Box Office 2022

‘Spider-Man: No Way Home’ Stays on Top with $11 Million at the BO!!

Despite movie theaters in the Northeast being closed due to Winter Storm Kenan, Sony’s Spider-Man: No Way Home is coming in above the studio’s estimates yesterday morning with $11M in its seventh weekend. How is that? Essentially, the Jon Watts directed MCU title is seeing 24% of its business from the West with 23% from the Southeast and 15% from South Central outside the snow zone.

Interestingly enough, Spider-Man: No Way Home, despite movie theaters continuing to be shuttered today in the Northeast, is over-indexing in the region at 13.1% versus all other titles at 12.3%. In NYC, big cinemas such as the E-Walk, Lincoln Square and Union Square remain in operation despite Central Park seeing over seven inches of snow.

This puts No Way Home at $735.9M stateside with $24.6M left to go before it beats James Cameron’s Avatar. Meanwhile, Spider-Man: No Way Home has crossed a billion overseas putting its global take a $1.74 billion.Industry sources informed us that No Way Home triggers a $610M profit after all ancillaries after hitting $1.75 billion (still the movie is definitely in the black).

Spider-Man: No Way Home has notched No. 1 for six weekends out of its seven weekend run, putting the movie in a group of such titles achieving that feat as Terms of Endearment (1983), Return of the Jedi (1983), The Fugitive (1993), Rain Man (1988), and Rocky IV (1985). By comparison, E.T. the Extra-Terrestrial holds the record for the longest run at No. 1 with 16 weekends. For the millennium, Avatar holds the record for the most weekends at No. 1 at seven weekends. Spider-Man: No Way Home, among Marvel movies, bests Black Panther‘s streak of five weekends at No. 1.

Many of the movie theaters AMC and Regal which closed yesterday will continue to be closed today throughout New Jersey, New York, Massachusetts, Connecticut. The total weekend box office for most movies is looking to come in at an estimated $37.2M, the lowest three days since late September 2020. According to news reports, thousands are without power, with Atlantic City seeing snowfall records of 33.2 inches, Boston clocking 23.6 inches, and Philly seeing 5.8 inches.

In good news, Ontario movie theaters reopen tomorrow at 50% capacity after being closed due to the Omicron surge in that part of Canada. Also, the province is lifting their concession ban which had been in effect for quite some time. Full capacity is expected to occur on Feb. 21. Quebec is reopening movie theaters on Feb. 7 after being closed for two months.

1.) Spider-Man: No Way Home (Sony) 3,675 (-30) theaters, Fri $2.75M (-19%)/Sat $5.37M/Sun $2.87M/3-day $11M (-21%)/Total $735.9M/Wk 7

2.) Scream (Par) 3,518 (-148) theaters Fri $2.06M (-45%)/Sat $3.4M/Sun $1.86M/3-day $7.35M (-40%), Total: $62.1M/Wk 3

3.) Sing 2 (Uni/Ill) 3,434  (-147) theaters, Fri $1.03M (-18%)/Sat $2.3M/Sun $1.46M/3-day $4.8M (-17%)/Total: $134.5M/Wk 6

4.) Redeeming Love (Uni) 1,963 (+60) theaters, Fri $560K (-62%)/Sat $790K/Sun $500K/3-day $1.85M (-48%)/Total: $6.5M/Wk 2

5.) The King’s Man (20th/Dis) 2,440 (+125) theaters Fri $463K (-10%)/Sat $830K/Sun $461k/3-day $1.75M (-2%)/Total $34M/Wk 6

6.) The 355 (Uni/FilmNation) 2,513 (-96) theaters, Fri $370K (-20%)/ Sat $660K/Sun $370K/3-day $1.4M (-12%)/Total $13.09M/Wk 4
The 355 is now available on PVOD.

7.) American Underdog (LG) 2,113 (-51) theaters, Fri $354K (-10%)/Sat $630K/Sun $241K/3-day: $1.22M (+4%)/Total: $24.78M/Wk 6

8.) Ghostbusters: Afterlife (Sony) 1,170 (+109) theatres, Fri $180K (+17%)/Sat $400K/Sun $190K/3-day $770K (+18%)/Total $128.06M/Wk 11

9.) Licorice Pizza (UAR) 772 theaters, Fri $185K (-10%)/Sat $316k/Sun $190K/3-day: $691K (+5%)Total $11.8M/Wk 10

10.)  West Side Story (20th/Dis) 1,335 (+55) theaters, Fri $165K (-15%)/Sat $270K/Sun $179K/3-day $614K (-14%)/Total $36M/Wk 8

11.) Nightmare Alley (Sea) 1,103 (+713) theaters Fri $155k (+142%)/Sat $245K/ Sun $134K/3-day $534K (+134%)/Total: $10.35M/Wk 7


Parallel Mothers (SPC) 684 (+573) theaters, 3-day $312,9K (+87%)/Total $1M/Wk 6

Drive My Car (Jan/Side) 114 (+18) theaters, 3-day $103,4K/Total $807K/Wk 10
This is the Golden Globe winning international film’s best weekend date despite theaters in the Northeast closed due to snowstorms.

