rounding out the top five is Universal and DreamWorks Animation‘s How to Train Your Dragon: The Hidden World, dipping just -30% for a $6.5 million weekend and a domestic cume that now tops $145 million as it enters its fifth week in release. Internationally the film added another $6 million from 62 markets still in play, pushing its worldwide cume over $488 million. The film still ranks as the third largest release in the franchise worldwide, but will soon top the original’s $494.9 million globally, though the first sequel’s $621.5 million global tally appears well out of reach.
Outside the top five, A24‘s Gloria Bell had a strong expansion this weekend, delivering an estimated $1.8 million from 654 theaters (+615) for a $2.5 million domestic cume as the Julianne Moore starrer enters its third weekend in release.
In limited release this weekend Bleecker‘s Hotel Mumbai brought in an estimated $86,492 from four theaters ($21,623 PTA); IFC‘s Out of Blue opened in 35 locations with a disappointing $17,682 ($505 PTA); and Sony Classics releases Sunset in three theaters with an estimated $15,006 ($5,002 PTA).
Outside of the overall weekend performances, WB‘s upcoming release of Shazam! held a special preview event in conjunction with Fandango.com, from which it delivered an estimated $3.3 million. The figure tops the recent performance from How to Train Your Dragon 3, which brought in $2.6 million from Fandango screenings in advance of release and even Aquaman’s $2.9 million from Amazon Prime screenings. Shazam! hits theaters in two weeks and to go along with this weekend’s screenings, the first reviews dropped this morning and it currently holds a promising 94% rating on RottenTomatoes.
Next weekend will be quite interesting as Us will look to hold on similarly to Get Out, which dipped just -15% in its second weekend, but audiences will have a lot to choose from including the release of Disney‘s Dumbo, which is tracking well and looking to open in over 4,000 locations along with Neon‘s The Beach Bum in over 750 theaters and Pure Flix‘s Unplanned, which will launch in approximately 1,000 locations.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Us | $70.3M | $70.3M | 1 |
|
| |
Captain Marvel | $35.0M | $321.5M | 3 |
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| |
Wonder Park | $9.0M | $29.5M | 2 |
|
| |
Five Feet Apart | $8.8M | $26.5M | 2 |
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| |
How to Train Your Dragon: The Hidden World | $6.5M | $145.8M | 5 |
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| |
A Madea Family Funeral | $4.5M | $65.9M | 4 |
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Gloria Bell | $1.8M | $2.5M | 3 |
|
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No Manches Frida 2 | $1.8M | $6.6M | 2 |
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The Lego Movie 2: The Second Part | $1.1M | $103.3M | 7 |
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Alita: Battle Angel | $1.0M | $83.7M | 6 |
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‘Captain Marvel’ Flies Past $900 Million at the Worldwide BO!!!
Marvel’s latest superhero franchise Captain Marvel has pushed its global haul past the $900 million mark, pulling in $35 million domestically and a further $52.1 million from international markets in its third weekend.
With $321.5 million from North America and $588 million overseas, the Brie Larson-headlined blockbuster has earned $910.3 million to date, and is expected to cross the $1 billion mark by close of play next weekend, becoming the seventh Marvel Cinematic Universe movie to do so.
2019 is certainly shaping up to be a big one for Brie Larson, who’ll be back on the big screen next month as Carol Danvers as she joins Earth’s Mightiest Heroes in the fight against Thanos in Avengers: Endgame., while the Oscar-winner is also set to release her directorial debut Unicorn Store, which reunites her with her Captain Marvel co-star Samuel L. Jackson.
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).
via Flickering Myth
‘Captain Marvel’ Tops Again while ‘Wonder Park’ and ‘Five Feet Apart’ Open Well at the BO!!
For a second weekend in a row Disney and Marvel‘s Captain Marvel topped the weekend box office as it has now posted over $760 million worldwide in just twelve days in global release. Overall, the weekend ended up topping the same weekend last year for a second straight week as both Wonder Park and Five Feet Apart outperformed expectations with their opening weekend performance. At the same time Lionsgate‘s release of Pantelion‘s No Manches Frida 2 delivered a top ten finish from just 472 theaters, topping Focus‘s disappointing release of Captive State, which struggled in its debut in over 2,500 locations.