Game Stop: Rise of the Players (NEON) 267 theaters, Fri $35K/Sat $24K/Sun $20K/3-day $80K/Wk 1

Belfast (Foc) 196 (+133) theaters Fri $30K/ Sat $55K/ Sun $35K/ 3-day $120K (+252%)/Total $7.19M/Wk 12

Sundown (BST) 6 theatres, 3-day $24K/Wk 1

Compartment No. 6 (SPC) 3 theaters, 3-day $9,3K/Total $15,1K/Wk 1

via Deadline

‘Spider-Man: No Way Home’ Reclaims Top Spot from ‘SCREAM’ with $14.1 Million at the BO!!

Some studio distribution bosses used to say that moviegoing is a 52-week business. Well, that’s not the philosophy this weekend, and it’s even grimmer next weekend, as most majors figured in the wake of MLK weekend, and a traditional box office dead zone like January with omicron flying around, that it’s not worth the P&A spend to release any movies.

Back in the good ole days, and we’re talking five years ago, post-MLK was the time when Universal turned M. Night Shyamalan’s Blumhouse horror movie Split into an event with a $40M start, and Paramount settled for second on their Vin Diesel sequel, xXx: Return of Xander Cage, for $20.1M.

And so, we settle for Sony’s Spider-Man: No Way Home rising to No. 1 in its 6th weekend with $14.1M, putting its massive domestic total at $721.5M, and Paramount/Spyglass Media’s Scream in second with a better-than-anticipated drop of -59%, with $12.4M and a $51.3M ten-day total. That second weekend ease is a bit better than Scream 4 (-61%) and richer than the previous installment, which did $7M in weekend 2. Among the franchise’s second weekends, Scream 2022 ranks third behind Scream 3 ($16.3M) and Scream 2 ($13.9M).

Spider-Man‘s cume by Sunday keeps the blockbuster title in 4th place among all movies at the domestic box office. If the webslinger is going to beat Avatar and become the third-highest grossing movie of all-time in the US and Canada, Spider-Man: No Way Home has to do another $40.1M+ in business.

Can it get there? It’s possible.

Through six weekends, No Way Home is 31% ahead of Avatar at the same point in time (which was at $551.7M by the end of the weekend, following the MLK frame). However, the difference between the movies is that Spidey is more front-loaded, while Avatar continued to do meaty numbers into Presidents Day weekend (i.e. weekend 6 was $34.9M, weekend 7 was $31.2M, weekend 8 was $22.85M, while the 4-day Presidents Day holiday pulled in $28.7M).

If No Way Home is going to beat Avatar, than it needs to emulate a box office gross pattern that’s similar to 2015’s Star Wars: Force Awakens between this weekend and the end of President’s Day weekend, which is where Spider-Man can see another boost. Here’s where there is hope: Spider-Man: No Way Home made a similar amount of cash as Force Awakens in its post MLK weekend 6 ($14M). In weekend 7, Episode 7 fell 21% to $11M; all in-between weekend 6 and Presidents Day Monday, the Star Wars title did $37.1M. No Way Home needs to do a little more than that. By Presidents Day weekend, Force Awakens was booked in 1,800 theaters.

On a global basis, Spider-Man: No Way Home is now the No. 6 highest-grossing movie worldwide, passing Jurassic World ($1.67 billion) and The Lion King ($1.66 billion) with a worldwide haul of $1.69 billion, including $970.1M from offshore territories.

Major studio moviegoing isn’t expected to come back until Feb. 4, with Lionsgate’s sci-fi Roland Emmerich title Moonfall and Paramount’s Jackass Forever. One wonders if there was a missed opportunity here by studios sitting on the sidelines this weekend. I get it, best to spend your marketing money during a pandemic on the holiday frames, when there’s more of the audience available.

However, with the 18-34 demographic being the most confident to head to the movies, it’s interesting to note that there were more colleges out on Friday at 15%, and K-12 at 3%, then there will be on Feb. 4, which is respectively 2% and 1%.

Go figure, but in the wake of Sony moving Morbius, the assumption was that Omicron would be worse by this point in time. The surge is flattening, according to the Los Angeles Times, even though California is averaging 100K new cases a day, more than twice as high as last winter’s high of 46K. Los Angeles County Public Health Director Barbara Ferrer advised many to delay nonessential activities, such as unmasked parties and dinners, given the plateau.

There will come a time when studios return to a big event movie a week this year. Essentially, that begins on March 25, with Paramount’s The Lost City, and continues into summer. Until then, there are dead zones on the calendar, i.e. next weekend there aren’t any wide releases, ditto for Feb. 25-27; and the weekend after Warner Bros. The Batman opens (March 4), and from March 11-13, there aren’t any wide releases programmed. That said, analysts seem to debate whether the Matt Reeves DC title will be another $100M+ opener; news of the pic’s 2 hour and 55 minute running time casting a bit of doubt.

You may have noticed that Universal did open the faith-based period movie Redeeming Love, based on the Francine Rivers novel, in 1,903 theaters to $1.49M on Friday, set for a $3.7M weekend. But it’s not the studio’s movie. They’re just doing a distribution deal, and I understand that they’re not even on the hook for marketing. The movie, from Eagle Eye and Disturbia director D.J. Caruso, was produced by Nthibah Pictures, Pinnacle Peak Pictures, and Mission Pictures International. Roma Downey is listed as an executive producer. Unlike other faith-based movies, which typically win over their audiences with an A+, Redeeming Love received a B+. Comscore/Screen Engine PostTrak exits were at 85% positive and 72% recommend. Has anyone seen any ads for this film? I sure have not.

I hear there weren’t any NYC or LA cinemas in the top 100 runs for the movie over the weekend, with the South reaping close to 60% of the pic’s gross versus the business average of 35% for a regular wide release. Females led at 79%, with 80% over 25, with 51% over 35. The 25-34 year olds repped close to a third of ticket-buyers. Diversity demos were 64% Caucasian, 17% Latino or Hispanic, 12% Asian/other, and 7% Black.

Shot in South Africa, Redeeming Love is set against the 1850 California Gold Rush, and follows Angel (Abigail Cowen), who was sold into prostitution as a child. She has survived through hatred and self-loathing, until she meets Michael Hosea (Tom Lewis) and discovers there is no brokenness that love can’t heal. Critics turned their backs on this one at 11% on Rotten Tomatoes.

With the lack of competition on marquees, Gravitas Ventures decided to make the Pierce Brosnan-William Hurt-Kaya Scodelario movie The King’s Daughter their widest release ever at 2,170 locations. The movie’s weekend results made Redeeming Love‘s ticket sales look like a blockbuster with an estimated $750K.

The PG movie follows Brosnan as The Sun King, Louis XIV. Obsessed with his own mortality and the future of France, Louis turns to his spiritual advisor, Père La Chaise (Hurt), and the royal physician to help him obtain the key to immortality. Believing a mermaid (Fan Bingbing) contains a force that grants everlasting life, Louis commissions a young sea captain to search the seas and capture the mystical creature. Further complicating his plans is his orphaned daughter, Marie-Josèphe (Scodelario), who returns to court with an abundance of elegance and an inherent defiance of authority.

Critics enjoyed The King’s Daughter just a little bit more than Redeeming Love at 26%. Really soft ticket sales here, mostly in the West, with PostTrak at 66% and a low 31% recommend. Those few who decided to see it were women at 54%, 84% over 25, 63% over 35 and 44% over 45 years old. Diversity demos were 62% Caucasian, 19% Latino and Hispanic, 11% Asian/other and 4% Black.

Weekend box office as of Sunday AM:

1.) Spider-Man: No Way Home(Sony) 3,705 (-220) theaters, Fri $3.5M (-33%)/Sat $6.5M/Sun $4.1M/3-day $14.1M (-30%)/Total: $721M/Wk 6

2.) Scream (Par) 3,666 (+2) theaters Fri $3.7M (-72%)/Sat $5.4M/Sun $3.3M/3-day $12.4M (-59%), Total: $51.3M/Wk 2

3.) Sing 2 (Uni/Ill) 3,434  (-147) theaters, Fri $1.26M (-30%)/Sat $2.78M/Sun $1.67M/3-day $5.7M (-28%)/Total: $128.4M/Wk 5

4.) Redeeming Love (Uni) 1,903 theaters, Fri $1.49M/Sat $1.25M/Sun $970k/3-day $3.7M/Wk 1

5.) The King’s Man (20th/Dis) 2,510 (-530) theaters Fri $515K (-19%)/Sat $791K/Sun $473K/3-day $1.779M (-20%)/Total $31.5M/Wk 5

6.) The 355 (Uni/FilmNation) 3,145 theaters, Fri $470K (-30%)/Sat $730K/Sun $400K/ 3-day $1.6M (-30%)/Total $11.08M/Wk 3

7.) American Underdog (LG) 2,512 (-335) theaters, Fri $390K (-20%)/Sat $544K/Sun $291K/ 3-day: $1.225M (-22%)/Total: $23.1M/Wk 5

8.) King’s Daughter (Grav) 2,170 theatres, Fri $257K/Sat $298K/Sun $195K/3-day $750K/Wk 1

9.)  West Side Story (20th/Dis) 1,290 (-170) theaters, Fri $193K (-19%)/Sat $324K/Sun $181K/3-day $698K (-25%)/Total $35.05M/Wk 7

10.) Licorice Pizza (UAR) 772 theaters, Fri $207K (-18%)/Sat $289K/Sun $188K/3-day $683K (-22%)/Total $10.78M/Wk 9


via Deadline

‘Scream’ Dethrones ‘Spider-Man: No Way Home’ with Strong $36M 4-Day Debut at the BO!!

We can complain about omicron. But I wouldn’t necessarily complain that the variant is spoiling the top films at the box office, as Paramount/Spyglass Media/Project X’s Scream had a robust first day of $13.3M (including $3.5M Thursday previews), and it eased accordingly on Saturday, just like horror movies do, with $10.1M, on its way to a $31.5M 3-day and $36M 4-day at 3,664 theaters.

“This opening has reinvigorated the franchise for fans, while simultaneously introducing it to a whole new generation of new Scream fans,” beamed Paramount’s Domestic Theatrical Distribution Boss Chris Aronson.

That 4-day beats Mama ($32.1M), the previous high opening for a horror movie over MLK, and overall, Scream‘s 3-day isn’t far from its previous sequel opening highs, Scream 2, which did $32.9M back in 1997, and Scream 3, which made $34.7M back in 2000. A great start to 2022 for Paramount on the big screen. EntTelligence box office analytics firm reports that 2.4M people are watching Scream over 3 days, with 1M on opening day and 250K from Thursday night previews.