Disney‘s Captain Marvel topped the weekend box office for a second weekend in a row, delivering an estimated $69.3 million sophomore frame, dipping -54.8% and outperforming the -56% average second weekend dip for a film in the Marvel Cinematic Universe. This pushes the film’s domestic cume over $266 million after just ten days in domestic release.
Internationally, Captain Marvel opened in its final international market this weekend, finishing #1 with an estimated $5.6 million in Japan. China remains the top grossing international market with an estimated $132 million followed by South Korea ($36.5m), the UK ($30.9m), Brazil ($24.3m) and Mexico ($22.4m). Overall, the film brought in $119.7 million from 54 markets this weekend for an overseas cume that now totals $494 million for a global cume that is now over $760 million. That number already surpasses ten previous releases in the MCU globally and will soon top Guardians of the Galaxy ($773.3m globally) to become the tenth highest grossing worldwide release in the MCU.
In the runner-up position, Paramount‘s Wonder Park managed to outperform the top end of expectations, delivering an estimated $16 million debut from 3,838 locations. Opening day audiences gave the film a “B+” CinemaScore while the opening crowd was 59% female and 62% families.
Internationally, Wonder Park opened in 19 markets with an estimated $4.3 million. Leading the way was Brazil with a $1.7 million debut followed by Indonesia ($276K), Turkey ($266K) and the United Arab Emirates ($235K). The film opens in Russia next week followed by an April 3 debut in France with openings in Australia, Germany, Mexico, Spain and the UK set for the following week.
In third place, Lionsgate‘s release of CBS Films‘s Five Feet Apart also managed to outperform expectations and topped opening weekend comps including Love, Simon and Everything, Everything, delivering an estimated $13.1 million opening weekend from 3,727 theaters and with it a solid “A” CinemaScore suggesting good things for the weeks to come. The film’s opening weekend audience was 82% female with 65% of the opening weekend crowd coming in under the age of 25. 45% of that audience was under the age of 18 and gave the film an “A+” CinemaScore.
Universal‘s release of DreamWorks Animation‘s How to Train Your Dragon: The Hidden World landed in fourth, dipping -36% as it entered its fourth week in release with an estimated $9.3 million three-day, pushing its domestic box office over $135 million. The film also added another $9.4 million internationally this weekend, pushing its overseas total to $330.9 million for a global tally that stands at $466.5 million.
Rounding out the top five is Tyler Perry‘s A Madea Family Funeral, which dipped -36% as it enters its third week in release, delivering an estimated $8 million for a domestic cume that now stands at $59 million.
Lionsgate‘s third film in the top ten lands just outside the top five with the release of Pantelion‘s No Manches Frida 2 debuting in 472 theaters and delivering an impressive $3.89 million. The performance is a notch ahead of the original film’s $3.6 million three-day debut over Labor Day weekend back in 2016 and audiences appear to have liked what they saw, giving the sequel an “A” CinemaScore.
Next we come to Focus‘s release of Captive State, which was unable to capture audience attention, delivering just $3.1 million from 2,548 locations for only a $1,242 per theater average. Audiences that saw the film weren’t exactly taken with it either, giving it a “C-” CinemaScore. The film played to an opening weekend crowd that was 55% male with 66% of the crowd coming in under the age of 35.
In limited release, Focus‘s The Mustang brought in an estimated $76,000 from four theaters ($18,950 PTA); ArtAffects‘s Faith, Hope & Love opened with $60,855 from 18 theaters ($3,381 PTA); Fox Searchlight‘s release of The Aftermath brought in an estimated $57,500 from five theaters ($11,500 PTA); Cohen Media Group debuted Ash is the Purest White in seven theaters with an estimated $45,150 for a $6,450 per theater average; The Orchard‘s The Hummingbird Project opened in four theaters with an estimated $36,027 ($9,007 PTA); and Oscilloscope‘s Combat Obscura brought in an estimated $15,500 from 10 locations ($1,550 PTA).
Next weekend will see the release of Jordan Peele‘s Us opening in over 3,600 theaters. The thriller serves as the director’s follow-up to the monster 2017 hit Get Out and it has already generated a slew of great reviews out of the SXSW Film Festival.
via Box Office Mojo
| Title | Weekend | Gross | Weeks | ||
|---|---|---|---|---|---|
| |
Captain Marvel | $69.3M | $266.2M | 2 |
|
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Wonder Park | $16.0M | $16.0M | 1 |
|
| |
Five Feet Apart | $13.2M | $13.2M | 1 |
|
| |
How to Train Your Dragon: The Hidden World | $9.3M | $135.6M | 4 |
|
| |
A Madea Family Funeral | $8.1M | $59.1M | 3 |
|
| |
No Manches Frida 2 | $3.9M | $3.9M | 1 |
|
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Captive State | $3.2M | $3.2M | 1 |
|
| |
The Lego Movie 2: The Second Part | $2.1M | $101.3M | 6 |
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| |
Alita: Battle Angel | $1.9M | $81.8M | 5 |
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Green Book | $1.3M | $82.6M | 18 |
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‘Captain Marvel’ Pushes the MCU beyond the $18 Billion mark at the BO!!!
After scoring a bumper $455 million global opening this past weekend (the second-biggest ever for a superhero movie), Marvel Studios’ female-fronted superhero blockbuster Captain Marvel has pushed its worldwide haul to $550 million by close on play on Wednesday – and in the process, the MCU has now surpassed $18 billion in total box office receipts.
You have to go back to 2011’s Captain America: The First Avenger for the last time that a Marvel movie failed to hit the half billion dollar mark – something that has only happened on three occasions out of 21 movies (the others being The Incredible Hulk and Thor).
In total, the MCU has now grossed an enormous $18.072 billion – almost twice that of its nearest rival franchise Star Wars on $9.307 billion – and with Captain Marvel going strong, Avengers: Endgame opening next month, and Spider-Man: Far From Home in July, $21 billion is certainly in reach this year…
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).
via Flickering Myth
‘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 | $153.0M | $153.0M | 1 |
|
| |
How to Train Your Dragon: The Hidden World | $14.7M | $119.7M | 3 |
|
| |
A Madea Family Funeral | $12.1M | $45.9M | 2 |
|
| |
The Lego Movie 2: The Second Part | $3.8M | $97.1M | 5 |
|
| |
Alita: Battle Angel | $3.2M | $78.3M | 4 |
|
| |
Green Book | $2.5M | $80.1M | 17 |
|
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Isn’t It Romantic | $2.4M | $44.2M | 4 |
|
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Fighting with My Family | $2.2M | $18.7M | 4 |
|
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Greta | $2.2M | $8.3M | 2 |
|
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Apollo 11 | $1.3M | $3.8M | 2 |
|
‘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 | $30.0M | $97.7M | 2 |
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| |
A Madea Family Funeral | $27.1M | $27.1M | 1 |
|
| |
Alita: Battle Angel | $7.0M | $72.2M | 3 |
|
| |
The Lego Movie 2: The Second Part | $6.6M | $91.7M | 4 |
|
| |
Green Book | $4.7M | $75.9M | 16 |
|
| |
Fighting with My Family | $4.7M | $14.9M | 3 |
|
| |
Isn’t It Romantic | $4.6M | $40.3M | 3 |
|
| |
Greta | $4.6M | $4.6M | 1 |
|
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What Men Want | $2.7M | $49.6M | 4 |
|
 |
Happy Death Day 2U | $2.5M | $25.3M | 3 |
|
‘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 Larson. Captain 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 | $55.5M | $58.0M | 1 |
|
| |
Alita: Battle Angel | $12.0M | $60.7M | 2 |
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| |
The Lego Movie 2: The Second Part | $10.0M | $83.6M | 3 |
|
| |
Fighting with My Family | $8.0M | $8.2M | 2 |
|
| |
Isn’t It Romantic | $7.5M | $33.8M | 2 |
|
| |
What Men Want | $5.2M | $45.1M | 3 |
|
| |
Happy Death Day 2U | $5.0M | $21.6M | 2 |
|
 |
Cold Pursuit | $3.3M | $27.1M | 3 |
|
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The Upside | $3.2M | $99.7M | 7 |
|
 |
Run the Race | $2.3M | $2.3M | 1 |
|
‘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 Films’ Wonder 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 | $27.8M | $36.5M | 1 |
|
| |
The Lego Movie 2: The Second Part | $21.2M | $62.7M | 2 |
|
| |
Isn’t It Romantic | $14.2M | $20.5M | 1 |
|
| |
What Men Want | $10.9M | $36.2M | 2 |
|
| |
Happy Death Day 2U | $9.8M | $13.5M | 1 |
|
| |
Cold Pursuit | $6.0M | $21.1M | 2 |
|
| |
The Upside | $5.6M | $94.2M | 6 |
|
 |
Glass | $3.9M | $104.5M | 5 |
|
 |
The Prodigy | $3.2M | $11.0M | 2 |
|
 |
Green Book | $2.8M | $65.8M | 14 |
|
‘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 | $34.4M | $34.4M | 1 |
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What Men Want | $19.0M | $19.0M | 1 |
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| |