Chalk up the success here to the alchemy of paying homage to what’s old with the new: The fresh blood boarding Scream, i.e. scribes James Vanderbilt and Guy Busick and filmmakers Matt Bettinelli-Olpin and Tyler Gillett, didn’t operate in a vacuum when approaching a reboot/sequel of Scream. They brought in the consigliere services of the IP’s architect, Kevin Williamson, who serves as EP here. Paramount believed that the film would play best to a crowd, and kept it relegated to the big screen, versus a day-and-date hybrid approach with its streamer Paramount+.

Some of the intriguing components of Paramount’s marketing campaign for the fifthquel included a partnership with Airbnb, where fans were given the opportunity to stay in the original Scream house, hosted by David Arquette’s Sheriff Dewey Riley, and an online experience hosted by Williamson. “The Stay” sold out in 60 seconds, and the online experience sold out in 90 seconds. Visible, part of the Verizon Wireless family, was also a partner on the film, as well as Urban Outfitters which hosted…Screamings.

Spotify held the “Streamed To Death” program which allowed users to receive a sinister message from Ghostface about their most streamed songs from 2021, while delivering a sharable custom playlist. A first-to-market Twitter Light/Dark Mode branded like emoji gave users different experiences each time they pressed the “heart” button in either mode. On Reddit, fans got to speculate with Scream character “whodunnit” in the first partner-supported predictions tournament, and on TikTok, Paramount launched a First-of-its-Kind Text-To-Speech functionality in the voice of Ghostface.

Soft drink brand Fanta had “Halloween in January” across Latin America, including 2 million limited edition Ghostface cans and a first takeover at convenience stores OXXO, reaching over 26M shoppers in Mexico alone. Fans in the UK and around the globe were able to snatch up a limited edition “Strawberry and Scream” cereal (featuring a screaming box) offered by the British retailer Cereal Killer Café.

Social Media corp RelishMix beams about the advance weekend buzz for Scream, “With a date that was set in stone, unchanged and locked from one year ago, Scream opens solo with positive leaning convo to a potential Covid-proof audience. Fans are shouting on social for Neve Campbell, Courteney Cox, Ghost Face and David Arquette’s character Dewey as fans are ready for a wild and entertaining distraction into the New Year of cinematic madness. Negative and Covid related chatter runs thin.”

The pic’s campaign across Facebook, Twitter, YouTube, and Instagram counted nine video drops in a week, with YouTube materials clocking close to 60M views. From the last installment 11 years ago, the social media universe for Scream is now at 126.4M, which is 27% above the horror genre norm. By comparison, Halloween Kills had a SMU of 145.1M (opened at $49.4M) and The Conjuring: The Devil Made Me Do It counted a SMU at 131.1M (opened at $24.1M). “In other words, social stats are in the ballpark of recent horror films,” reports RelishMix.

Scream‘s actors are well-activated on social media, with Cox at 15.6M followers, Dylan Minnette at 7.9M, Jenna Ortega at 6.8M, Melissa Barrera with over 1M, David Arquette at 468K, and Neve Campbell at 418K. “All are indexing exceptionally well, as fans can see how much fun the cast is having in promotion as well as making the film,” assesses RelishMix.

Barrera gets a call from Cox, this video earning over 2.5M views on the Friends alum’s Instagram:

The hashtag #12Screamsfortheholidays became a push prior to the pic’s launch.

Scream received a B+ CinemaScore, which ties with its highest grade from 1997’s Scream 2. Scream 3 and 4 respectively earned a B and B-, while the first wasn’t monitored by PostTrak as it was a platform release. Comscore/Screen Engine PostTrak audiences giving the movie a 79% positive and a 61% recommend. The pic played best in the West, Southcentral, and the Northeast with the Midwest and Southeast slightly under-indexing. On Friday, we heard that 20 locations grossed $25K+ each in the pic’s first day, which is very good. Top markets that over-performed included LA, NY, Chicago, Houston, Philadelphia, Detroit, San Antonio, Las Vegas, Cleveland, Baltimore, Fresno, and Indianapolis while the few top markets that under-indexed include Seattle, SLC, and Minneapolis. Top grossing theaters came from LA, NY, San Antonio, Phoenix, El Paso, Orlando, Pharr TX, Baltimore, Albuquerque, Dallas, Fresno, Corpus Christi, and Houston.

Updated exits show guys leading at 53%, 67% between 18-34, and 58% over 25. On Friday morning, exits showed 80% under 34 years old, indicating that the movie is appealing toward a younger generation. Diversity draw was 46% Caucasian, 33% Latino and Hispanic, 11% Black and 5% Asian. Scream is still being released in Canada theatrically (repped 1.5% of the sequel’s business), even though cinemas are shuttered in the Quebec and Ontario provinces.

EntTellgence reports that Scream played well during the prime shows of 6pm to 9pm with over 40% of the pic’s tickets during this block while 21% came after 9PM. Halloween Kills pulled in a bit more admissions in the late hours with 27% of the tickets being sold after 9PM.

Typically, horror movies are front-loaded, and hopefully there’s enough momentum here for Scream to hit its current opening projections or go higher.

Sony/Marvel’s Spider-Man: No Way Home will click close to $704M by the end of the holiday weekend, which would make it the fourth-highest movie of all-time at the domestic box office, besting Black Panther‘s $700M. Sony reports a $5.1M Friday for the Jon Watts-directed title at 3,925 sites for a $20.8M 3-day, $26M 4-day.

GKIDs’ Belle posted $727K on Friday at 1,326 theaters and $486K on Saturday. The outlook for the Mamoru Hosoda directed and Studio Chizu animated movie is $1.64M over 3-days and $2.04M over 4-days. Belle played best in the West and Mountain regions and notched an 86% audience score on PostTrak with a 63% recommend. Men were dominant at 55%, with 83% under 34-years-old and the biggest demo being 25-34 at 39%. Critics loved Belle at 95% Certified Fresh with the diversity draw being 39% Caucasian, 30% Asian/other, 19% Latino and Hispanic and 12% Black.

Overall, we continue to see a situation of “Haves” and “Have-Nots” at the domestic box office, with adult-skewing titles still leaner than event films. Total ticket receipts over four days are only expected to be $92.3M over 4-days, which is 55% off from MLK weekend 2020’s $205.3M before the exhibition shutdown. That’s also when Bad Boys for Life delivered the 4-day holiday’s second-best opening with a $73M start.

Sideshow/Janus Films’ release of Drive My Car, which has been picking up every major award out there on the circuit including of late the Golden Globe for Non-English Language Film, LA Film Critics Best Picture and Screenplay, New York Film Critics Circle top film, and National Society of Films Critics’ top film, top screenplay and Best Actor Hidetoshi Nishijima. The movie expanded from 29 to 65 theaters and saw $78K for the 3-day and is looking at $94K for the 4-day with a running total by EOD Monday of $524k.

Updated weekend estimates as of Sunday AM:

Title/theaters/Fri-Sat-Sun/3-day (% chg)/Total/Weekend no.

1.) Scream (Par) 3,664 theaters Fri $13.3M/Sat $10.1M/ Sun $8.1M/Mon $4.5M/3-day $31.5M, 4-day $36M/Wk 1

2.) Spider-Man: No Way Home(Sony) 3,925 (-87) theaters, Fri $5.2M (-38%) /Sat $8.675M/Sun $6.9M/Mon $5.2M/3-day $20.8M (-36%)/4-day $26M/Total: $703.9M/Wk 4

3.) Sing 2 (Uni/Ill) 3,581 (-132) theaters, Fri $1.79M (-33%)/Sat $3.57M/Sun $2.89M/Mon $2.75M/3-day $8.27M (-29%)/4-day $11M/Total: $122.1M/Wk 4

By the way, a great hold here with Sing 2 — and the movie is on PVOD now. I don’t know what the media is talking about with the fallout of kids films at the box office. This is the only movie in the shadow of Spider-Man: No Way Home to do business over the holidays, a very similar situation to 2015’s Daddy’s Home being the only family film to cross $100M when Star Wars Force Awakens ruled. Once again, Disney’s decision to send Seeing Red to Disney+ has everything to do with spurring subscriber numbers before the end of its quarterly earnings.

4.) The King’s Man (20th/Dis) 2,510 (-530) theaters Fri $639K (-29%)/Sat $937K /Sun $743K/Mon $654K/ 3-day $2.3M (-28%)/4-day $2.9M /Total $29.3M/Wk 4

5.) The 355 (Uni/FilmNation) 3,145 theaters, Fri $670K (-61%)/Sat $950K/Sun $720K/Mon $470K/3-day $2.34M (-49%)/4-day $2.8M /Total $8.9M/Wk 2

6.) American Underdog (LG) 2,512 (-335) theaters, Fri $500K (-30%)/3-day: $1.6M (-21%)/4 day $2.26M/Total: $21.067M/Wk 4

7.) Belle (GKIDS) 1,326 theaters Fri $727K/Sat $486K/Sun $432K/Mon $395K/3-day $1.64M/4-day $2.04M/Wk 1

8.) West Side Story (20th/Dis) 1,460 (-830) theaters, Fri $238K (-38%)/Sat $386K/Sun $324K/Mon 3-day $948K (-31%)/4-day $1.15M/Total $33.9M/Wk 6

9.) Licorice Pizza (UAR) 772 theaters, Fri $252K (-11%)/Sat $360K/Sun $270K/Mon $203k/3-day $883K (-10%)/4-day $1.086M/Total $9.8M/Wk 8

10.) Matrix Resurrections (WB) 1,725 (-1,150) theaters, Fri $220K (-55%) /Sat $340K/Sun $255K/Mon3-day $815K (-56%)/4 day $1M/Total: $36M/Wk 4

via Deadline

‘Spider-Man: No Way Home’ Continues to Break Records While ‘The 355’ Flops at the BO!!

Despite Omicron sending many back to the comfort of their households for January, people are still going to the movies. Specifically, Sony/Marvel’s Spider-Man: No Way Home, which is snatching a fourth weekend of $33M at 4,012 locations, a -41% ease from weekend 3.

Proof that Spidey is immune to Omicron: He’s coming in higher than the $30M everyone was expecting yesterday. His fourth session take here also bests that of previous big Christmas Star Wars titles, including Last Jedi ($23.7M), Rogue One ($22M) and Rise of Skywalker ($15.1M). However, he’s behind Force Awakens’ $42.3M.

Spider-Man took in $8.3M on Friday, and by end of today will raise its cume to $668.7M, which will make it the sixth-highest grossing movie at the domestic box office, ahead of James Cameron’s Titanic ($659.3M). The Tom HollandZendaya-Benedict Cumberbatch ensemble is around $10M away from overtaking Avengers: Infinity War ($678.8M) as the fifth-highest grossing movie ever stateside. Box Office firm EntTelligence says that 54.4M tickets have been sold for the Jon Watts-directed MCU sequel to date in US and Canada.