Cold Pursuit | $10.8M | $10.8M | 1 |
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The Upside | $7.2M | $85.8M | 5 |
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| |
Glass | $6.4M | $98.5M | 4 |
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| |
The Prodigy | $6.0M | $6.0M | 1 |
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| |
Green Book | $3.6M | $61.5M | 13 |
|
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Aquaman | $3.3M | $328.5M | 8 |
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Spider-Man: Into the Spider-Verse | $3.0M | $179.8M | 9 |
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Miss Bala | $2.7M | $11.9M | 2 |
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‘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 | $9.5M | $88.7M | 3 |
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The Upside | $8.9M | $75.6M | 4 |
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Miss Bala | $6.7M | $6.7M | 1 |
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Aquaman | $4.8M | $323.6M | 7 |
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Spider-Man: Into the Spider-Verse | $4.4M | $175.3M | 8 |
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Green Book | $4.3M | $55.8M | 12 |
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The Kid Who Would Be King | $4.2M | $13.2M | 2 |
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A Dog’s Way Home | $3.5M | $35.9M | 4 |
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Escape Room | $2.9M | $52.1M | 5 |
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They Shall Not Grow Old | $2.4M | $10.7M | 7 |
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‘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 Phillips‘ Joker 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 | $19.0M | $73.6M | 2 |
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The Upside | $12.2M | $63.1M | 3 |
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Aquaman | $7.4M | $316.6M | 6 |
|
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The Kid Who Would Be King | $7.3M | $7.3M | 1 |
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| |
Spider-Man: Into the Spider-Verse | $6.2M | $169.0M | 7 |
|
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Green Book | $5.4M | $49.0M | 11 |
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A Dog’s Way Home | $5.2M | $30.8M | 3 |
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Serenity | $4.8M | $4.8M | 1 |
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Escape Room | $4.3M | $47.9M | 4 |
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Doragon bôru chô: Burorî – Dragon Ball Super: Broly | $3.6M | $29.0M | 2 |
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‘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 | $40.6M | $40.6M | 1 |
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The Upside | $15.7M | $44.0M | 2 |
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Doragon bôru chô: Burorî – Dragon Ball Super: Broly | $10.7M | $21.1M | 1 |
|
| |
Aquaman | $10.3M | $304.3M | 5 |
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Spider-Man: Into the Spider-Verse | $7.3M | $158.3M | 6 |
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A Dog’s Way Home | $7.1M | $21.3M | 2 |
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| |
Escape Room | $5.3M | $40.7M | 3 |
|
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Mary Poppins Returns | $5.2M | $158.7M | 5 |
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Bumblebee | $4.7M | $115.9M | 5 |
|
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On the Basis of Sex | $4.0M | $16.9M | 4 |
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‘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 | ||
|---|---|---|---|---|---|
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The Upside | $19.6M | $19.6M | 1 |
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Aquaman | $17.3M | $287.9M | 4 |
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A Dog’s Way Home | $11.3M | $11.3M | 1 |
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Spider-Man: Into the Spider-Verse | $9.0M | $147.8M | 5 |
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Escape Room | $8.9M | $32.4M | 2 |
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Mary Poppins Returns | $7.2M | $150.7M | 4 |
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Bumblebee | $6.8M | $108.5M | 4 |
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On the Basis of Sex | $6.2M | $10.6M | 3 |
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The Mule | $5.5M | $90.6M | 5 |
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Vice | $3.3M | $35.9M | 3 |
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‘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 Jenkins‘ Wonder 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