Worldwide, No Way Home stands at $1.53B, the eighth-highest movie around the globe of all-time.

An insider keeps mentioning to me that Spider-Man isn’t the norm. It’s an anomaly at the pandemic box office. I highly disagree with that: It’s an event that plays to all quads and sub-quads, and underscores how you can still draw audiences away from their sofas with the right mass-appealing product, even if we’re freaked out over the variant.

‘Knives Out’ made $5.6M in its 7th weekend at the box office 2 years ago taking its running cume to over $139M; back when adults went to the movies before Covid. 

For those movie theaters rolling in dough over popcorn money, Spider-Man is not an anomaly, but a reminder of Christmas pasts. Deep down, no matter if you’re blue or red state, everyone wants to get out and live their lives and manage safety in a Covid-19 environment.

It just boils down to the type of movie you’re going to make extra time for outside your house, and if it looks similar to anything in a Netflix queue, you’re not going to sacrifice time. A period prequel (King’s Man), a flat-flooded franchise sequel available in homes (Matrix Resurrections), and a 2 1/2 hour remake of a 61-year old Best Picture Oscar winner (West Side Story), aren’t pulling in moviegoers like Little Women, Knives Out did two years ago at this time, or Hateful Eight and Big Short did six years ago, when Force Awakens was still ruling January.

Unfortunately, it’s that middling adult fare which continues to swoon, sure to be hurt by Covid. But it is also about product (duh). Spider-Man reps 51% of this weekend’s total estimated $64M ticket sales for all titles. This puts the frame -52% off the same January weekend in 2020, which grossed $132M. The top 10 movies for Jan. 10-12, 2020 made at least $5.1M+; this weekend, the 10th-ranking title’s baseline is at $632K. Also on that weekend, the wide expansion of Universal/Amblin/New Republic’s 1917 led the box office with $37M, while Rise of Skywalker ranked 2nd with $15.1M, and Jumanji: The Next Level in weekend 5 doing $14M in third.

The Simon Kinberg-directed-produced and cowritten all- femme action movie The 355 seemed like a perfect title for Universal, to acquire domestic on at $20M, the movie fitting in its theatrical slate, which is about diversity and representation.

However critics and moviegoers have detected a by-the-numbers action film, and that bad word-of-mouth is deep-sixing The 355, with a $4.8M result in 3rd place. It’s not just omicron, but, yes, word-of-mouth does have something to do with it.  Critics at 26% Rotten are saying to avoid, while CinemaScore is better at B+. But Comscore/Screen Engine’s PostTrak is worse at 76%. According to EntTelligence, The 355‘s weekend B.O. translates to 360k admissions.

RelishMix says about the social media chatter, “Convo for The 355 swings mixed-negative, as fans feel like they’re being served a bit of a cliché cookie-cutter action package in the spirit of Charlie’s Angels or ‘James Bond’s daughters’ with a diverse mix of kick-ass, super-charged women. Fans of Jessica Chastain, Lupita Nyong’o, and Penelopé Cruz are super-supportively cheering for success. But amidst the Covid-resurge, moviegoers are tapping their finger for Peacock or another streaming service drop date.”

The title was the code name of the first female spy in the American Revolution, and became jargon for a female intelligence agent. As Kinberg told us on Crew Call recently, star Chastain, who worked with him on his X-Men: Dark Phoenix and The Martian production, approached the scribe/filmmaker with the idea of an all-female spy ensemble.

They reached out to Cruz, Nyong’o, Diane Kruger and Bingbing Fan with the pitch to make the movie outside the Hollywood system, so that they could retain fiscal ownership and authorship of the $75M production and share in the pic’s upside in various percentages.

FilmNation sold foreign at Cannes, with CAA Media Finance selling domestic and China, as Deadline first reported in the news about the massive stateside sale. Universal held this title throughout the pandemic. I’m under the impression that tight deals didn’t allow this movie to be sold to a streamer. However, we’ve seen other foreign sales titles become unwound and head to streamers or PVOD on account of the pandemic.

Of course, older adults aren’t storming movie theaters. The results here aren’t that far off from 2020 pre-pandemic spy bomb The Rhythm Section, which opened to $2.7M. Traditionally, we’d rake The 355 over the coals on how it’s poised to be unprofitable. However, with studios practicing streaming, they’re trying to adapt the streamers’ volume sense of accounting to their ledgers, in that they spend so many multimillion dollars on content and hope to offset that cost with subscriptions and other ancillary revenues and global film rentals.

What happens now with The 355? Well, it’s on a 17-day theatrical window and heads to PVOD very soon. In its 45th day of release, The 355, like the rest of Uni’s theatrical slate moving forward, will appear on the pay-tier of Peacock. The 355 will live on Peacock for four months, then head to Amazon Prime, available free to members, for another ten months, before moving back to the NBCUni streamer service. Somehow, some way, Universal will squeeze blood from this rock.

The 355 in updated demos leaned 56% female, 73% over 25 and 40% between 25-44, but also 33% over 45 (still not a lot of money here). Diversity demos came in at 50% Caucasian, 21% Latino and Hispanic, 17% Black, 9% Asian, 3% other. Most of The 355‘s dough came from the West and the South.

RelishMix says that due to 355‘s re-date after a year-long pause, there’s “scattered activity for digital materials,” but a “strong reach by the all-star cast.” The social media universe across YouTube views, Facebook, Instagram, and Twitter was close to 120M before opening, with the cast’s social media handles repping 38% of that push, with Nyong’o at 14.5M fans, Chastain at 6.5M, Sebastian Stan with a strong Instagram at 8.4M, Edgar Ramirez at 5.3M, Bingbing Fan at 4.1M.

Speaking of Universal’s short windows and titles appearing on PVOD after 17 days, Illumination’s Sing 2 became available in homes to be rented on Friday. That’s not stopping the Garth Jennings-written and directed animation title from scoring a near $12M third weekend, -41% and hitting $109M. That officially makes Sing 2 the highest-grossing animation movie of the pandemic at the domestic B.O. (since mid-March 2020) and demonstrates that families will go out to animated movies now. (Do you hear that, Disney?).

On Friday Disney announced they were pulling their Pixar movie Turning Red from theaters and sending it to Disney+ on March 11. Actions speak more than words, and that maneuver screams the following: Disney+ is in desperate need of new content to keep their subs growing; the ambitious slate of MCU, Lucasfilm, etc. series they announced back at Disney Investor Day in 2020 seems quite slow to populate the service.

In addition, original animated titles are a challenge to launch at the box office, and it’s conceivable that the studio wanted a healthier marketplace to capitalize on that. The Pixar movie wasn’t booked in the summer, rather the off-season (like Pixar’s Onward before the pandemic) and odds are the audience diagnostics on the movie weren’t good. Otherwise, why send Turning Red into homes? Again, at this moment, with experts predicting omicron to peak this week, no one is expecting the pandemic to get worse by the spring; Warner Bros. currently sticking to its is March 4 release date of The Batman. Says one mid-sized exhibitor to Deadline this morning, “Turning Red would easily do $100 million at the box office. It is not like it’s going to push the needle on subscribers. Send it to Disney +, but give it to me too.”

Other big deals this weekend: UAR/MGM’s The House of Gucci crosses $50M, still the highest-grossing older-skewing drama out there in the pandemic.

Sarigama CinemasRRR, directed by S.S. Rajamouli, we hear did not open this weekend. And the money being reported with $30K on Friday are unresolved grosses in Comscore.

Sony Classics’ awards contender Parallel Mothers added Chicago, San Francisco, DC, Phoenix, and Miami to their mix, taking their theater count in weekend 3 from 5 to 18 runs. We hear the existing runs held at low levels. However, The Landmark on Pico Blvd in LA did $5K, up substantially from a week ago. Among the new bookings, Tower & Gateway in Miami and Fort Lauderdale fared quite well, I hear. Friday looks like $21K. SPC is calling the 3-day at $76,5K, which puts the pic’s running total at an estimated $216,5K.

Title/theaters/Fri-Sat-Sun/3-day (% chg)/Total/Weekend no.

1.) Spider-Man: No Way Home (Sony) 4,012 (-194) theaters, Fri $8.3M (-46%) /Sat $14.75M/Sun $9.96M/ 3-day $33M (-41%)/ Total: $668.7M/Wk 4

2.) Sing 2 (Uni/Ill) 3,713 (-179) theaters, Fri $2.67M (-59%)/Sat $5.4M/Sun $3.8M/3-day $11.95M (-41%)/Total: $109M/Wk 3

3.) The 355 (Uni/FilmNation) 3,145 theaters, Fri $1.72M/Sat $1.87M/Sun $1.2M/3-day $4.8M/Wk 1

4.) The King’s Man (20th/Dis) 3,040 (-140) theaters Fri $900K (-28%)/Sat $1.4M/Sun $949K/3-day $3.27M (-28%)/Total $25.1M/Wk 3

5.) American Underdog (LG) 2,729 (-84) theaters, Fri $723K/Sat $1.08M/Sun $610K/3-day: $2.4M (-38%)/Total: $18.8M/Wk 3

6.) Matrix Resurrections (WB) 2,875 (-677) theaters, Fri $500K (-52%) /3-day $1.86M (-51%)/Total: $34.3M/Wk 3

7.) West Side Story (20th/Dis) 2,290 (-400) theaters, Fri $383K (-45%)/Sat $618K/Sun $412K/3-day $1.4M (-33%)/Total $32.1M/Wk 5

8.) Ghostbusters: Afterlife (Sony) 1,501 (-144) theaters Fri $267K (-39%)/Sat $545K/ Sun $328K/ 3-day $1.14M (-22%)/Total: $125M/ Wk 8

9.) Licorice Pizza (UAR) 772 (-14) theaters, Fri $286K (-20%)/Sat $437K/Sun $306K/3-day $1.03M (-21%)/Total $8.2M/Wk 7

10.) House of Gucci  (UAR) 607 (-100) theaters, Fri $176K (-9%)/Sat $277K/Sun $180K/3-day $632K (-21%)/Total $50.1M/Wk 8

11.) A Journal for Jordan (Sony) 1,850 (-650) theaters Fri $163K/Sat $283K/Sun $159K/3-day $605K (-50%)/Total $5.9M/Wk 3

12.) Nightmare Alley (Sea) 1,200 (-710) theaters Fri $172K/Sat $262K/Sun $158K/3-day $592K (-39%)/Total: $8.7M/Wk 4

Other indie notables:

Parallel Mothers (SPC) 18 (+13) theaters, 3-day: $76,5K (+146%)/Total $216,5K/Wk 3

Red Rocket (A24) 144 (-241) theaters Fri $18,7K/Sat $24,7K/Sun $19,7K/3-day $63,3K (-81%)/Total: $894,6K/wk 4

Belfast (Foc) 67 (-10) theaters Fri $9K/Sat $13K/Sun $8K/3-day $30K (-7%)/Total $6.95M/Wk 9

The French Dispatch (Sea) 45 (-10) theaters Fri $7K/Sat $12K/Sun $8k/3-day $27K (-15%)/Total $16M/Wk 12

C’mon C’mon (A24) 26 (0) theaters Fri $3,6K/Sat $4,9K/Sun $4k/3-day $12,5K/Total $1.87M/Wk 8


via Deadline

‘Spider-Man: No Way Home’ Becomes 10th Highest-Grosser of All Time at the Domestic BO!!

Comscore has estimated the 2021 domestic box office at $4.55B, which is +100% from last year’s $2.28 billion and off 60% from 2019’s $11.4 billion. While it would be impossible to think we’d come raging back to 2019 norms, it is arguable that the domestic box office recovery isn’t as robust as many expected.

No 1 Exhibitor Boss Adam Aron of AMC forecasted 2021 ending at $5.2 billion. But in all fairness to his outlook, which was made back in August, that was when Paramount’s Top Gun Maverick was still on the calendar, and rosier projections were anticipated for Disney/Marvel’s Eternals and MGM/UAR’s Daniel Craig 007 swan song No Time to Die. 

“The pace of the recovering is occurring at a slower than anticipated pace,” MKM Partners Managing Director, Senior Research Analyst told Deadline, “but the recovery will continue. Part of the problem is there’s just fewer films; the whole middle market is gone, but tentpoles will continue to improve.”

One of those big movies to rally us into 2022 was Sony/Marvel’s Spider-Man: No Way Home, which through its third weekend can scream a US/Canada running total of $609.89M, the 10th-highest grossing movie ever at the domestic box office, overtaking Disney/Pixar’s Incredibles 2 and $8M away from beating the 2017 Christmas hit Star Wars: The Last Jedi (which stands in the No 9 domestic B.O. all-time spot at $620.1M).

To date, B.O. numbers firm EntTelligence estimates that 50M people have seen No Way Home, while 9M have watched Sing 2, West Side Story – 2.9M people, Matrix Resurrections – 2.6M, The King’s Man – 1.9M, and American Underdog – 1.5M.

Box office data corp Gower Analytics, off a theatrical slate that include Doctor Strange in the Multiverse of Madness, Thor: Love and Thunder, Top Gun Maverick, The Batman, Sonic the Hedgehog 2 and so much more, predicts 2022 will soar to $9.2 billion.

All movies saw a spike in business on New Year’s Day, with wide releases (titles at 1,000+ theaters) seeing a near 42% climb over Friday. Spider-Man: No Way Home collected $52.7M, -38% from Christmas weekend.

Title/theaters/Fri-Sat-Sun/3-day (% chg)/Total/Weekend no.

1.) Spider-Man: No Way Home (Sony) 4,206 (-130) theaters, Fri $15.4M /Sat $23M/ Sun $14.3M/3-day $52.7M (-38%)/ Total: $610M/Wk 3

2.) Sing 2 (Uni/Ill) 3,892 theaters, Fri $6.4M/Sat $7.75M/Sun $5.4M/3-day $19.6M (-12%)/Total: $89.68M/Wk 2

3.) The King’s Man (20th/Dis) 3,180 theaters Fri $1.25M/Sat $1.95M/Sun $1.3M/3-day $4.5M (-24%)/Total $19.5M/Wk 2

4.) American Underdog (LG) 2,813 theaters, Fri $1.35M/Sat $1.6M/Sun $1.08M/3-day: $4.075M (-31%)/Total: $15M/Wk 2

5.) Matrix Resurrections (WB) 3,552 theaters, Fri $1.05M /Sat $1.635M/Sun $1.14M/3-day $3.825M (-64%)/Total: $30.9M/Wk 2

6.) West Side Story (20th/Dis) 2,690 (-130) theaters, Fri $700K/Sat $850K/Sun $550K/3-day $2.1M (-25%)/Total $29.56M/Wk 4

7.) Ghostbusters: Afterlife (Sony) 1,645 (-83) theaters Fri $435K/Sat $620K/Sun $380K/3-day $1.435M (+17%)/Total: $123.4M/ Wk 7

8.) Licorice Pizza (UAR) 786 (+781) theaters, Fri $356K (+5k%)/Sat $541K/Sun $352K/3-day $1.249M (-35%)/Total $6.3M/Wk 6

9.) A Journal for Jordan (Sony) 2,500 theaters, Fri $335K/Sat $525K/Sun $380K/3-day: $1.175M (-47%)/Total: $4.74M/Wk 2

10.) Encanto (Dis) 2,425 (-375) theaters, Fri $340K/Sat $425K/Sun $285K/3-day $1.05M (-42%)/Total $91.3M/Wk 6

11.) Nightmare Alley (Sea) 1,910 (-225)Fri $275K /Sat $425K/Sun $272K/3-day: $972K (-17%)/Total $7.6M/Wk 3

via Deadline